Abstract
The goals of learning communities—extensive student–faculty interaction, collaboration with peers, and active learning—are often achieved through the embodied learning that is a part of performing arts courses, and learning communities offer performing arts faculty a fertile territory for developing somatic pedagogies. Brian LaDuca’s case study looks at the University of Dayton’s Institute of Applied Creativity for Transformation’s (IACT) transdisciplinary humanity-centered educational framework where students discover potential solutions and ideas for life’s big questions. Blake Stevens and Bill Manaris discuss their First-Year learning community at the College of Charleston, which combines introductory training in music and applied knowledge of music theory and practice to the creation of musical transcriptions of pre-existing works, beginning compositional exercises, and laptop orchestra performance through computer coding.
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Notes
- 1.
“Defining Features,” The National Resource Center for Learning Communities.
- 2.
For some representative studies and summaries of research on Learning Communities, see Anne Goodsell Love, “The Growth and Current State of Learning Communities in Higher Education”; Tiffany Cambridge-Williams, Adam Winsler, Anastasia Kitsantas, and Elizabeth Bernard, “University 100 Orientation Courses and Living-Learning Communities Boost Academic Retention and Graduation via Enhanced Self-Efficacy and Self-Regulated Learning”; Gene Popiolek, Ricka Fine, and Valerie Eilman, “Learning Communities, Academic Performance, Attrition, and Retention: A Four-Year Study.”
- 3.
Emily Lardner and Gillies Malnarich, “A New Era in Learning-Community Work: Why the Pedagogy of Intentional Integration Matters.”
- 4.
Some research on the positive impact of learning communities on various aspects of student learning and acclimation to college can be found in the NSSE publication “Experiences That Matter: Enhancing Student Learning and Success, Annual Report 2007.”
- 5.
Emily Lardner, “What Campuses Assess When They Assess Their Learning Community Programs: Selected Findings from a National Survey of Learning Community Programs,” 6. For the various types of student engagement as measured by the National Survey of Student Engagement (NSSE), see “NSSE/Engagement Indicators.”
- 6.
Gary R. Pike, George D. Kuh, and Alexander C. McCormick, “An Investigation of the Contingent Relationships between Learning Community Participation and Student Engagement,” 314.
- 7.
Patricia G. Sandoval and Jack J. Mino, “The Play’s the Thing: Embodying Moments of Integration Live, on Stage,” 1.
- 8.
Robyn Tudor, “The Pedagogy of Creativity: Understanding Higher Order Capability Development in Design and Arts Education.”
- 9.
See Iannis Xenakis, Formalized Music: Thought and Mathematics in Composition.
- 10.
See Bamberger, Jeanne Shapiro, The Development of Musical Intelligence I: Strategies for Representing Simple Rhythms; Andrew R. Brown and Steve C. Dillon, “Networked Improvisational Musical Environments: Learning through online collaborative music making”; Bill Manaris and Andrew R. Brown, Making Music with Computers: Creative Programming in Python.
- 11.
Funding for this work was provided in part by the National Science Foundation (DUE-1044861).
- 12.
David Williamson Shaffer and Mitchel Resnick, “‘Thick’ Authenticity: New Media and Authentic Learning”; Felipe Otondo, “Using spatial sound as an interdisciplinary teaching tool.”
- 13.
George D. Kuh and Carol Geary Schneider, High-Impact Educational Practices: What They Are, Who Has Access to Them, and Why They Matter.
- 14.
Bill Manaris, Juan Romero, Penousal Machado, Dwight Krehbiel, Timothy Hirzel, Walter Pharr, and Robert B. Davis, “Zipf’s Law, Music Classification, and Aesthetics.”
- 15.
Melissa E. O’Neill, “Automated Use of a Wiki for Collaborative Lecture Notes.”
- 16.
JythonMusic is an environment for music making and creative activities based on the programming language Python (see http://jythonmusic.org).
- 17.
Louis Niebur, “‘Switched-On Bach’–Wendy Carlos (1968).”
- 18.
Daniel Trueman, Perry Cook, Scott Smallwood, and Ge Wang, “PLOrk: The Princeton Laptop Orchestra, Year 1”; Daniel Trueman, “Why a laptop orchestra?”
- 19.
Tom Mudd, “Developing transferable skills through engagement with higher education laptop ensembles.”
- 20.
Andrew Sorensen, “The Many Faces of a Temporal Recursion.”
- 21.
Peter Vergo, The Music of Painting: Music, Modernism and the Visual Arts from the Romantics to John Cage.
- 22.
Nandini McCauley, “Computing in the Arts Exhibition: Visual Soundscapes.”
- 23.
Bill Manaris, Blake Stevens, and Andrew R. Brown, “JythonMusic: An environment for teaching algorithmic music composition, dynamic coding and musical performativity.”
- 24.
Again, see Manaris et al. “JythonMusic: An environment for teaching algorithmic music composition, dynamic coding and musical performativity,” for the specific questions asked.
- 25.
See Manaris et al. “JythonMusic: An environment for teaching algorithmic music composition, dynamic coding and musical performativity,” 49–51.
- 26.
For example, see Brown and Dillon, “Networked Improvisational Musical Environments”; Tom Mudd, “Developing transferable skills through engagement with higher education laptop ensembles”; Shaffer and Resnick, “‘Thick’ Authenticity”; Trueman “Why a laptop orchestra?”; Trueman et al. “PLOrk”; Ge Wang and Perry Cook. “ChucK: A Concurrent, On-the-fly, Audio Programming Language.”
- 27.
E.J. West, Shaw on Theatre, 59.
- 28.
Raymond Williams, Drama from Ibsen to Brecht, 37.
- 29.
Victor Turner, On the Edge of the Bush: Anthropology as Experience, 196–197.
- 30.
Stephen Stanton, Camille and Other Plays, xiv–xv.
- 31.
Elizabeth Bell, “Social Dramas and Cultural Performances: All the President’s Women.”
- 32.
Dan P. McAdams, “Personal Narrative and the Life Story,” 242–243.
- 33.
Tacy Trowbridge, “Closing the Skills Gap: Why Creativity is Essential to Students’ Workplace Success.”
- 34.
Fernando Lozano and Amanda Sabicer, “Creativity and Innovation: Building Ecosystems to Support Risk Taking, Resiliency, and Collaboration.”
- 35.
Ideo.org .
- 36.
“The Catholic and Marianist Philosophy of Community Living at the University of Dayton.”
- 37.
Maggie Fiegl, “FEAR Makes its Way into ArtStreet’s IAN Installation Series.”
- 38.
Julie Turkewitz, “Oregon Gunman Smiled, Then Fired, Student Says.”
- 39.
Grant Wiggins, “On Assessing for Creativity: Yes You Can, and Yes You Should.”
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Hayford, M., Kattwinkel, S. (2018). Learning Communities. In: Hayford, M., Kattwinkel, S. (eds) Performing Arts as High-Impact Practice. The Arts in Higher Education. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-72944-2_4
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