DOCSLIB.ORG

SONGWRITING and the 6Th GRADER I to the University Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SONGWRITING and the 6Th GRADER I to the University Of SONGWRITING AND THE 6th GRADER i To the University of Wyoming: The members of the Committee approve the dissertation of Kara K. Smith presented on April 22, 2019. Dr. Leslie Susan Rush, Chairperson Dr. Jenna Min Shim Dr. Nicole C. LaMartine APPROVED: Dr. Leslie Susan Rush, Director, School of Teacher Education Dr. Peter Moran, Director, Curriculum and Instruction Dr. Suzanne Young, Associate Dean, Graduate Programs ABSTRACT Students from two sixth-grade general music classes provided the base for exploring the question of whether a collaborative, project-based, songwriting curriculum unit might enhance the engagement of learners in the general music classroom. A seven-week Songwriter’s Workshop unit plan, developed by the teacher/researcher, was implemented and evaluated for its effectiveness. Quantitative and qualitative data gathered through pre- and post-project student surveys, along with teacher observations and anecdotal data based on student work indicates this type of curriculum can indeed increase engagement in the classroom. Recommendations for future implementations are included by the author/teacher/researcher. Running Head: SONGWRITING AND THE 6th GRADER Songwriting and the 6th Grader: A Creative Endeavor toward Enhanced Student Engagement in 6th Grade General Music An action research and curriculum development capstone project submitted to The College of Education and The Graduate School of the University of Wyoming in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION in Curriculum and Instruction By Kara K. Smith University of Wyoming Laramie, Wyoming April 2019 SONGWRITING AND THE 6th GRADER ii ACKNOWLEDGEMENTS My heart is grateful for the many people who have encouraged, supported and often prodded me to finish the course of this program and this project. Dr. Leslie Rush stepped in to chair to my committee, and I am indebted to her leadership. Dr. Jenna Shim has also served on my committee with her insight as a seasoned musician. Dr. Nicole Lamartine, a valued colleague serving as my outside committee member, continues to encourage and inspire me through her musical pursuits and her investment in music educators. My family sustained me throughout this venture, and with their encouragement, I find myself with the finish line in sight. I especially want to thank my husband, Merle Smith, for pulling me through the times when I was ready to abandon ship. He stepped in and took over everyday tasks to free up time for me to write, continually reminding me this is simply a season of perseverance. I am grateful to the many friends and colleagues for their wisdom and empathy and perspective. I would be remiss if I did not include Sue Smith, her colleagues and their dedication to help aspiring songwriters to become more excellent at their craft. I am also thankful for the students who embarked on this endeavor with me. Their candid input and creative output keep reminding me how the search for best practices begins and continues with them. My hope is the outcome of this season will be a blessing to all who contributed their time, energy and to make this project happen. Creativity is a gift given to us as image bearers of our Creator. I believe it is our duty and privilege as teachers to foster creative minds, hands and voices in the students we serve. I lift these thankful hands, mind, heart and voice to Jesus, to Him be the glory! SONGWRITING AND THE 6th GRADER iii TABLE OF CONTENTS TITLE PAGE……………………………………………………………………………………...i ACKNOWLEDGEMENTS……………………………………………………………………....ii LIST OF FIGURES……………………………………………………………………………....iv LIST OF APPENDICES………………………………………………………………………….v CHAPTER ONE: INTRODUCTION AND OVERVIEW………………………………………..1 CHAPTER TWO: REVIEW OF LITERATURE AND THEORETICAL PERSPECTIVES......13 CHAPTER THREE: METHODS………………………………………………………………..35 CHAPTER FOUR: FINDINGS………………………………………………………………….42 CHAPTER FIVE: DISCUSSION………………………………………………………………..55 REFERENCES…………………………………………………………………………………..64 APPENDICES…………………………………………………………………………………...70 SONGWRITING AND THE 6th GRADER iv LIST OF FIGURES Figure 1: Preferred activities in music class…………………………………………………......43 Figure 2: Music involvement outside of regular music class……………………………………44 Figure 3: Preferences for project group work……………………………………………………45 Figure 4: Most challenging part of the project…………………………………………………...47 Figure 5: Easiest part of song unit to accomplish……………………………………….……….47 SONGWRITING AND THE 6th GRADER v LIST OF APPENDICES Appendix A: Wyoming Fine and Performing Arts Content and Performance Standards for Music.….70 Appendix B: LCSD #1 Elementary Music Quarterly GVC-6th Grade only……………........................75 Appendix C: Active Listening Rubric……………………….......…………….....................………….78 Appendix D: Sample of Proficiency Scale for 6th Grade Music Benchmark…………..........................80 Appendix E: Preliminary Student Survey Questions…………………………………..........................82 Appendix F: Post-Songwriting Unit Survey Questions………………………………......................…84 Appendix G: Songwriter’s Workshop: Student Workbook…………………………….........................86 Appendix H: Wyoming FPA Music Benchmarks by Workshop Assignment......................................124 Appendix I: Group Grade Sheet..........................................................................................................126 Individual Grade Sheet....................................................................................................127 Appendix J: Power Point Slides...........................................................................................................129 SONGWRITING AND THE 6th GRADER vi Appendix K: Building Principal Approval............................................................................................160 IRB Approval...................................................................................................................161 SONGWRITING AND THE 6th GRADER 1 Chapter One: Introduction My journey as a music teacher in public school encompasses experiences that diverge and intersect at fascinating points. As an aspiring music education major, I envisioned myself in a high school with over-achieving choirs, fantastic music theater productions and inspired students who would go on to become professional musicians or future music educators. My first “real” job as a middle-school general music and choir teacher quickly humbled my delusions of grandeur and introduced me to the challenges of pre-adolescent students. My career pathway continued to intersect with sixth-grade learners at critical junctures along the way. I am now in a position with half of each teaching day spent with sixth-grade learners, and despite all of my years of experience, still find them incredibly challenging to engage in the music learning process. This project is based on the continuing pursuit of finding best practices to engage this population of learners in the general music classroom. In order to provide context and the setting for my project, I outline the current structure of the music curriculum in our district, as well as the Wyoming State Standards for the Fine and Performing Arts. I also include the setting and logistics of the school in which I currently teach. Within this context, I present the overview of the action research and the curriculum design for the Songwriter’s Workshop project I’ve implemented in the 6th grade General Music classroom. Music Curriculum in my Current District Music Curriculum in Laramie County School District #1 (LCSD#1) encompasses a broad scope of offerings and opportunities for students K-12. Music Specialists provide General Music for all students K-6, as well as several developing Pre-K programs in the district. Itinerant instrumental teachers provide additional pull-out instruction in strings and band for elementary SONGWRITING AND THE 6th GRADER 2 school students. Secondary schools offer music electives in performance groups for vocal, strings, and band. There are also opportunities for students to elect guitar classes at various levels. Occasionally, there are additional offerings for “Exploring Music” at the junior high level, the closest thing to the “general music” curriculum this study explores. Music theory/composition has also been an elective offering in the past at the high school level, but similar to Exploring Music, is offered only when elective enrollment numbers are sufficient to justify offering the course. Documentation of the music curriculum for LCSD#1 can be accessed through the district website at laramie1.org. The documents include proficiency scales, Guaranteed and Viable Curriculum (GVC) Maps, course descriptions and course syllabi, when provided. Suggested common assessments as well as district assessments and rubrics are also available in this link. Unfortunately, not all of the curriculum folders are yet fully populated, so particular information on secondary general music offerings is unavailable. The elementary general music curriculum was revised in the summer of 2018 by a team of elementary music teachers, including myself. The supporting documentation was updated and is available to teachers through Canvas Webpages in our district. Portions of these documents and samples are included in the Appendix. Wyoming Fine and Performing Arts Contents and Performance Standards The Wyoming Fine and Performing Arts Contents and Performance Standards were updated in 2013. These standards encompass visual arts, music, theater and dance. In this document, a
Load more

Recommended publications
  • Touchstones of Popular Culture Among Contemporary College Students in the United States
    Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Spring 5-17-2019 Touchstones of Popular Culture Among Contemporary College Students in the United States Margaret Thoemke [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the Higher Education and Teaching Commons Recommended Citation Thoemke, Margaret, "Touchstones of Popular Culture Among Contemporary College Students in the United States" (2019). Dissertations, Theses, and Projects. 167. https://red.mnstate.edu/thesis/167 This Thesis (699 registration) is brought to you for free and open access by the Graduate Studies at RED: a Repository of Digital Collections. It has been accepted for inclusion in Dissertations, Theses, and Projects by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. Touchstones of Popular Culture Among Contemporary College Students in the United States A Thesis Presented to The Graduate Faculty of Minnesota State University Moorhead By Margaret Elizabeth Thoemke In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language May 2019 Moorhead, Minnesota iii Copyright 2019 Margaret Elizabeth Thoemke iv Dedication I would like to dedicate this thesis to my three most favorite people in the world. To my mother, Heather Flaherty, for always supporting me and guiding me to where I am today. To my husband, Jake Thoemke, for pushing me to be the best I can be and reminding me that I’m okay. Lastly, to my son, Liam, who is my biggest fan and my reason to be the best person I can be.
    [Show full text]
  • 1 Analysis of Emotional Tones in Top Hit Song Lyrics in Relation To
    Analysis of Emotional Tones in Top Hit Song Lyrics in Relation to Economic Cycles from 1990-2010 Honors Undergraduate Thesis Presented in Partial Fulfillment of the Requirements for the Business Administration Degree with Honors Research Distinction in the Fisher College of Business at The Ohio State University By Sharon Yeh Undergraduate Degree in Business Administration with an Operations & Logistics Specialization The Ohio State University 2019 Thesis Committee: Dr. Roger Bailey Dr. Hyunwoo Park Dr. Elliot Bendoly 1 Copyright by Sharon Yeh 2018 2 Abstract While music preferences in society have always changed throughout the decades, we recognize that various external factors and trends—including the economic environment-- affect the type of music we listen to. To this end, we seek to explore the relationship between economic measures and musical preferences in order to better understand how our external environment can affect the emotions that we choose to express and consume. This research analyzes the ways in how economic conditions (expansionary or contractionary periods) can be related to the tone of music that we listen to (such as joy, anger, and sadness). In this analysis, I found that in times of economic contractions, song lyrics were more likely to exhibit analytical and confidence tones, while in economic expansions’ lyrics tend to show more tones of sadness and anger. In understanding how something as external as economic cycles can influence something as internal as musical preferences, we can continue to seek out how our microenvironment affects our microenvironment. While this research can have practical application (such as providing insight to the music industry for forecasting musical preferences), I believe, more importantly, that this research can help society uncover and contemplate how their external environment influences and shapes their preferences, beliefs, and identity across generations.
    [Show full text]
  • I Know. I Want. I Dream
    I KNOW. I WANT. I DREAM. GIRLS’ INSIGHTS FOR BUILDING A BETTER WORLD GIRL INSIGHTS REPORT The International Center for Research on Women (ICRW) 2CV is a research agency that gives people a voice so works to empower women, advance gender equality and they can influence the world around them. 2CV designs fight poverty in the developing world. To accomplish this, research to help change happen; using innovative, immersive ICRW works with partners in the public and private sectors methodologies, and sensitivity for people and cultures, to and civil society to conduct empirical research, build capacity uncover inspiring truths. 2CV works with NGO, public and and advocate for evidence-based practical ways to change private organizations to explore opportunities for change. policies and programs. TABLE OF CONTENTS 7 FOREWORD 9 ABOUT THE CONTRIBUTORS 11 ACKNOWLEDGEMENTS 13 EXECUTIVE SUMMARY 16 INTRODUCTION 16 BACKGROUND A The Significance of Adolescence B Now is the Moment: Building Momentum for the Adolescent Girl Development Agenda 19 AMPLIFYING GIRLS’ VOICES: THE GIRL DECLARATION A Technical Working Group B Post-2015 Adolescent Girl Consultations 23 FINDINGS FROM POST-2015 ADOLESCENT GIRL CONSULTATIONS A The Voices of Girls: Key Similarities B The Voices of Girls: Key Differences C Findings by Theme GIRLS’ IDENTITY Legal Identity Social Identity Marriage Implications Of Findings On Girls’ Identity GIRLS’ ENVIRONMENTS Social Support Safety And Security Local Environment Implications Of Findings On Girls’ Environments GIRLS’ ASSETS AND OPPORTUNITIES Health Girls’ Emotions Education Jobs And Money Implications Of Findings On Girls’ Assets And Opportunities 66 CONCLUSION 68 ENDNOTES GIRL INSIGHTS REPORT FOREWORD | 7 FOREWORD In 2009, ICRW published Girls Speak: A New Voice in Global Development as the fourth report of the Girls Count report series.
    [Show full text]
  • February 1935
    V o l . XVII F e b r u a r y , 1935 No. 2. TABLE OF CONTENTS Frontispiece: “Birdlets at Play" ............. John F. Cavanagh Our Chord of Music........................................Joseph E. Devenish, Jr. 5 Music (poem) .................................................Percy Bysshe Shelley 8 Chicken William J. Sullivan, Jr. 9 On Essaying ............................................................Eugene J. Sullivan 12 Pangs of Muteness .................................................................A . Smith 14 li "Submarine Terrace" ....................................... J. Ford McGowan 16 Winter s Dawn .........................................— ................Max Czech 18 Fog Night ............................................................ John H. Fanning 19 Editorial ....................................................................................... 21 How Tomes Have Changed!........................................................... 23 Campus Chronicle.......................................................................... 27 Bottoms U p! .................................................................................. 35 Press B ox......................................................................................... 36 The Providence College Alembic is published bi-monthly from November to May, by the students of Providence College, Providence, R. I. Entered as second-class matter at the Post Office, Providence, R. I., December 18, 1980, under Act of March 3, 1879. Subscription, $2.00 the year. "Acceptance for mailing
    [Show full text]
  • A Shaman, a Sherpa, and a Healer: a Post-Intentional
    A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM (Under the Direction of Corey W. Johnson) ABSTRACT The purpose of this study was to explore the phenomenon of songwriting. Through a series of in depth interviews, three songwriters provided rich descriptions of their lived experiences with the phenomenon. Post-intentional phenomenology was used as the primary guiding theoretical framework for this study, which negotiated the tenets of both phenomenology and poststructuralism. Songwriting was described in terms of portaling, everesting, and gravitating-levitating and was revealed as a complex phenomenon of cathartic and transcendent experiences. The findings highlight the need for unstructured, expressive, and artistic leisure, which can be transformative in times of personal or social unrest. INDEX WORDS: Songwriting, Post-intentional phenomenology, Creativity, Leisure A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM B.S., University of West Georgia, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2011 © 2011 Brian E. Kumm All Rights Reserved A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM Major Professor: Corey W. Johnson Committee: Janette R. Hill Diane M. Samdahl Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2011 iv DEDICATION This thesis is dedicated to the memory of Dianne Kendall Hickly (mom number 2). March 1, 1947 – July 23, 2011 v ACKNOWLEDGEMENTS I sincerely want to say thank you to everyone who contributed to the successful completion of this thesis.
    [Show full text]
  • Pastor Brian Writes— Before Actually Sitting Down Additional Services
    January, 2016 UPCOMING EVENTS Pastor Brian Writes— January 10—Mission Sunday Before actually sitting down additional services. Hospital and and taking time to reflect on the home visits. Let’s not forget all the January 10—Food for the Poor year’s past I have to admit if felt baptisms in 2015! somewhat frustrated. “NOT There were family events, January 10—Dave Ramsey FPU MUCH!”, I said. Not much council meetings, elder meetings, Seminar happened in 2015. It seemed to worship team practice, and just come and go. “Same old’ Confirmation which gives evidence January 17—Bowling Family same old’.” That is until someone to the fact that Mission and Event who heard me say that reminded ministry was also an important part me just how far I was from reality. of a very busy 2015. Canteen Visit the calendar at www.friendshiplutheran.com In reality it was a busy year Run, Panera Bread mission, like so many before it and I was Elizabeth Circle, Men’s Tuesday once again reminded to give Morning Bible Study, Thursday INSIDE THIS ISSUE: thanks to the ONE who made it all Morning Bible Study and small possible and who saw all of us groups that were in full swing. Budgets 2 through it. So, I did what I suppose THE STORY concluded in May. With the Young Crowd 2-5 many of us have done before. I Prayer and praise took place on Family Events 5 flipped back my desk calendar to Thursdays. Central Illinois District Lent Schedule & Themes 6 January and paged slowly through conferences took place twice in it.
    [Show full text]
  • Love Ain't Got No Color?
    Sayaka Osanami Törngren LOVE AIN'T GOT NO COLOR? – Attitude toward interracial marriage in Sweden Föreliggande doktorsavhandling har producerats inom ramen för forskning och forskarutbildning vid REMESO, Institutionen för Samhälls- och Välfärdsstudier, Linköpings universitet. Samtidigt är den en produkt av forskningen vid IMER/MIM, Malmö högskola och det nära samarbetet mellan REMESO och IMER/MIM. Den publiceras i Linköping Studies in Arts and Science. Vid filosofiska fakulteten vid Linköpings universitet bedrivs forskning och ges forskarutbildning med utgångspunkt från breda problemområden. Forskningen är organiserad i mångvetenskapliga forskningsmiljöer och forskarutbildningen huvudsakligen i forskarskolor. Denna doktorsavhand- ling kommer från REMESO vid Institutionen för Samhälls- och Välfärdsstudier, Linköping Studies in Arts and Science No. 533, 2011. Vid IMER, Internationell Migration och Etniska Relationer, vid Malmö högskola bedrivs flervetenskaplig forskning utifrån ett antal breda huvudtema inom äm- nesområdet. IMER ger tillsammans med MIM, Malmö Institute for Studies of Migration, Diversity and Welfare, ut avhandlingsserien Malmö Studies in International Migration and Ethnic Relations. Denna avhandling är No 10 i avhandlingsserien. Distribueras av: REMESO, Institutionen för Samhälls- och Välfärsstudier, ISV Linköpings universitet, Norrköping SE-60174 Norrköping Sweden Internationell Migration och Etniska Relationer, IMER och Malmö Studies of Migration, Diversity and Welfare, MIM Malmö Högskola SE-205 06 Malmö, Sweden ISSN
    [Show full text]
  • Downbeat.Com April 2011 U.K. £3.50
    £3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz,
    [Show full text]
  • Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research.
    [Show full text]
  • I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For
    ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent.
    [Show full text]
  • Don't Make Me Think, Revisited
    Don’t Make Me Think, Revisited A Common Sense Approach to Web Usability Steve Krug Don’t Make Me Think, Revisited A Common Sense Approach to Web Usability Copyright © 2014 Steve Krug New Riders www.newriders.com To report errors, please send a note to [email protected] New Riders is an imprint of Peachpit, a division of Pearson Education. Editor: Elisabeth Bayle Project Editor: Nancy Davis Production Editor: Lisa Brazieal Copy Editor: Barbara Flanagan Interior Design and Composition: Romney Lange Illustrations by Mark Matcho and Mimi Heft Farnham fonts provided by The Font Bureau, Inc. (www.fontbureau.com) Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks It’s not rocket surgery™ is a trademark of Steve Krug. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark.
    [Show full text]
  • Creating a Potentially Popular Hit Song Susan Noh University of South Carolina - Columbia
    University of South Carolina Scholar Commons Senior Theses Honors College Spring 5-10-2014 Creating a Potentially Popular Hit Song Susan Noh University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/senior_theses Part of the Composition Commons Recommended Citation Noh, Susan, "Creating a Potentially Popular Hit Song" (2014). Senior Theses. 12. https://scholarcommons.sc.edu/senior_theses/12 This Thesis is brought to you by the Honors College at Scholar Commons. It has been accepted for inclusion in Senior Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. CREATING A POTENTIALLY POPULAR HIT SONG By Susan Noh Submitted in Partial Fulfillment of the Requirements for Graduation with Honors from the South Carolina Honors College May, 2014 Approved: Professor Jim Burns Director of Thesis Jonnifer Cooper Second Reader Steve Lynn, Dean For South Carolina Honors College Acknowledgements I would like to thank Professor Jim Burns for putting up with my eccentricity and allowing me to create what my heart desired. If it had not been for Dr. Kay Banks, I would have been completely lost. Thank you to Jonnifer Cooper for his wisdom and constant support in everything I do. To my parent for giving me the opportunities to take piano and violin lesson for most of my life, they definitely paid off! And lastly, to all my friends and peers who allowed this project to be successful. I would not have accomplished this without everyone. 2 Table of Contents Thesis Summary 4 Introduction 6 General Song Writing 8 Modification 11 Writing “Your Mind” 13 Recording “Your Mind” 16 Audience Survey Response 17 Conclusion 19 Bibliography 21 Appendix 22 3 Thesis Summary From as far back as I can remember I have always loved music.
    [Show full text]