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BOYD-DISSERTATION-2016.Pdf (1.737Mo) Developing a Cohort Blended Curriculum Model (Face-to-Face and Online) for a Master of Arts of Theatre Degree by Sherry Randolph Boyd, B.S., M.A. A Dissertation In Fine Arts/Theatre Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Andrew Gibb, Chair of the Committee Dr. William Gelber Dr. Janice Killian Dr. Michael Stoune Dr. Justin Louder Dr. Mark Sheridan Dean of Graduate School August 2016 © 2016, Sherry Randolph Boyd Texas Tech University, Sherry Randolph Boyd, August 2016 ACKNOWLEDGMENTS Primarily, I thank my husband, Mark. He did not blink an eye when I said, “I want to move to Lubbock and maintain three households, while I complete my residency at Texas Tech University.” In the middle of my residency, we had to move my mother in with us, and I was ready to quit school. Mark took care of my mom so I could complete my residency, and it made me love him more. I also want to thank my daughter Christal, who was and still is my biggest cheerleader, butt kicker and one of my first graduate school editors. She held me up and said, “Keep going ‘Lady,’ you can do it.” Special thanks go to Dr. Janice Franklin, Dr. Ulanda Forbess, Dr. Teddy Rodriguez, Leslie Gulden, Sandy Brimer, Jeanne Haggard, Ryan Johnson, and Dr. Marla Britton-Johnson, whose support and friendship kept me moving forward in this process. Thank you, Dr. Linda Donahue, for taking the lead on this dissertation journey. Additionally, I am indebted to the members of my committee, Dr. William Gelber, Dr. Michael Stoune, Dr. Janice Killian, and Dr. Justin Louder for their help, advice, and time devoted to my dissertation. Dr. Andrew Gibb, my chair, you are incredible. You gave me your valuable time, genuine guidance, and unbelievable encouragement to complete my dissertation. I truly would not have completed this dissertation without you. Thanks also to Jeff Day and Dawn Schluetz, my doctoral support group who reinvigorated me, struggled with me, cajoled me, and held me in their hands the last six months of this voyage. I felt blessed by your presence. ii Texas Tech University, Sherry Randolph Boyd, August 2016 Loreta Felton, you have my undying gratitude and love for taking care of my mom as her Alzheimer’s disease progresses. You have become her sister and my second mom. Finally, a very special appreciation and love for my mom, Ruby Jean Simpson Randolph, and dad, Chester Lee Randolph, whose shoulders I stand on so that I can see above the water. I will continue the promise. iii Texas Tech University, Sherry Randolph Boyd, August 2016 TABLE OF CONTENTS ACKNOWLEDGMENTS .................................................................................... ii ABSTRACT ......................................................................................................... vii LIST OF FIGURES ............................................................................................ vii I. INTRODUCTION ...........................................................................................1 A Paradigm Shift ..........................................................................................1 Changes in Higher Education ......................................................................3 Non-traditional Master of Arts in Theatre Programs ...................................5 Methodology for the Master of Arts in Theatre Program Design ................9 Common Definitions for Online Learning .................................................10 Chapter One Summary ...............................................................................16 II. EVALUATION OF RELATED LITERATURE .......................................17 Non-traditional Students ............................................................................17 Adult Learning ...........................................................................................20 Cohort, Blended, and Online Learning ......................................................23 III. BACKGROUND OF DISTANCE EDUCATION .....................................32 Non Profit Versus For Profit ......................................................................32 Distance Education 1890-1945 ..................................................................33 Distance Education 1945-1985 ..................................................................41 Distance Education 1985 through the Early Twenty-First Century ...........48 IV. DESIGNING A MASTER OF ARTS DEGREE IN THEATRE ............59 Three Models of Learning in Graduate School ..........................................59 Lecture or Face-to-Face Model ..................................................................60 Distance Education ....................................................................................62 Closed Cohort System ...............................................................................67 Interviews with University Theatre Program Directors .............................69 Design of the Master of Arts in Theatre ....................................................82 iv Texas Tech University, Sherry Randolph Boyd, August 2016 Mission Statement……………………………………………………………...83 MA Summer Institute I Face-to-Face Description…………….…83 Teaching Theatre..………………………………………..83 Design For Directors (Lighting and Sound)..…………….84 Design For Directors (Scene and Costume)…….………..84 MA Fall I Online Description………………………………....…84 Research Methods.……………………………………….83 The Theory of Teaching Theatre…………...…………….84 MA Spring I Online Description……………………………........85 Theatre History.…………………….…………………….85 Dramaturgy and Script Analysis….………...……………85 MA Summer Institute II Face-to-Face Description…...……….…85 Directing………...………………………………………..86 Graduate Acting…………………………....…………….86 Directing Musical Theatre………………..…….………..86 MA Fall II Online Description………………………………...…86 Theatre Management.………………………………..…...86 Thesis………………………….…………...……………..87 MA Spring II Online Description……………………………...…87 Thesis………………………….…………...……………..87 Master of Fine Arts Classes………………………………………………88 MFA Summer Institute I Face-to-Face Description………...….…88 MFA Fall I Online Class……………………………………….…88 MFA Spring I Online Class…………………………………….…88 MFA Summer Institute II Face-to-Face Description…….….….…88 MFA Fall II Online Class…………………………….…..…….…88 MFA Spring II Online Class……………….………….………..…88 MFA Summer Institute III Face-to-Face Description…….…….…89 MFA Fall III Online Class…………………………….….…….…89 MFA Spring III Online Class……………….………….……….…89 Distance Education Accreditation for Blended and Online Programs…….90 v Texas Tech University, Sherry Randolph Boyd, August 2016 V. CONCLUSIONS ..........................................................................................95 Personal Discoveres…………………………………………………………..;;95 Eight-Week Proof of Concept………………………………………......100 Future Application ……………………………………………………...105 WORKS CITED ................................................................................................110 APPENDICES APPENDIX A Texas Tech University Human Research Protection Program (HRPP)……………..…………………………121 APPENDIX B Texas Universities Offering Distance, Cohort, and Blended Master of Arts Degrees in Theatre……..……123 APPENDIX C Permissions to Use Figures Within the Dissertation…129 APPENDIX D Current Master of Arts Degree in Theatre at Texas Tech University………………………………….133 APPENDIX E Current Graduate Online, Hybrid, and Cohort Degrees Offered at Texas Tech University……………136 APPENDIX F Interview with Dr. Rosalind Flynn Ph.D.— The Catholic University, Washington D. C……………139 Interview with David Montgomery Ph. D.—New York University, Steinhardt, New York City………………..161 Interview with Patrick Byname Ph.D.— Texas Woman’s University, Denton, Texas……………171 APPENDIX G Theatre Management Course Design…………………..230 vi Texas Tech University, Sherry Randolph Boyd, August 2016 ABSTRACT Public higher education is making a paradigm shift in the delivery of class information and teaching strategies. The objective of this research is to present a rationale for a graduate theatre program that combines online education and lecture together as a hybrid model for non-traditional students to complete a Master of Arts degree. Specifically, I developed a curriculum for a Master of Arts in theatre by suggesting a summer-cohort hybrid model that targets mainly non-traditional students. This program will provide an opportunity for academic requirements, while combining a hybrid and face-to-face model for students’ access and success. It is possible to establish a blended-accelerated cohort Master of Arts in Theatre arts degree that is valid and retains the quality of a traditional face-to-face degree. While building this model, it is important to build a pathway for completion, offer a quality program for non-traditional students, mentor the non-traditional students in the program, and allow a shorter interval for completion of a Master of Arts degree in Theatre. vii Texas Tech University, Sherry Randolph Boyd, August 2016 LIST OF FIGURES 3.1 The Community of Inquiry Framework .....................................................53 5.1 Geoffrey Moore’s Diffusion of Innovation model…………......................88 5.2 Cisco Sx80 Codec Speaker Track 60 ..........................................................92 viii Texas Tech University, Sherry Randolph Boyd, August 2016 CHAPTER I INTRODUCTION Change is the law of life. And those who look only to the past or present are certain to miss
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