Having an experience: Multiple literacies through young children's opera Item Type text; Dissertation-Reproduction (electronic) Authors Rossi, Pamela Jayne Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 22:44:21 Link to Item http://hdl.handle.net/10150/282571 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text dbectfy from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter &ce, whfle others may be from any type of computer primer. The qiialiQr of this reprodactioD b dependent apon the qnality of the copy submitted. 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UMI A Bdl & HioweD Mnniation Compaiy 300 NoithZM Road. Ann Arixv MI 48106-1346 USA 313/761-4700 800/521-0600 f I i HAVING AN EXPERIENCE: MULTIPLE LITERACIES THROUGH YOUNG CHILDREN'S OPERA by Pamela Jayne Rossi Copyright© Pamela Jayne Rossi 1997 A Dissertation Submitted to the Faculty of the DEPARTMENT OF LANGUAGE, READING AND CULTURE In Panial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN LANGUAGE, READING AND CULTURE In the Graduate College THE UNIVERSITY OF ARIZONA 1997 DMI Number: 9817347 Copyright 1997 by Rossi, Paaela Jayne All rights reserved. UMIMicrofonn 9817347 Copyright 1998, by UMI Company. All rights reserved. This microfomi edition is protected against unauthorized copying under Title 17, United States Code. invn 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA « GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Pamela Jayne Rossi entitled HAVING AN EXPERIENCE; MDLTIPLE UTERACTES THROUGH YCXING CHILDREN'S OPERA and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of DOCTOR OF PH11X)S0PHY lallSiHT- letta Goodman h} r li- /O !2.'^ {9 Dr. Ken Goodman Date Dr.JCathy /Short Date Dr. Dana Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requi^ment. "^iyuiAJuUf- D^^ertation Director Date Dr Teresa L. McCarty 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advcuiced degree at The University of Arizona and is deposited in the University Libreiry to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be gremted by the copyright holder. SIGNED: 4 ACKNOWLEDGMENTS I would like to express my deepest gratitude to the many people, named and unnamed here, who gave me support and encouragement during the four years of this work's gestation. I am grateful: -to the Hopi children for reminding me that art is life and survival; -to Drs. Kenneth and Yetta Goodman for planting the seed at their Summer Institute; -to Dr. Teresa McCarty for recruiting me to the University of Arizona doctoral program; -to Dr. Richard Ruiz and the faculty of LRC for all the opportunities; -to Dr. Kathy Short and colleagues for enriching conversations about sign systems; -to Dr. Dana Fox for bringing Louise Rosenblatt into my life; -to LRC's vibrant administrative secretaries for their kindness, especially Marie Ruiz and Maria Fierro, and Karen Begay in the American Indian Language Development Institute; -to the selection committee at the Graduate College for "seeing" die potential in this research and giving me the gift of time and resources through a Dean's Fellowship; -to Dr. Carroll Rinehart and Very Special Arts Arizona for the inspiration; -to Arizona Arts Education Research Institute (AAERI) for their belief in this partnership; -to the elementary schools, especially Warren and Walter Douglas, for the invitations; -to Wendy Hood and her students for opening their classroom doors to the world; -to my parents, Patricia and Richard Rossi, for their love and confidence expressed through phone calls, care packages, and autumn "nose boxes" from New England; -and most especially to Robert James Bemhait for being there and contributing his enlightened love, wisdom, patience, coaching, and healing as I strove to balance the focus of my intention and attention to the birth of this work and the sustenance of our union. THANK YOU. AND YES! DEDICATION To the Work 6 TABLE OF CONTENTS LIST OF RGURES 11 LIST OF TABLES 12 ABSTTRACr 13 L A MULTILITERATE EXPERIENCE 15 Research Questions 15 The Opera Project 16 Sing a Story: TeachersTalk About Young Children's Opera 18 The Reader. The Text, The Lullaby: Second Graders Compose a Song....21 Scene One: Humble Beginnings 22 Scene Two: Composing a Lullaby 23 Scene Three: The Intimate Learner 25 Scene Four Releasing Human Potential 26 Scene Rve: Sharing Power. 28 Scene Six: Return to the Dance of the Parts and Wholes 29 Scene Seven: Tension and Release 29 A Pilot Project: Kindergarten-First Graders Create and Produce An Opera. 32 Scene One: Using Altemative Signs Systems 34 Scene Two: Making Personal Connections 34 Scene Three: Composing The Mesa Song 35 Scene Four Celebrating Rodney's Coyote Song 36 Scene Rve: I'roducing Dances and Chants 37 Scene Six: Producing Costumes and Scenery 40 Scene Seven: Transformations 41 Scene Eight: Performing and Reflecting 42 Preview of the Dissertation 45 II. REVIEW OF THE LITERATURE 46 Assumptions and Perspectives 47 The Reductionist Paradigm and Literacy 48 The Constructivist Paradigm and Literacy 51 Experience, Inquiry, and Learning-Centered Curriculum 55 Whole Language and Whole Music 59 Related Literature 62 More than One Literacy: Literacies and Young Children's Opera 63 More than One Meaning: Transactional Theory and the Literary Work 70 More than One Curriculum: Synergy and Multicultural Education 76 More than One Intelligence: Many Ways of Knowing 87 More than One Perception: Role of the Senses 89 More than One Expression: Sign Systems and Transmediation 90 in. RESEARCH METHODOLOGY 94 The Site 95 Collaborative Beginnings: A Very Special Arts Party 96 Obtaining Access 97 Sources of Data Collection 101 7 Participant Observation 102 Moderate E^cipation 103 Active Participation 104 Reflexivity of Roles As A Participant Observer 105 Interviews Ill Informal Interviews Ill Formal Interviews 112 Other Data 113 Sociograms 113 Documents and Artifacts 114 Reld Notes 114 Researcher Joumai 114 Analysis of Data 114 IV. ENTERING THE EXPERIENCE 122 About the Community 122 About the School 124 A Past Principal's Perspective 125 The ftesent Wncipal's Perspective 134 About the Classroom 141 V. THE COLLABORATORS 148 About the Teacher 148 About the Children 155 Sociograms 156 Story 157 Dance 158 Song 159 Play 160 Friend 161 About the Artist-in-Residence 163 About the Apprentice Teacher 175 About the Researcher 180 VL HAVING AN EXPERIENCE IN RVE ACTS 187 An Attistically-Based Approach to Educational Research 188 The Libretto 193 Act One: Choosing a Story As Sharing a Common Interest 193 Scene One: Nominating Books 193 Scene Two: Informing a Decision 195 Act Two: Developing the Theme as Getting to Know the Interest 1% Scene One: "Doing" Centers 1% Scene Two: Steeping in China 197 Scene Three: TaJdngaReldTrip 198 Scene Four Dancing with Asian Visitors 198 Act Three: Composing as Co-Constructing Meaning 199 Behind the Scenes 199 Scene One: Creating Common Meaning 200 Scene Two: Promoting Bilingualism 202 8 Scene Three: Building Trust and Composing Music 202 Scene Four Collaborating 203 Scene Five: Imagining and Drawing Flowers 204 Scene Six: Maicing Minor Decisions and Taking Major Rislcs 205 Scene Seven: Valuing Ideas, Developing Voices, and Editing 206 Scene Eght: Writing Poetry and Chanting Tunes 208 Scene Nine: Reading and Writing Their Own Libretto 209 Scene Ten: Reflecting 211 Act Four Producing as Re-Constructing Meaning 211 Scene One: Auditioning 211 Scene Two: Reflecting 212 Scene Three; Un-Blocking and Re-Hear-Sing 213 Act Five: Performing As Sharing Meaning 215 Behind