Barrett

Barrett, The Honors College at Arizona State University proudly showcases the work of undergraduate honors students by sharing this collection exclusively with the ASU community.

Barrett accepts high performing, academically engaged undergraduate students and works with them in collaboration with all of the other academic units at Arizona State University. All Barrett students complete a thesis or creative project which is an opportunity to explore an intellectual interest and produce an original piece of scholarly research. The thesis or creative project is supervised and defended in front of a faculty committee. Students are able to engage with professors who are nationally recognized in their fields and committed to working with honors students. Completing a Barrett thesis or creative project is an opportunity for undergraduate honors students to contribute to the ASU academic community in a meaningful way.

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Jamaican Folk Music: In the General Music Classroom

Description
Jamaican folk music is categorized into three large genres, which may be broken down into smaller more specific subgenres. Work and Social Music (which includes Work Songs, Mento Music, and Social Music), Recreational Music, and Ritual and Ceremonial Music. Rastafarianism, although it is a manifestation of ritual music, is given…

Jamaican folk music is categorized into three large genres, which may be broken down into smaller more specific subgenres. Work and Social Music (which includes Work Songs, Mento Music, and Social Music), Recreational Music, and Ritual and Ceremonial Music. Rastafarianism, although it is a manifestation of ritual music, is given its own section due to the large amount of information available on the subject. Included here are historical analysis of the genres, as well as musical examples. Eight folk songs are included, and four drum patterns. This paper is intended as a resource for music educators, and therefore each song includes a Quick Reference Page, which lists solfege, rhythmic motives, genre of song, and if applicable drum rhythms which may be used to accompany the song. In addition, each song includes specific information regarding appropriate performance practice and suggestions for use in the classroom.
ContributorsVillarreal, Alicia Raquel (Author) / Stauffer, Sandra (Thesis director) / Schmidt, Margaret (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05
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Navigating Cultural Difference in Gospel Music Study and Performance

Description
The meanings and values that people assign to music and the material culture that music creation offers make excellent data sources for uncovering new and transformative aspects of culture. Gospel music is a subculture that emphasizes a unique performance style, and is based upon culturally specific religious, social, musical, and…

The meanings and values that people assign to music and the material culture that music creation offers make excellent data sources for uncovering new and transformative aspects of culture. Gospel music is a subculture that emphasizes a unique performance style, and is based upon culturally specific religious, social, musical, and historical contexts. Students in the ensemble who musically developed through a Western classical-based connective strand may experience some adjustment from what they know and develop new skills to navigate across cultural difference. The purpose of this study was to document how participants in a specific university gospel choir setting navigated across cultural differences for gospel choir study and performance. Participants were recruited and interviewed a total of three times about their experience in the ensemble. Questions that guided the study focused on three areas: religious difference, social difference, and musical difference. An in-case analysis of each participant showed that overall, experiences in the choir were positive. Participants from a variety of diverse backgrounds approached new cultural learning differences such as physical movement, aural music learning, religious text, and performance context with an open mind and an individualized way of navigating through difference. In order for participants to reach a point where they felt that they had cultural competency in a new musical area, in this case, the establishment of a strong community was especially essential because of the assumptions attached to this ensemble and because of many of the participants' initial limited understanding of cultural markers for learning music that draw on improvisatory and aural means. This study implies that there are connections between each cultural difference that are related. For the educator intending to introduce new cultural competencies in their classrooms, considering the dynamics in which cultural differences might interact with each other is essential.
ContributorsCrane, Janelle Elizabeth (Author) / Thompson, Jason (Thesis director) / Schmidt, Margaret (Committee member) / School of Music (Contributor) / School of Sustainability (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05