ASU Electronic Theses and Dissertations
This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media.
In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the ASU Library Catalog.
Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository ETD Library Guide or contact the ASU Graduate College at gradformat@asu.edu.
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Even though Puccini's triptych garnered primarily negative reviews, the basis for this negativity was the perception that Il Trittico had broken with the historically traditional Italian musical styles. Though the present study acknowledges that break to a degree, it will also present a historically based rationale for the deviation, one left largely unnoticed by Puccini's critics. In the end, this author plans to realize their symbolic importance as a farewell to three uniquely Italian styles and a departure point for a new operatic tradition. Looking forward to the centenary of the work, this author seeks to illuminate how Puccini reached the pinnacle of firmly rooted genres of Italian opera. Ultimately this might help to unravel the enigma of Il Trittico while it continues to secure its rightful place as one of the masterpieces of the Puccini canon.
I began my project by collecting all of the extant beginner-level method books for the oboe, dividing them into those for band settings and those for lesson settings. I then created a detailed survey to analyze each book's contents so that in the new book I might address any and all shortcomings in the existing literature. I then distilled the results of this survey into charts, so that any teacher could look at the contents of each book and see how said book fits within the results. Once this was finished, I created an outline for the new method book, listing the contents of the front material, lessons, and back material. My outline sequences the musical and instrumental material together, providing students with all of information necessary to become a successful beginning oboist. I stopped short of selecting music or creating the book's layout, but my goal is to publish the completed book within the next year.
The survey instrument explored four primary research questions; (1) Do music teachers in Arizona participate in formal OPD related to recertification of their teacher credential? (2) Do music teachers in Arizona who participate in OPD courses interact with their peers during OPD? (3) What is the nature of self-reported peer interactions among Arizona music teachers who participate in OPD courses? (4) What are Arizona music teachers' opinions regarding peer interaction in OPD courses?
Almost half of the 279 respondents participated in OPD courses for their recertification. Some participated in music-specific OPD courses such as online music classes, webinars, or online degree programs. Many respondents considered OPD courses to be effective because of convenience, location, time savings, and flexibility. Most who took online classes participated in multiple OPD courses.
Of the respondents who took OPD courses, nearly two-thirds indicated that they interacted with peers during those courses. Most of these respondents reported that required interactions were effective. Some benefits were sharing ideas and acquiring information from others. Participants preferred asynchronous interaction with peers to synchronous interaction. Factors that may have prevented these music teachers from interacting in OPD courses were superficial level message content in discussion boards or low participation from peers. Teachers also reported using informal online interactions in social networks not related to recertification hours.
Findings from this study may help improve teacher interactions with peers in OPD courses. This study may serve to influence instructors in OPD courses, administrators, policy-makers, and online course developers to improve OPD by integrating peer interactions into online courses for music teachers. Additional research on many aspects of OPD for music teachers is needed to improve educational practice.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.