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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Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018
Description
Two different techniques utilizing vocalization in clarinet performance were examined through a research study in which one subject (the author) played several tasks utilizing each technique with different played pitches, vocalized pitches, and dynamic levels for each task. The first technique was singing while playing, which is also sometimes referred to as growling. This technique is produced by engaging the vocal folds during regular clarinet performance to create a second vocalized pitch that resonates in the oral cavity and exits through the mouthpiece as part of the same air stream as that used by the vibrating reed. The second technique studied was a much more recently pioneered technique that the author has labelled humming while playing due to its similarity to traditional humming in vocal pedagogy. This technique is produced by filling the oral cavity with air, sealing it off from the rest of the vocal tract using the tongue and soft palate, and humming through the nasal cavity. The cheeks are simultaneously used to squeeze air into the mouthpiece to maintain the clarinet pitch, much like in the technique of circular breathing.
For the study, audio, nasalance, and intraoral pressure data were collected and analyzed. Audio was analyzed using spectrograms and root mean square measurements of sound pressure for intensity (IRMS). Analysis of the nasalance data confirmed the description of the physiological mechanisms used to generate the humming while playing technique, with nasalance values for this technique far exceeding those for both singing while playing and regular playing. Intraoral pressure data showed significant spikes in pressure during the transitions from the regular air stream to air stored in the oral cavity when humming while playing. Audio analysis showed that the dynamic range of each technique is similar to that of regular playing, and that each technique produces very different and distinct aural effects.
This information was then used to help create a method to assist performers in learning how to produce both singing and humming while playing and a resource to help educate composers about the possibilities and limitations of each technique.
For the study, audio, nasalance, and intraoral pressure data were collected and analyzed. Audio was analyzed using spectrograms and root mean square measurements of sound pressure for intensity (IRMS). Analysis of the nasalance data confirmed the description of the physiological mechanisms used to generate the humming while playing technique, with nasalance values for this technique far exceeding those for both singing while playing and regular playing. Intraoral pressure data showed significant spikes in pressure during the transitions from the regular air stream to air stored in the oral cavity when humming while playing. Audio analysis showed that the dynamic range of each technique is similar to that of regular playing, and that each technique produces very different and distinct aural effects.
This information was then used to help create a method to assist performers in learning how to produce both singing and humming while playing and a resource to help educate composers about the possibilities and limitations of each technique.
ContributorsRuth, Jeremy Larkham (Author) / Gardner, Joshua T (Thesis advisor) / Spring, Robert S (Thesis advisor) / Schmelz, Peter J (Committee member) / Weinhold, Juliet (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT
The history of Indian education within public schools is deeply problematic. Power imbalances have led western education to enter Indigenous communities with their own agendas and without prior consultation with the people and communities. As a consequence, Indigenous scholars are moving to take control and reclaim ownership of the education of our children that occurs in our communities and public schools. This dissertation focuses on attitudes toward culturally relevant instruction/curriculum by asking the question, what is the landscape and current climate of culturally responsive schooling for Pueblo and American Indian students within Bernalillo High School and Bernalillo Public Schools in Bernalillo, New Mexico? Through a qualitative study, teachers, administrators, consultants and faculty were interviewed to gain their perspectives on culturally relevant instruction/curriculum. Through analysis of these interviews and focus group, it was found that participants were aware of culturally relevant instruction/curriculum and utilize it in some sense with their students. This study also looks at the current landscape of American Indian and Pueblo education in the state of New Mexico. Indigenous education has always been a part of the learning process for Pueblo people. With the coming of western education Pueblo people were forced to attend boarding schools as well as public schools causing assimilation. This study calls on culturally relevant instruction/curriculum as a way to provide a successful education for Pueblo students. This study looks at the need for culturally responsive schooling paradigms and practices for Indigenous students. It also looks at culturally relevant pedagogy (CRP) as a way to help explore, shape and provide valuable theoretical tools for developing culturally relevant instruction/curriculum. The policy paper proposes that Bernalillo Public Schools (BPS) work with Pueblos to promote the delivery of the most appropriate education and services for Pueblo children.
The history of Indian education within public schools is deeply problematic. Power imbalances have led western education to enter Indigenous communities with their own agendas and without prior consultation with the people and communities. As a consequence, Indigenous scholars are moving to take control and reclaim ownership of the education of our children that occurs in our communities and public schools. This dissertation focuses on attitudes toward culturally relevant instruction/curriculum by asking the question, what is the landscape and current climate of culturally responsive schooling for Pueblo and American Indian students within Bernalillo High School and Bernalillo Public Schools in Bernalillo, New Mexico? Through a qualitative study, teachers, administrators, consultants and faculty were interviewed to gain their perspectives on culturally relevant instruction/curriculum. Through analysis of these interviews and focus group, it was found that participants were aware of culturally relevant instruction/curriculum and utilize it in some sense with their students. This study also looks at the current landscape of American Indian and Pueblo education in the state of New Mexico. Indigenous education has always been a part of the learning process for Pueblo people. With the coming of western education Pueblo people were forced to attend boarding schools as well as public schools causing assimilation. This study calls on culturally relevant instruction/curriculum as a way to provide a successful education for Pueblo students. This study looks at the need for culturally responsive schooling paradigms and practices for Indigenous students. It also looks at culturally relevant pedagogy (CRP) as a way to help explore, shape and provide valuable theoretical tools for developing culturally relevant instruction/curriculum. The policy paper proposes that Bernalillo Public Schools (BPS) work with Pueblos to promote the delivery of the most appropriate education and services for Pueblo children.
ContributorsChavez, Curtis (Author) / Brayboy, Bryan (Thesis advisor) / Sumida-Huaman, Elizabeth (Thesis advisor) / Tsinnajinnie, Leola (Committee member) / Arizona State University (Publisher)
Created2018
Description
This quasi-experimental, concurrent, mixed method, action research study sought to evaluate how an elective 1-credit course informed by mindfulness and culturally sustaining pedagogy influenced honors students’ academic self-efficacy, self-compassion, and their meaning-making about what it means to be an honors student. Theoretical perspectives and research guiding the study included: academic self-efficacy, culturally sustaining pedagogy, mindfulness, and third space. Drawing from these perspectives, the 9-week Creative Compassion course utilized poetry and rap as a way to enact culturally sustaining pedagogy and also as a vehicle for students to practice mindfulness. Findings from quantitative data from pre- and post- surveys of a treatment and control population, as well as qualitative data (open-ended survey questions, focus groups, and student artifacts) from the treatment population are presented here. This study revealed the following: practices informed by culturally sustaining pedagogy positively impacted students’ mindfulness, these same practices allowed for the creation of a third space within the classroom, and improving student self-compassion should be an increased priority. Additional implications for research and practice are also presented.
ContributorsBillbe, Sasha (Author) / McArthur Harris, Lauren (Thesis advisor) / Golden, Amy (Committee member) / Watrous, Lisa (Committee member) / Arizona State University (Publisher)
Created2019
Description
Since its inception, the American Broadway industry has flourished and grown to include numerous vocal styles and techniques. The early twenty-first century has seen a rapid increase in demand for collegiate courses and instructors pertaining to music theater. It has therefore become necessary for voice instructors to be equally comfortable teaching both music theater and classical techniques such as bel canto. This document serves as a resource for instructors seeking more information on defining and teaching vocal styles in music theater including legit, mix, and belt. The first two chapters address the following three questions: 1) What is bel canto and how does the technique function? 2) What is music theater as a vocal style and how do colloquial terms such as legit, mix and belt function within music theater? 3) Are the technical ideas behind bel canto and music theater really that different? The third chapter offers a curriculum for a semester-long course (a hybrid between a song literature class and a performance-based seminar) called Singing Music Theater Styles: From Hammerstein to Hamilton. This course shows the rich development tracing techniques of bel canto through techniques used in contemporary music theater. This document concludes with an annotated bibliography of major sources useful to both the instructors wishing to teach this course and the performers looking to expand their knowledge of singing music theater.
ContributorsBruton, Sara (Author) / Weiss, Stephanie (Thesis advisor) / Feisst, Sabine (Thesis advisor) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2018
Description
In 2005 the Navajo Nation Tribal Council passed the Navajo Sovereignty in Education Act (NSEA). The NSEA has been herald as a decisive new direction in Diné education with implications for Diné language and cultural revitalization. However, research has assumed the NSEA will lead to decolonizing efforts such as language revitalization and has yet to critically analyze how the NSEA is decolonizing or maintains settler colonial educational structures. In order to critically investigate the NSEA this thesis develops a framework of educational elimination through a literature review on the history of United States settler colonial elimination of Indigeneity through schooling and a framework of decolonizing education through a review of literature on promising practices in Indigenous education and culturally responsive schooling. The NSEA is analyzed through the decolonizing education framework and educational elimination framework. I argue the NSEA provides potential leverage for both decolonizing educational practices and the continuation of educational elimination.
ContributorsPreston, Waquin (Author) / Vicenti Carpio, Myla (Thesis advisor) / Sumida Huaman, Elizabeth (Committee member) / Tippeconnic III, John (Committee member) / Arizona State University (Publisher)
Created2015
Description
The modern day tubist has an expanded collection of solo tuba repertoire that continues to grow in quantity and in difficulty, making it necessary to utilize all the tools available to improve musicianship and performance ability. In this capacity, the use of transcribed material serves as a vital method of cross training in order to develop skills which assist the performance of modern tuba literature. Rather than focusing on transcriptions solely to engage with musical eras that the tuba would not otherwise have access to, the tubist can use transcribed material as supplementary or even prerequisite repertoire.
This project examines a cross training style of studying transcriptions for the advancing tubist. Similar to how athletes cross train in two or more sports to improve their abilities, the tubist may cross train with transcriptions in order to improve the technical and musical skills required in modern tuba literature. Transcribed materials will be used to develop facility in the areas of technique, phrasing, and stylistic interpretation using three unique pieces of standard solo tuba repertoire; Krzysztof Penderecki’s Capriccio, the John Williams Tuba Concerto, and Anthony Plog’s Three Miniatures.
This project examines a cross training style of studying transcriptions for the advancing tubist. Similar to how athletes cross train in two or more sports to improve their abilities, the tubist may cross train with transcriptions in order to improve the technical and musical skills required in modern tuba literature. Transcribed materials will be used to develop facility in the areas of technique, phrasing, and stylistic interpretation using three unique pieces of standard solo tuba repertoire; Krzysztof Penderecki’s Capriccio, the John Williams Tuba Concerto, and Anthony Plog’s Three Miniatures.
ContributorsNetzer, Travis (Author) / Swoboda, Deanna (Thesis advisor) / Ericson, John (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
This project is an institutional ethnography (Smith, 2005, 2006) that examines the lived experiences of nine second language (L2) writing teachers, specifically with regard to the interpersonal, material, and spatial relationships inherent in their work. Using interviews, focus groups, and a mapping heuristic for data collection, the study investigates the current culture of L2 writing that is (or is not) created within this specialized community of practice (Lave & Wenger, 1991) and the individual participant motivations as actors within a complex and dynamic network (Latour, 2007). Because findings from the study are relevant for a variety of fields and audiences, the dissertation is separated into three freestanding but interrelated articles.
Article one focuses on the data of one participant whose teaching roles/ranks in the writing program shifted over time: from graduate teaching associate to part-time adjunct faculty member to full-time non-tenure track writing instructor. Article two uses all nine participants’ data and focuses on their perceptions of and experiences with L2-specific teacher training. Results share the perceived benefits and drawbacks of teacher training to specialize in working with multilingual student populations considering various material conditions present in the institution. In addition, the article locates additional programmatic spaces where professionalization happens (or can happen), and ultimately assesses and questions the justification of specialization of teachers within the writing program and where that specialization can/should occur. Article three reflects on a specific data collection technique—a mapping heuristic—and discusses the ways in which this method is beneficial, not only for observing the different connections that L2 writing teachers create in their work lives, but also for collecting data in any institutional ethnographic study.
While these three articles are intended to be independent of one another, together they comprise a dissertation-length institutional ethnographic inquiry that demonstrates the diverse voices, motivations, and experiences of second language writing teachers that inform the decisions made in an institution known as a writing program. WPAs can use the knowledge and takeaways gained in the study to learn more about how to support and advocate for this important stakeholder group.
Article one focuses on the data of one participant whose teaching roles/ranks in the writing program shifted over time: from graduate teaching associate to part-time adjunct faculty member to full-time non-tenure track writing instructor. Article two uses all nine participants’ data and focuses on their perceptions of and experiences with L2-specific teacher training. Results share the perceived benefits and drawbacks of teacher training to specialize in working with multilingual student populations considering various material conditions present in the institution. In addition, the article locates additional programmatic spaces where professionalization happens (or can happen), and ultimately assesses and questions the justification of specialization of teachers within the writing program and where that specialization can/should occur. Article three reflects on a specific data collection technique—a mapping heuristic—and discusses the ways in which this method is beneficial, not only for observing the different connections that L2 writing teachers create in their work lives, but also for collecting data in any institutional ethnographic study.
While these three articles are intended to be independent of one another, together they comprise a dissertation-length institutional ethnographic inquiry that demonstrates the diverse voices, motivations, and experiences of second language writing teachers that inform the decisions made in an institution known as a writing program. WPAs can use the knowledge and takeaways gained in the study to learn more about how to support and advocate for this important stakeholder group.
ContributorsO'Meara, Katherine Daily (Author) / Matsuda, Paul Kei (Thesis advisor) / Rose, Shirley K. (Committee member) / James, Mark A. (Committee member) / Arizona State University (Publisher)
Created2016
Description
Paseo is a postmodern dance performance that reveals the migrational passage of bodies through space and time. Paseo included five dance participants, and the choreographer/pedagogue. Paseo members participated in rehearsal and performance events that completed the investigational study. The creative process focused on integrating somatic and improvisational movement practices to design an environment where dancers could build body-mind awareness and sensitivity to their surroundings, participate democratically, and build agency in their performative decision-making. Paseo investigated the performance as an informal site for learning and understanding of migration, identity, and community. Another objective of Paseo was to explore the performance as an informal site of learning and its transformative effects on lived experiences that occur from the act of doing, the act of becoming, and experiential sensations.
Paseo was part of the Arizona State University’s (ASU) School of Film, Dance, and Theatre Emerging Artists I series, one of two performances that shared the stage with fellow graduate cohort member, Grace Gallagher. Paseo took place at ASU’s Margaret Gisolo Theatre, located at the Physical Education Building East. Performance dates were the following; fix punctuation Friday, November 6th, Saturday, November 7th, and Sunday, November 8th. Paseo had a fourth presentation on Saturday, December 5th, 2015, at Margaret Gisolo Theatre as part of the post-conference performance and dialogue event, “By The People.” The conference was hosted by the Participatory Government Initiative on the ASU Campus from December 3rd-5th, 2015.
Paseo was part of the Arizona State University’s (ASU) School of Film, Dance, and Theatre Emerging Artists I series, one of two performances that shared the stage with fellow graduate cohort member, Grace Gallagher. Paseo took place at ASU’s Margaret Gisolo Theatre, located at the Physical Education Building East. Performance dates were the following; fix punctuation Friday, November 6th, Saturday, November 7th, and Sunday, November 8th. Paseo had a fourth presentation on Saturday, December 5th, 2015, at Margaret Gisolo Theatre as part of the post-conference performance and dialogue event, “By The People.” The conference was hosted by the Participatory Government Initiative on the ASU Campus from December 3rd-5th, 2015.
ContributorsOlarte, David (Author) / Vissicaro, Pegge (Thesis advisor) / Fonow, Mary (Committee member) / Landborn, Adair (Committee member) / Britt, Melissa (Committee member) / Arizona State University (Publisher)
Created2016
Description
This dissertation is a visual and narrative-based autoethnography that narrates the lived educational experiences of the author from preschool through doctoral studies. The text portrays a story that explores issues of power, identity, and pedagogy in education. Told in narrative form, this project utilizes visual data, thematic coding, layering, and writing as a method of inquiry to investigate and more fully understand injustices found in the American education system. Findings show how the author’s identities of student, teacher, and researcher influence and impact one another, and lead to the development of a future vision of self.
By examining the author’s roles as a student, teacher, and researcher this study centers on conflicts and inconsistencies that arise at the intersections of self, community, institutions, and society. Included in the narrative’s analysis are issues related to positionality, visions of success, empowerment, resistance, neoliberalism, colonialism, psychological distance, and ideological purpose in teaching. The narrative concludes with the development of a personal vision of purposeful, empowering, liberating, and transformative pedagogy.
This study contributes its voice to conversations about inequity and inequality in education by asking the reader to examine conflicts, ask new questions, and critically engage with the dialogic text.
By examining the author’s roles as a student, teacher, and researcher this study centers on conflicts and inconsistencies that arise at the intersections of self, community, institutions, and society. Included in the narrative’s analysis are issues related to positionality, visions of success, empowerment, resistance, neoliberalism, colonialism, psychological distance, and ideological purpose in teaching. The narrative concludes with the development of a personal vision of purposeful, empowering, liberating, and transformative pedagogy.
This study contributes its voice to conversations about inequity and inequality in education by asking the reader to examine conflicts, ask new questions, and critically engage with the dialogic text.
ContributorsMazza, Bonnie Streff (Author) / Margolis, Eric (Thesis advisor) / Heineke Engebretson, Amy (Committee member) / Warriner, Doris (Committee member) / Arizona State University (Publisher)
Created2016