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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- Creators: Campbell, Andrew
Description
This qualitative, action research study examines how teacher-writers' identities are constructed through the practice of revision in an extra-curriculum writing group. The writing group was designed to support the teacher-writers as they revised classroom research projects for submission for a scholarly journal. Using discourse analysis, the researcher explores how the teacher-writers' identities are constructed in the contested spaces of revision. This exploration focuses on contested issues that invariably emerge in a dynamic binary of reader/writer, issues of authority, ownership, and unstable reader and writer identities. By negotiating these contested spaces--these contact zones--the teacher-writers construct opportunities to flex their rhetorical agency. Through rhetorical agency, the teacher-writers shift their discoursal identities by discarding and acquiring a variety of discourses. As a result, the practice of revision constructs the teacher-writers identities as hybrid, as consisting of self and other.
ContributorsClark-Oates, Angela (Author) / Smith, Karen (Thesis advisor) / Roen, Duane (Thesis advisor) / Fischman, Gustavo (Committee member) / Early, Jessica (Committee member) / Arizona State University (Publisher)
Created2013
Description
Examining the elements of the hidden curriculum in theatre education allows theatre educators the opportunity to reflect on their own pedagogy and its effects on the learner. The hidden curriculum refers to the unspoken or implicit values, norms, and beliefs that are transmitted through tacit messages. When the hidden curriculum remains veiled, the impact on the learner's education and socialization process can perpetuate gender, race, and class inequalities. In order to understand how the hidden curriculum manifests itself in theatre classrooms, we have to look at schools as "agents of legitimation, organized to produce and reproduce the dominant categories, values, and social relationships necessary for the maintenance of the larger society" (Giroux, 1983, p. 72). This qualitative study examined the hidden curriculum in theatre at the secondary level and looked at theatre teachers' pedagogy in reproducing elements of the hidden curriculum. Interviews, naturalistic observation, and a researcher reflective journal were employed in the data collection process to better understand: a) the elements of hidden curriculum that appear in theatre education at the secondary level, b) how the pedagogical practices of theatre teachers support societal structures, and c) how the hidden curriculum in theatre reinforces gender, race, and social class distinctions. Data were then coded and analyzed to find emergent themes. Multiple theoretical perspectives serve as a conceptual framework for understanding the hidden curriculum, and provide a neglected perspective of the hidden curriculum in theatre education. The theatre classroom provides a unique space to view hidden curriculum and can be viewed as a unique agent of social change. Themes related to the first research question emerged as: a) privileges for older students, b) school rules, c) respect for authority, d) acceptance of repetitive tasks, and c) punctuality. Themes related to the second research question emerged as: a) practices, b) procedures, c) rules, d) relationships, and e) structures. Finally, themes related to the third question emerged as: a) reinforcement of social inequality, b) perpetuation of class structure, and c) acceptance of social destiny. The discussion looks at the functions of theatre pedagogy in the reproduction of class, inequality, and institutionalized cultural norms.
ContributorsHines, Angela R (Author) / Saldana, Johnny (Thesis advisor) / Malewski, Erik (Committee member) / Fischman, Gustavo (Committee member) / Arizona State University (Publisher)
Created2013
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
In this dissertation I attempt to find elements of education and curricular perspective in the Qur'an. I argue that there is little research in the field of curriculum instruction that discusses the Qur'an's educational aspects and, as a result, much ignorance of the Qur'an's material that deals with education and curricular perspective in the Qur'an. Researchers may find many materials that deal with reading, memorizing, and reciting the Qur'an, along with references that deal with science and math in the Qur'an. Therefore, this dissertation answers the question: What curriculum exists within the Quran? This dissertation is divided into five chapters exploring various aspects of the curriculum. The word "curriculum" is used in one chapter to mean developing the person as a whole in all aspects of life whether spiritual, social, or mental while in the other chapter curriculum is used to refer to methods of instruction. I concluded that curriculum in the Qur'an uses different methods of instructions to develop the individual as a whole in all aspects of life while granting freedom of choice.
ContributorsRisha, Sarah (Author) / Margolis, Eric (Thesis advisor) / Fischman, Gustavo (Committee member) / Ali, Souad (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the process of learning a concerto. The Concerto was inspired by internationally known saxophonist, Sigurd Rascher, who demonstrated for Brant the extent of his abilities on the saxophone. These abilities included use of four-octave range and two types of extended techniques: slap-tonguing and flutter-tonguing. Brant incorporated all three elements in his Concerto, and believed that only Rascher had the command over the saxophone needed to perform the piece. To prevent the possibility of an unsuccessful performance, Brant chose to make the piece unavailable to saxophonists by leaving the Concerto without a reduction. Subsequently, there were no performances of this piece between 1953 and 2001. In 2011, the two directors of Brant's Estate decided to allow for a reduction to be written for the piece so that it would become more widely available to saxophonists.
ContributorsAmes, Elizabeth (Pianist) (Author) / Ryan, Russell (Thesis advisor) / Levy, Benjamin (Committee member) / Hill, Gary (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2013
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Artistic trends of the mid-nineteenth century demonstrate the popularity of incorporating Asian elements into various artistic media. This paper discusses why the stereotypical Asian female provided an attractive character for operatic librettists, composers and audiences. To support the discussion, six operas from 1885 to 2010 are examined, and the dramatic and musical portrayal of representative female characters is discussed. The familiar character of Cio-cio-san from Giocamo Puccini's Madama Butterfly (1904) provides a foundation to discuss these stereotypical Asian female characteristics, specifically one archetype, that of the naïve, yet sexually desirable female. Prior to Cio-cio-san, Sir W. S. Gilbert and Sir Arthur Sullivan's Yum-Yum from The Mikado (1885), Iris of Pietro Mascagni's Iris (1898) exemplify this archetype, as does Liù from Puccini's Turandot (1924). At the other extreme is the icy, cold and bloodthirsty archetype found in the title role of Puccini's Turandot and Katisha from The Mikado. Chiang Ch'ing (also known as Madame Mao) from John Adams's Nixon in China (1987), and Madame White Snake from Chinese-American composer Zhou Long's Madame White Snake (2010) feature leading characters that demonstrate elements of both of these archetypes, and this combination of the two archetypes yields more complex and richer characters. These two extremes of the female Asian stereotype and the evolution of these characteristics provide an interesting outlook on the incorporation of non-Western musical styles into these operas, and the understanding of a Western perception of foreign peoples, especially foreign females.
ContributorsLo, Wan-Yi (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Committee member) / Kopta, Anne (Committee member) / Mills, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Legislative changes and discussions about the United States falling further and further behind other nations in science, technology, engineering, and math (STEM) achievement are growing. As they grow, STEM instruction in elementary school has earned its place as a national area of interest in education. In the case of Ivory School District, teachers are being asked to radically change their daily practices by consistently implementing inquiry-based STEM experiences in their classrooms. As such, teachers are being asked to scale a divide between the district expectations and their knowledge and experience. Many fourth grade educators are teachers who have been trained as generalists and typically do not have specific background or experience in the philosophy, instructional strategies, or content associated with STEM. Using a prototype approach, this study aims to understand how such teachers conceptualize STEM instruction and the relationship between their experience and conceptions.
ContributorsKenney, Meghan (Author) / Fischman, Gustavo (Thesis advisor) / Powers, Jeanne (Committee member) / Rasch, Katherine D (Committee member) / Arizona State University (Publisher)
Created2013
Description
The teaching of singing remained remarkably stable until, at the end of the twentieth century, advances in the understanding of voice science stimulated dramatic changes in approach to vocal pedagogy. Previously, the technology needed to accurately measure physiologic change within the larynx and breath-support musculature during the process of singing simply did not exist. Any prior application of scientific study to the voice was based primarily upon auditory evaluation, rather than objective data accumulation and assessment. After a centuries-long history, within a span of twenty years, vocal pedagogy evolved from an approach solely derived from subjective, auditory evidence to an application grounded in scientific data. By means of analysis of significant publications by Richard Miller, Robert Sataloff, and Ingo Titze, as well as articles from The Journal of Singing and The Journal of Voice, I establish a baseline of scientific knowledge and pedagogic practice ca. 1980. Analysis and comparison of a timeline of advancement in scientific insight and the discussion of science in pedagogical texts, 1980-2000, reveal the extent to which voice teachers have dramatically changed their method of instruction. I posit that voice pedagogy has undergone a fundamental change, from telling the student only what to do, via auditory demonstration and visual imagery, to validating with scientific data how and why students should change their vocal approach. The consequence of this dramatic pedagogic evolution has produced singers who comprehend more fully the science of their art.
ContributorsVelarde, Rachel (Author) / Doan, Jerry (Thesis advisor) / Campbell, Andrew (Committee member) / Solis, Theodore (Committee member) / Elgar Kopta, Anne (Committee member) / Britton, David (Committee member) / Arizona State University (Publisher)
Created2013