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Description
This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
ContributorsWilkinson, Michael Scott (Author) / Ericson, John (Thesis advisor) / Kocour, Michael (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study examined the experiences of first-generation college students who were enrolled in online degree programs at a traditional brick-and-mortar university located in the western United States. These students were viewed as "double first-generation" because they were not only the first in their family to pursue a bachelor's degree, but were also among the first generation in the history of American higher education to pursue public, postsecondary education in an entirely online format. The research was designed as a multiple methods case study that emphasized qualitative methods. Being exploratory in nature, the study focused on participant characteristics and the ways that they responded to and persisted in online degree programs. Data was collected through research that was conducted entirely online; it included an e-survey, two asynchronous focus groups, and individual interviews that were conducted via Skype. Grounded theory served as the primary method for data analysis, while quantitative descriptive statistics contextualized the case. The results of this study provide a window into the micro- and macro-level tensions at play in public, online postsecondary education. The findings indicate that these pioneering and traditionally underserved students drew from their diverse backgrounds to persist toward degree completion, overcoming challenges associated with time and finances, in hopes that their efforts would bring career and social mobility. As one of the first studies to critically examine the case of double first-generation college students, this study extends the literature in meaningful ways to provide valuable insights for policymakers, administrators, faculty, and staff who are involved with this population.
ContributorsShea, Jennifer Dawn (Author) / Fischman, Gustavo E. (Thesis advisor) / De Los Santos Jr, Alfredo G. (Committee member) / Ewing, Kris (Committee member) / Archambault, Leanna (Committee member) / Arizona State University (Publisher)
Created2013
Description
Jazz continues, into its second century, as one of the most important musics taught in public middle and high schools. Even so, research related to how students learn, especially in their earliest interactions with jazz culture, is limited. Weaving together interviews and observations of junior and senior high school jazz players and teachers, private studio instructors, current university students majoring in jazz, and university and college jazz faculty, I developed a composite sketch of a secondary school student learning to play jazz. Using arts-based educational research methods, including the use of narrative inquiry and literary non-fiction, the status of current jazz education and the experiences by novice jazz learners is explored. What emerges is a complex story of students and teachers negotiating the landscape of jazz in and out of early twenty-first century public schools. Suggestions for enhancing jazz experiences for all stakeholders follow, focusing on access and the preparation of future jazz teachers.
ContributorsKelly, Keith B (Author) / Stauffer, Sandra (Thesis advisor) / Tobias, Evan (Committee member) / Kocour, Michael (Committee member) / Sullivan, Jill (Committee member) / Schmidt, Margaret (Committee member) / Arizona State University (Publisher)
Created2013
Description
Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close.
ContributorsSneider, Elliot (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hackbarth, Glenn (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study aims to uncover whether English Central, an online English as a Second Language tool, improves speaking proficiency for undergraduate students with developing English skills. Eighty-three advanced English language learners from the American English and Culture Program at Arizona State University were randomly assigned to one of three conditions: the use of English Central with a learner-control, shared-control, and a no-treatment condition. The two treatment groups were assigned approximately 14.7 hours of online instruction. The relative impact of each of the three conditions was assessed using two measures. First, the Pearson Versant Test (www.versanttest.com), a well-established English-as-a-second-language speaking test, was administered to all of the participants as a pre- and post-test measure. Second, students were given a post-treatment questionnaire that measured their motivation in using online instruction in general, and English Central specifically. Since a significant teacher effect was found, teachers involved in this study were also interviewed in order to ascertain their attitude toward English Central as a homework tool. Learner outcomes were significantly different between the shared and learner conditions. Student motivation was predictive of learning outcomes. Subjects in the shared condition outperformed those in the learner condition. Furthermore, those in the shared condition scored higher than the control condition; however, this result did not reach statistical significance. Results of the follow-up teacher survey revealed that while a teacher's view of the tool (positive or negative), was not a predictor of student success, teacher presentation of the tool may lead to a significant impact on student learning outcomes.
ContributorsDixon, Shane Y. (Shane Yahlu) (Author) / Atkinson, Robert (Thesis advisor) / Savenye, Wilhelmina (Committee member) / Nelson, Brian (Committee member) / Arizona State University (Publisher)
Created2015
Description
This dissertation study quantitatively measured the performance of 345 students who received public speaking instruction through an online platform presented in one of six experimental conditions in order to explore the ability of online lectures to replicate the characteristics of instructor presence and learner interaction traditionally associated with face-to-face public speaking courses. The study investigated the following research questions:
RQ1: How does the visibility of an instructor in a public speaking video lesson affect students' perception of presence?
RQ2: How does the visibility of an instructor in a public speaking video lesson affect student learning?
RQ3: How do self-explanation (Constructive) and note-taking (Active) types of learning activities affect students' perception of presence compared to passive lessons when presented in a video lesson?
RQ4: How do self-explanation (Constructive) and note-taking (Active) types of learning activities affect student learning compared to passive lessons when presented in a video lesson?
Additionally, the study collected qualitative feedback from participants on their experience in order to improve understanding of how to effectively design lectures for public speaking courses.
Results of the study were unable to statistically distinguish between students assigned to treatments that varied in both modality and level of activity. However, a significant finding of this study is that learning gains and students' perception of instructor presence were positive across all conditions.
The lack of significant differences by treatment indicates that the design attributes at the center of the study may be unnecessary considerations for developing content for online learning. Consequently, the improved performance of participants regardless of their assigned treatment in this study identifies a limitation to the application of Media Equation Theory and the Interactive-Constructive-Active-Passive (ICAP) Framework for designing online learning content for public speaking students as well as identifies two key implications: 1) exposure to an online lesson can increase learning; and 2) exposure to an online lesson can serve as a cost-effective alternative for producing lessons in public speaking courses.
RQ1: How does the visibility of an instructor in a public speaking video lesson affect students' perception of presence?
RQ2: How does the visibility of an instructor in a public speaking video lesson affect student learning?
RQ3: How do self-explanation (Constructive) and note-taking (Active) types of learning activities affect students' perception of presence compared to passive lessons when presented in a video lesson?
RQ4: How do self-explanation (Constructive) and note-taking (Active) types of learning activities affect student learning compared to passive lessons when presented in a video lesson?
Additionally, the study collected qualitative feedback from participants on their experience in order to improve understanding of how to effectively design lectures for public speaking courses.
Results of the study were unable to statistically distinguish between students assigned to treatments that varied in both modality and level of activity. However, a significant finding of this study is that learning gains and students' perception of instructor presence were positive across all conditions.
The lack of significant differences by treatment indicates that the design attributes at the center of the study may be unnecessary considerations for developing content for online learning. Consequently, the improved performance of participants regardless of their assigned treatment in this study identifies a limitation to the application of Media Equation Theory and the Interactive-Constructive-Active-Passive (ICAP) Framework for designing online learning content for public speaking students as well as identifies two key implications: 1) exposure to an online lesson can increase learning; and 2) exposure to an online lesson can serve as a cost-effective alternative for producing lessons in public speaking courses.
ContributorsButler, Nicholas (Author) / Nelson, Brian (Thesis advisor) / Atkinson, Robert (Committee member) / Savenye, Wilhelmina (Committee member) / Arizona State University (Publisher)
Created2014
Description
This multiple-case study addresses the nature of the out-of-school musical engagements of four undergraduate students who were enrolled as jazz studies majors in a large school of music in the U.S. southwest. It concerns what they did musically when they were outside of school, why they did what they did, what experiences they said they learned from, and how their out-of-school engagements related to their in-school curriculum. Research on jazz education, informal learning practices in music, and the in-school and out-of-school experiences of students informed this study. Data were generated through observation, interviews, video blogs (vlogs), and SMS text messages.
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.
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.
ContributorsLibman, Jeffrey B (Author) / Tobias, Evan (Thesis advisor) / Kocour, Michael (Committee member) / Schmidt, Margaret (Committee member) / Solis, Theodore (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2014
Description
The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of the artists' life and method. Innovators are often the subject of published studies of this kind, but transcriptions of plunger-mute master Al Grey have been overlooked. This document fills that void, combining historical context with thirteen transcriptions of Grey's trombone features and improvisations. Selection of transcribed materials was based on an examination of historically significant solos in Al Grey's fifty-five-year career. The results are a series of open-horn and plunger solos that showcase Grey's sound, technical brilliance, and wide range of dynamics and articulation. This collection includes performances from a mix of widely available and obscure recordings, the majority coming from engagements with the Count Basie Orchestra. Methods learned from the study of Al Grey's book Plunger Techniques were vital in the realization of his work. The digital transcription software Amazing Slow Downer by Roni Music aided in deciphering some of Grey's more complicated passages and, with octave displacement, helped bring previously inaudible moments to the foreground.
ContributorsHopkins, Charles E (Author) / Pilafian, Sam (Thesis advisor) / Stauffer, Sandra (Committee member) / Solís, Ted (Committee member) / Ericson, John (Committee member) / Kocour, Michael (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study examines the experiences of participants enrolled in an online community college jazz history course. I surveyed the participants before the course began and observed them in the online space through the duration of the course. Six students also participated in interviews during and after the course. Coded data from the interviews, surveys, and recorded discussion posts and journal entries provided evidence about the nature of interaction and engagement in learning in an online environment. I looked for evidence either supporting or detracting from a democratic online learning environment, concentrating on the categories of student engagement, freedom of expression, and accessibility. The data suggested that the participants' behaviors in and abilities to navigate the online class were influenced by their pre-existing native media habits. Participants' reasons for enrolling in the online course, which included convenience and schedule flexibility, informed their actions and behaviors in the class. Analysis revealed that perceived positive student engagement did not contribute to a democratic learning environment but rather to an easy, convenient experience in the online class. Finally, the data indicated that participants' behaviors in their future lives would not be affected by the online class in that their learning experiences were not potent enough to alter or inform their behavior in society. As online classes gain popularity, the ability of these classes to provide meaningful learning experiences must be questioned. Students in this online jazz history class presented, at times, a façade of participation and community building but demonstrated a lack of sincerity and interest in the course. The learning environment supported accessibility and freedom of expression to an extent, but students' engagement with their peers was limited. Overall, this study found a need for more research into the quality of online classes as learning platforms that support democracy, student-to-student interaction, and community building.
ContributorsHunter, Robert W. (Author) / Stauffer, Sandra L (Thesis advisor) / Tobias, Evan (Thesis advisor) / Bush, Jeffrey (Committee member) / Kocour, Michael (Committee member) / Pilafian, Sam (Committee member) / Arizona State University (Publisher)
Created2011
Description
The discussion board is a facet of online education that continues to confound students, educators, and researchers alike. Currently, the majority of research insists that instructors should structure and control online discussions as well as evaluate such discussions. However, the existing literature has yet to compare the various strategies that instructors have identified and employed to facilitate discussion board participation. How should instructors communicate their expectations online? Should instructors create detailed instructions that outline and model exactly how students should participate, or should generalized instructions be communicated? An experiment was conducted in an online course for undergraduate students at Arizona State University. Three variations of instructional conditions were developed for use in the experiment: (1) detailed, (2) general, and (3) limited. The results of the experiment indentified a pedagogically valuable finding that should positively influence the design of future online courses that utilize discussion boards.
ContributorsButler, Nicholas Dale (Author) / Waldron, Vincent (Thesis advisor) / Kassing, Jeffrey (Committee member) / Wise, John (Committee member) / Arizona State University (Publisher)
Created2012