Matching Items (10)
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- All Subjects: Music
- All Subjects: Music Education
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Description
The purpose of this study is to raise questions by exploring, writing, imagining, and telling the musical life stories of Billy Cioffi. Billy Cioffi is a professional musician, band leader, private teacher, professor of English, and, formerly, a musical director for acts such as Chuck Berry, Del Shannon, and others. In this document I explore the life of Billy Cioffi with the following questions in mind: 1. What might Billy's musical experiences, expertise, teaching, and learning teach us about music education? 2. What might the story of Billy’s musical life cause us to question about institutional music education? 3. How might his story trouble beliefs and perceptions about music teaching and learning? Prior to Billy’s story, which appears as a novella, I raise questions about popular music, its histories, and its place in music education contexts. Following the novella, I invite readers into four different “endings” to this document.
ContributorsBickmore, Isaac (Author) / Stauffer, Sandra (Thesis advisor) / Schmidt, Margaret (Committee member) / Mantie, Roger (Committee member) / Tobias, Evan (Committee member) / Thompson, Jason (Committee member) / Arizona State University (Publisher)
Created2017
Description
The purpose of this study was to trouble existing conceptions of disability that ground music education literature and practice. I sought plausible insights into how disability is experienced in, through, and/or around music by participants who are disabled persons/persons with disabilities (DP/PwD). Insights gained might allow readers to complexify and trouble taken-for-granted assumptions about disability. Questions included: (a) How do participants experience disability in, through, and around music? (b) What plausible insights related to disability can be gained by attending to participants’ experiences of disability in, through, and around music? (c) What plausible insights related to inclusion can be gained by attending to participants’ experiences of disability in, through, and around music? The inquiry approach was grounded in Buberian relational ontology, phenomenology, interactional theories of disability, and narrative.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
ContributorsRathgeber, Jesse (Author) / Stauffer, Sandra L (Thesis advisor) / Mantie, Roger (Committee member) / Schmidt, Margaret (Committee member) / Solís, Ted (Committee member) / Tobias, Evan S (Committee member) / Arizona State University (Publisher)
Created2019
Description
The activities of drum corps and high school marching band are similar in many ways, and yet drum corps is styled as the "major league" of the marching arts. What makes the learning environment different between drum corps and high school marching band? While drum corps has a denser rehearsal schedule, and involved an audition process where high school marching band does not, the biggest difference between the two activities lies in the instructional practices utilized. Drum corps does not have to adhere to state or national arts education standards, and so the instructors must create their own standards and forms of assessment for the students, which directly affects student motivation. This student motivation can be understood through the Self-Determination Theory pioneered by Deci & Ryan, in which the conditions of autonomy, competency, and relatedness must be supported for students to reach the highest levels of motivation. By interviewing the directors of the Academy Drum and Bugle Corps, and the Casa Grande Union High School marching band, and surveying students of each organization, a comparison can be made in the instructional practices of each organization and the subsequent effect on student motivation. Through the interviews with the directors, it was gathered that instructors in drum corps had more chances to work with the students one on one, and assess their personal growth in a subjective manner than the instructors in the high school marching band. This affected the way in which the drum corps instructors structured their rehearsals and set their goals. High school instructors were able to assess technical skill more often with graded assessments such as playing tests or scale checks, though this did not always take into account the students' personal growth or experience. From the anonymous surveys of the students of both organizations, a desire for relatedness was communicated from the high school students more than the drum corps students, and a greater lack of comfort with asking questions was displayed from the high school students. Interpreting these results with SDT, it could be said that these high school students were feeling less motivated than the drum corps students due to a lack of fulfillment in the areas of relatedness and competence. In the end, it would seem that the differentiated instruction that is possible in drum corps sets the activity apart from high school marching band, as the instructors are able to work with students on setting personal goals and may subjectively assess their growth within the activity. Self- and peer-evaluation in drum corps is also facilitated through video assignments in which other students may give comments to their peers, which builds the area of relatedness more within drum corps students than in high school students.
ContributorsRogers, Sierra Kathryn (Author) / Mantie, Roger (Thesis director) / Farrand, Kathleen (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
"Look Up" is a full length hip hop concept album that follows a day in the life of protagonist Ozy Mandias, except with a science fiction twist. He has been abducted by an alien who is going through his memories. The project includes a full length script and lyric companion as well as a package mood visuals to go along with the album.
ContributorsDurkin, Jonathan Joseph (Author) / Mantie, Roger (Thesis director) / Norby, Christopher (Committee member) / School of Earth and Space Exploration (Contributor) / W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The attainment of a meaningful existence is a one of the most fundamental human desires. While the pursuit for a meaningful existence is universal, the path to achieving it looks different for all people. An important aspect in achieving a meaningful existence is personal enlightenment that is attained through not only a profound understanding of one's own identity through reflection but also an awareness of the environment that has shaped that identity. The purpose of reflection should not be to attach blame or find excuses for the aspects of one's life that are unfavorable or shameful; rather, it should be to achieve the sense of inner peace that is integral in making informed and rational progress towards realizing aspects of an individual's life that bring meaning and happiness. The purpose of the following two sections is to demonstrate how an understanding of group-specific challenges regarding identity and upbringing may help those that identify with Chinese American or immigrant culture in their pursuit of a meaningful and satisfying existence. The first section provides a profile on some of the common issues facing Asian Americans, particularly how an immigrant approach to parenting can affect the degree of acculturation, mental health, and identity of immigrant children. The second section provides a personal backdrop to some of the themes discussed in the first section through an autoethnographic account from a Chinese American student. The purpose of the autoethnographic account is to demonstrate that leisure activities, such as music, can address issues regarding acculturation and identity that Asian Americans commonly face.
ContributorsWen, Charles H (Author) / Mantie, Roger (Thesis director) / Libman, Jeff (Committee member) / Department of Supply Chain Management (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
This study tracks specific earworm tendencies amongst a sample of university students in an effort to support previous theories and to offer fresh perspectives about what causes earworms and why some people may experience more earworms than others. Every participant was placed in one of four categories: Female Music Major (FMM), Female, Non-Music Major (FNM), Male Music Major (MMM), and Male, Non-Music Major (MNN). This study determined that females experienced more earworms than males, and music majors experienced less earworms than other majors. The study also found that most earworms occurred while participants were in an environment that they did not find particularly engaging, ranging from doing homework to commuting on the bus. Data collected from this research provides potential platforms for future research in the topic of a deep analysis of earworm tendencies amongst a wider population.
ContributorsPallad, Alexandra Nicole (Author) / Mantie, Roger (Thesis director) / Ericson, John (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This project examines the relationship between individuals' musical preferences and the amount of musical education they have received, as well as some other supporting variables. Data was collected from 43 participants regarding general and musical background information. Participants then listened to eight musical samples and answered a series of related questions. These sets of data were compared to investigate how musical preference varies with changes in background information, principally the level of musical education received. Musical preference was gauged in part according to a system which relied more on discrete musical features than common genre categorizations. The population studied was made up of honors students from Barrett, the Honors College at Arizona State University. The research questions addressed are: is musical preference dependent on level of musical education; if so, how; and what are some possible explanations for any relationships? This study was conducted in order to obtain a clearer understanding of the nature of musical preference which may be of use to musicologists and modern musicians alike. Results indicated that musical education does have an effect on musical preferences and listening habits, but that this effect is not correlated in any straightforward relationship, and there are likely more diverse issues at play.
ContributorsKauffman, Parker Stone (Author) / Mantie, Roger (Thesis director) / Knowles, Kristina (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Due to increasing lack of resources and funding for budding student musicians, it is often not possible for this demographic to create, record, and produce their original music in the same high-budget studio environment in which music has been traditionally made. The objective of this project is to explore alternatives which are more accessible to young independent musicians and reveal the most cost-efficient routes to obtain a high-quality result. To make this comparison, the group created budget recordings of their original music in a bedroom in true DIY fashion, and then recorded the same songs in a professional music studio using the best music and recording equipment available. The DIY recordings were mixed and mastered by the group members themselves, as well as separately by a professional audio engineer. The studio recordings were also mixed and mastered by a professional audio engineer, resulting in three final products with varying costs and quality. Ultimately, the group found that without mixing and mastering experience, it is very difficult to achieve high quality results. With the same budget recorded tracks, the group found that quality of the final product vastly increased when a professional audio engineer mixed and mastered the tracks. As far as the quality of the result, the studio recorded tracks were by far the best. Not only was the quality of the sounds from the high-end music and recording equipment much higher, the band had more freedom to be creative without the responsibility of simultaneously serving as recording engineers as was the case in the low budget recordings. The group concluded that this project was highly successful and demonstrated that high quality results could be obtained on a budget. The DIY recording techniques used in this project prove that independent musicians without access to expensive equipment and resources can still produce high quality music at the cost of more effort to serve as audio engineers in addition to musicians. However, recording in a studio with the help of a producer and professional audio engineers affords creative freedom and an increase in sound quality that is simply not possible to reproduce without the equipment and expertise that money can buy.
ContributorsBonk, Alan (Co-author) / Dhuyvetter, Nicholas Alan (Co-author) / Wickham, Kevin (Co-author) / Tobias, Evan (Thesis director) / Swoboda, Deanna (Committee member) / W.P. Carey School of Business (Contributor) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The purpose of this study was to collect specific data concerning the use of financial resources from extant adult community bands that are members of the Association of Concerts Bands (ACB). An adult community band is defined as an ensemble consisting primarily of amateur adult woodwind, brass, and percussion performers, the majority of whom are not satisfying school, college, or military requirements through participation.
This investigation comprises two main parts: 1) a perusal of the development of adult community bands within the overall history of bands in the United States, including, when possible, financial aspects of their operations; and 2) an examination of financial trends in ACB organizations, as illustrated by survey data.
An electronic survey was designed to examine six questions: 1) what are the budgets of today’s community bands, 2) how do bands compensate their staff and personnel, 3) where are bands spending their money, 4) what are their sources of income, 5) how are their current financial trends different than Peter Martin’s 1983 study on community bands, and 6) are there trends in regards to their expenses, revenues, bands’ longevity, and locations? In order to make more accurate conclusions, the author divided bands into five classes, based on their financial structure, to analyze and compare data.
Five major trends were observed: 1) current adult bands are usually non-profit organizations that list monetary compensation for their conductors on their Annual Operating Budget (AOB), 2) fifty-four percent (54%) of bands with an AOB spend between $4,000 and $19,999, 3) after adjusting for inflation, monetary compensation has remained nearly the same over the last thirty-four years, 4) music is the most common expense among adult bands, and 5) since 1983, the number of bands reporting government funding as a revenue source has decreased.
This investigation comprises two main parts: 1) a perusal of the development of adult community bands within the overall history of bands in the United States, including, when possible, financial aspects of their operations; and 2) an examination of financial trends in ACB organizations, as illustrated by survey data.
An electronic survey was designed to examine six questions: 1) what are the budgets of today’s community bands, 2) how do bands compensate their staff and personnel, 3) where are bands spending their money, 4) what are their sources of income, 5) how are their current financial trends different than Peter Martin’s 1983 study on community bands, and 6) are there trends in regards to their expenses, revenues, bands’ longevity, and locations? In order to make more accurate conclusions, the author divided bands into five classes, based on their financial structure, to analyze and compare data.
Five major trends were observed: 1) current adult bands are usually non-profit organizations that list monetary compensation for their conductors on their Annual Operating Budget (AOB), 2) fifty-four percent (54%) of bands with an AOB spend between $4,000 and $19,999, 3) after adjusting for inflation, monetary compensation has remained nearly the same over the last thirty-four years, 4) music is the most common expense among adult bands, and 5) since 1983, the number of bands reporting government funding as a revenue source has decreased.
ContributorsRaya, Bryan (Author) / Hill, Gary (Thesis advisor) / Caslor, Jason (Committee member) / Bailey, Wayne (Committee member) / Rockmaker, Jody (Committee member) / Mantie, Roger (Committee member) / Arizona State University (Publisher)
Created2017
Description
In this study, I offer a critique of representational thought and the related concept of intentionality in the theory and practice of curriculum in arts education. I use the philosophies of Jacques Derrida and Gilles Deleuze alongside new materialist and posthumanist theory to interrogate three figures of representational thought in arts education: the art object, the curriculum as enclosure, and the transmission-acquisition theory of learning. My analysis of these figures reveals how the theory and practice of curriculum in arts education uses privileged forms of interiority—the work of art, human subjectivity, and intentional consciousness—to pre-judge difference(s) according to recognizable subject-object determinations and established values. I argue that in the guise of representational thought, such determinations often (re)produce divisions and hierarchies of the human and nonhuman that, while making differences visible and knowable, also encloses them in fixed images. In arts education, such representational enclosures produce exclusionary boundaries for participation and learning which subordinate difference to identity, matter to form, and creativity to already-given determinations of subject and object in the mind of the intending human subject. I suggest that thinking about curriculum and learning in terms of inclosure rather than enclosure may allow arts educators to create living curricular forms that respond to and affirm differences rather contain them under representational identities.
ContributorsShowen, Austin (Author) / Mantie, Roger (Thesis advisor) / Stauffer, Sandra (Thesis advisor) / Sandlin, Jennifer (Committee member) / Arizona State University (Publisher)
Created2021