Matching Items (11)
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- All Subjects: Music Education
- Creators: Bush, Jeffrey
Description
Dr. Jerold D. Ottley's twenty-five years leading the Mormon Tabernacle Choir resulted in many distinguished awards and recognitions for the ensemble. Included among these are two Platinum and three Gold records from the Recording Industry Association of America, an Emmy from the Academy of Television Arts and Sciences, and two Freedom Foundation Awards for service to the country. He conducted the Choir at two presidential inaugurations, Ronald Reagan's in 1981 and George H. W. Bush's in 1989, as well as performances at the 1984 Los Angeles Olympics Gala. He presided over eleven international tours to twenty-six countries and crisscrossed the United States for engagements in nearly every region of the country. Despite the awards, commendations, and increased recognition of the Choir, Ottley's greatest contributions were largely internal to the organization. Jerold Ottley is a skilled music educator, administrator, and emissary. Application of these proficiencies while at the helm of the Choir, led to what are, arguably, his three largest contributions: 1) as educator, he instituted in-service training for choir members, raising the level of their individual musicianship, thereby improving the technical level of the entire Choir; 2) as administrator, Ottley created policies and procedures that resulted in a more disciplined, refined ensemble; and 3) as emissary, he raised the ensemble's reputation among the general public and with music professionals. For the general public, he significantly broadened the Choir's repertoire and traveled frequently thereby reaching a wider audience. He secured greater respect among music professionals by inviting many of them to work directly with the Choir. The results were unparalleled. Ottley's twenty-five year tenure with the Choir is reflected in broader audiences, increased professional acceptance, added organizational discipline, and unprecedented musical proficiency. It is a notable legacy for a man who reportedly never felt comfortable as director of the Mormon Tabernacle Choir.
ContributorsArchibald, Lyle Jay (Author) / Gentry, Gregory (Thesis advisor) / Britton, David (Committee member) / DeMars, James (Committee member) / Doan, Jerry (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this research paper is to discuss John Carter's Cantata, the musical development of this composition, and provide a brief history of this African American musician and composer. Presently, there exists very little research regarding Carter's life and compositions. From a musician's perspective, this paper discusses the challenges of singing and performing the Cantata for future performers and provides a reference for their preparation. This project also examines John Carter's musical style and analyzes the structure of the Cantata. African-American folk songs were an inspiration to Carter's compositions, especially this particular work. As an African-American, his life and background played a role in his inspiration of composition. With borrowed music, he reveals a basic truth about this period of American history; how the lives of slaves influenced in the development of this particular genre. Additionally, John Carter's style of composition is examined, including the application of jazz and modal scales in his Cantata. Performance practice is examined for both the singer and pianist in a way that best represents the composer's original and unique intent. From vocal safety to breath control, a singer may find several challenges when performing this eclectic piece. This paper provides a guide for singers. A brief overview of the pianist's role in the Cantata is also included. Characteristic words of the African-American vernacular found in Carter's Cantata are briefly discussed and identified (i.e. "them" vs. "dem"). It is essential that any performer, both beginning and advanced, should have a proper understanding of the concepts that Carter had so carefully crafted. This paper endeavors to provide a deeper sense of understanding to what Carter had intended for both the performer and the listener.
ContributorsNa, Bora (Author) / Britton, David (Thesis advisor) / Bush, Jeffrey (Committee member) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
Emotional competence is the capacity to handle emotional situations effectively. A teacher's emotional competence influences the choices they make both pedagogically and during student interaction. This qualitative multiple case study examines the lived experiences of four elementary general music teachers for the purposes of exploring emotional competence as related to perceptions and practices in the classroom. Research questions included: Is it possible to observe a music teacher's emotional competence in action? If it can be observed, what is the relationship between emotional competence and teaching practices, including a teacher's decisions about music, interactions with children, and his or her own emotional self-management? What is the relationship between a music teacher's self-perceived emotional competence and observed emotional competence in teaching practices? Four elementary general music teachers were observed four times within typical music teaching situations at their respective schools, and three interviews were conducted with each teacher. Teachers completed three self-report inventories drawn from the literature and revised by the researcher. An administrator and three students for each teacher were interviewed as secondary participants. Data were coded for emotional intelligence branches as outlined by Perry (2004), emotional competence skills as outlined by Saarni (1999), and "adaptive coping styles" described by Gottman (1997), and presented as individual cases. A cross-case analysis was conducted. Findings suggest that elementary general music classrooms are emotional places. Music provides students with unique emotional experiences. Effective teaching within this context has an emotional ebb and flow in which music plays a vital role. Interactions between teacher and students may result in a feedback loop in which exchanges of emotional reactions occur and where teachers may be called upon to manage their own emotional responses. When adverse situations arise, a music teacher may choose an adaptive coping style suitable for the circumstance. These choices are influenced by their knowledge, skills, and emotional competencies. Teachers' perceptions of their emotional teaching practices are not always congruent with their observed emotional teaching practices. When the knowledge and emotional abilities of music teachers are used effectively, they can have a positive influence on the emotional climate of the classroom, which may, in turn, impact learning.
ContributorsMcConkey, Michelle Stephan (Author) / Stauffer, Sandra (Thesis advisor) / Bush, Jeffrey (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purposes of this study were (a) to develop a reliable and valid measure of secondary student attitudes toward band teacher turnover using the Thurstone (1928) equal-appearing interval scale as a model, and (b) to administer this measurement tool to determine attitudes of high school band students toward teacher turnover. This procedure included collecting statements about an imagined teacher turnover from students in the population (N = 216) and having student judges (N = 95) sort the statements into eleven categories based on how positive, neutral, or negative, each statement was perceived. The judging results were then analyzed, and 29 statements were selected for inclusion in the final survey, which was completed by students (N = 521) from 10 randomly selected high schools in Arizona. Student responses were analyzed and compared by the independent variables of gender, grade level, and band teacher turnover experience, to determine if significant differences existed. Results indicated that the overall students' attitudes toward teacher turnover are neutral. One significant difference was found in the slightly positive attitudes of students in the year immediately following a band teacher turnover. This only lasts a year, as students in the second year of a teacher turnover were found to have comparable attitudes to students who have not experienced a new teacher transition. Findings also suggest seniors may have a different perspective than other students toward teacher turnover.
ContributorsKloss, Thomas E (Author) / Sullivan, Jill (Thesis advisor) / Stauffer, Sandra (Committee member) / Schmidt, Margaret (Committee member) / Bush, Jeffrey (Committee member) / Tobias, Evan (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 purpose of this multiple case study was to investigate what students in three high school music groups perceived as most meaningful about their participation. I also examined the role that context played in shaping students' perceptions, and sought potential principles underlying meaning and value in instrumental ensembles. Over the course of six months I conducted a series of in-depth, semi-structured interviews with six student wind ensemble members, five student guitar class members, and six jazz band members at three high schools in Winnipeg, Canada. I interviewed the participants' music teachers and school principals, observed rehearsals and performances, and spoke informally with parents and peers. Drawing upon praxial and place philosophies, I examined students' experiences within the context of each music group, and looked for themes across the three groups. What students perceived to be meaningful about their participation was multifaceted and related to fundamental human concerns. Students valued opportunities to achieve, to form and strengthen relationships, to construct identities as individuals and group members, to express themselves and communicate with others, and to engage with and through music. Although these dimensions were common to students in all three groups, students experienced and made sense of them differently, and thus experienced meaningful participation in multiple, variegated ways. Context played a substantial role in shaping not only the dimensions of meanings most salient to participants but also the ways that music experiences became meaningful for those involved. What students value and find meaningful about their participation in instrumental music education has been neither well documented nor thoroughly explored. This study raises questions about the ways that meaningful musical engagement might extend beyond the boundaries of school, and contributes student perspectives sorely needed in ongoing conversations concerning the relevance of music education in students' lives.
ContributorsCape, Janet (Author) / Stauffer, Sandra L (Thesis advisor) / Bush, Jeffrey (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2012
Description
The ability of musicians to perform well in multiple musical styles is increasingly common and necessary. This paper profiles two trombonists who have gone well beyond the ability to function in multiple genres, and are instead considered significant artists. Tony Baker and Alex Iles were chosen to be profiled for this project because both have achieved recognition as solo artists in the genres of classical music and jazz and have performed on international stages as soloists. They also have significant ensemble experience in both classical and jazz settings and are active teachers as well. Both hold-high profile positions that have helped grow their reputations as performers: Mr. Baker as a professor at one of the largest music schools in the United States, the University of North Texas, and Mr. Iles as a highly in-demand freelance musician in Los Angeles. This paper presents interviews with both trombonists that investigate their development as musicians and soloists in both classical music and jazz. They are asked to describe the benefits and challenges of performing at a high level in both styles, and how these have affected their musical voices. Common traits found in their responses are examined, and recommendations are created for musicians seeking stylistic versatility.
ContributorsLennex, William (Author) / Pilafian, J. Samuel (Thesis advisor) / Bush, Jeffrey (Committee member) / Ericson, John (Committee member) / Hackbarth, Glenn (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT In this study, I used a qualitative approach to explore the music teacher role identities of six beginning music teachers prior to, during, and after their student teaching experience. Data collection included participant-observation, interviews, and e-mail communication. Specifically, I looked at what each of these beginning music teachers discussed when describing themselves in the role of music teacher. These participants' music teacher role identities appeared to focus on four main components, while also remaining unique from one another. Those four components were: musical selves, instructional selves, professional selves, and ideological selves. Further, the participants' role identities appeared to change from the period prior to student teaching through student teaching to the time after their student teaching experience. Based on data gleaned from the participants in this study, I created my own definition of music teacher role identity. This study's findings suggest further research using a longitudinal approach to explore the role identities of music teachers at various stages of their careers.
ContributorsPaise, Michele Paynter (Author) / Schmidt, Margaret (Thesis advisor) / Stauffer, Sandra L (Committee member) / Bush, Jeffrey (Committee member) / Sullivan, Jill M (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2010
Description
ABSTRACT The Orpheus Male Chorus of Phoenix occupies and maintains an historical place in the musical and civic history of the City of Phoenix and the State of Arizona. Organized in November, 1929, the Orpheus Male Chorus of Phoenix (OMC) is the only performing arts organization in Phoenix that can claim eighty-one years of continuous performance. The chorus gained popularity locally, nationally, and internationally in its first five decades. The breadth of the chorus's recognition began to decline in the latter part of the 20th century, but the chorus still retains a loyal following of audience members. This study focuses on the first fifty years of the OMC, especially the period from 1946 to 1979, the years the chorus was under the direction of Ralph Hess. Through his leadership the group's popularity and recognition reached a peak, thanks largely to his emphasis on civic responsibility, ties to service organizations, and musical ability and showmanship. No scholarly publications exist regarding this organization. Several boxes of memorabilia housed in the Arizona Historical Society Museum in Tempe, Arizona, serve as the primary source of material for this study. Concert programs supply information about concert repertoire, advertising, and chorus history. Newspaper articles from local and international press offer reviews, announcements, and media perceptions of the chorus. Information illustrating the abundant civic engagement of the OMC appears in proclamations and awards from local, state, national, and international personalities. This objective information helps propel the story forward, as do the personal letters and stories contained within the collection. Because many documents from the latter part of the 1970s are missing, the primary source information becomes more anecdotal and subjective. This study illustrates some of the ways in which the OMC went beyond mere survival to occupy a significant place in the musical life of Phoenix. Engagement in civic and social functions and support for non-profit organizations established the chorus as more than just a musical ensemble. Their pursuit under Hess of "Cultural Citizenship" earned them international recognition as civic leaders and ambassadors of goodwill.
ContributorsButler, Robert C (Author) / Schildkret, David (Thesis advisor) / Holbrook, Amy (Committee member) / Doan, Jerry (Committee member) / Arizona State University (Publisher)
Created2010
Description
Since the 1920's, the school musical has been an important event in American high schools and in the lives of students. This study begins with a condensed history of the American musical theatre, into focus on selected shows' value as potential high school repertoire. Review of literature included studies of high school musical theatre, production guides and related materials, and writings both against and in favor of musicals at the high school level. The school musical is usually undertaken as an extra-curricular activity led by performing arts faculty. This study focuses on the preparation, responsibilities, and attitudes of high school music educators toward musical theatre direction. Musical direction is defined as teaching the vocal music, and teaching and leading the instrumental music of the production where applicable. A researcher-designed survey was distributed to Arizona music educators in schools that included grade 12. The response rate was 71%. Questions included items designed to assess the pervasiveness of musical theatre productions, the roles and responsibilities of music educators, and their preparation for those roles. Additional Likert-type questions comprised an inventory measuring attitudes toward musical theatre productions. Results of the survey showed that musicals are produced in 80% of Arizona high schools, and music faculty are expected to lead at least the musical aspects of these productions. Although 62% report that they learned about teaching musical theatre on the job, and that they received no other preparation, 70% report a large amount of personal enjoyment and fulfillment from their work in musical theatre. The mean attitude score for positive feelings about work in musical theatre was found to be significantly higher for choral teachers than instrumental teachers. The primary implications of the study are the need for better preparation and in-service opportunities for music educators in musical theatre pedagogy.
ContributorsDavey, Debra Jo (Author) / Stauffer, Sandra (Thesis advisor) / Bush, Jeffrey (Thesis advisor) / Reber, William (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2010