Matching Items (4)
Filtering by
- All Subjects: Church
- All Subjects: Music Education
- Genre: Doctoral Dissertation
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
Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since the Middle Ages, reflects the dramatic changes in Polish politics throughout the centuries. An understanding of this country's history helps to construct a comprehensive view of how politics influenced the developments in organ building and organ playing. This paper describes the dynamics of the Church, government and art institutions in Poland during the years 1945-2012. A brief summary of the history of Polish organ culture sets the stage for the changes occurring after WWII. The constant struggle between the Church and the communist regime affected music making and organ culture in Poland from 1945-1989. The political détente that occurred after 1989 led to a flowering of new instruments, restorations and performance opportunities for organists. By exploring the relationship between Polish organ culture and prevailing agendas in the 20th century, the author demonstrates how a centuries-old tradition adapted to survive political and economic hardships.
ContributorsKubiaczyk-Adler, Ilona (Author) / Marshall, Kimberly (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
The pipe organ, a musical instrument historically, culturally, and conceptually associated with Christian worship, is being negatively affected in terms of condition and continued use in the United States by rising rates of secularity, declining mainline Protestant and Catholic adherents, declining worship attendance, and, most directly, the closure of church buildings. No scholarly research addresses the relationship of secularization and the organ, and no professionals in the field acknowledge its seriousness or have presented plans to counter it.
This paper lays the groundwork for future research while exploring the landscape of the organ’s possible secular uses. The organ’s relationship to secularization is defined through the interdisciplinary lens of secular studies, bolstered through an exploration of its past. This thesis analyzes the use of the organ in secularized churches in the United States through case studies of fourteen organs in thirteen former churches. While these examples reveal some promising adaptive reuses of church buildings and their organs, the prevailing conclusion is that the instrument’s future is severely endangered. There are few paid secular positions and insignificant educational opportunities that stem from secularized churches. The public lacks exposure to the instrument because of the infrequency of organ-related events.
Yet because the organ’s principal aesthetic is not Christian but communal, the instrument has the potential to thrive in secular contexts. This reframing and often literal repositioning requires stronger leadership: organizations and individuals promoting the organ must be proactive in working with the new owners of secularized churches to help them incorporate the instrument in new, revitalized contexts. A dynamic future for the organ requires the creative work of many.
This paper lays the groundwork for future research while exploring the landscape of the organ’s possible secular uses. The organ’s relationship to secularization is defined through the interdisciplinary lens of secular studies, bolstered through an exploration of its past. This thesis analyzes the use of the organ in secularized churches in the United States through case studies of fourteen organs in thirteen former churches. While these examples reveal some promising adaptive reuses of church buildings and their organs, the prevailing conclusion is that the instrument’s future is severely endangered. There are few paid secular positions and insignificant educational opportunities that stem from secularized churches. The public lacks exposure to the instrument because of the infrequency of organ-related events.
Yet because the organ’s principal aesthetic is not Christian but communal, the instrument has the potential to thrive in secular contexts. This reframing and often literal repositioning requires stronger leadership: organizations and individuals promoting the organ must be proactive in working with the new owners of secularized churches to help them incorporate the instrument in new, revitalized contexts. A dynamic future for the organ requires the creative work of many.
ContributorsMeszler, Alexander Francis (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Schmelz, Peter (Committee member) / Arizona State University (Publisher)
Created2020