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Description
The purpose of this research project is to explore which musical mode, major and minor, is more effective to motivate children with Asperger's syndrome. To determine the more effective mode, the researcher has conducted experiments with seven students, two female and five male, with Asperger's syndrome on motivation for participation. Simple dance movements were used as a method of measurement for their motivation. The subjects' task was copying the researcher's simple dance with music, in major or minor mode, or with no music. There were three conditions, no music, major music, and minor music. However, the first dance of the experiments that had no music condition was not measured as it was a pre-test. All of the subjects followed the dance movements three times. The second and third dances of the experiments that were major or minor music conditions were used to determine which musical mode is more effective. To determine subjects' motivation from major and minor music, there were three areas of measurement; competency (level of execution) of movements, facial expression, and concentration on the dance for each experiment. All of the experiments were video-recorded for the evaluation. As a tool of measurement, a seven-point Likert scale was used. In addition, there were three evaluators: a professional music therapist, MT-BC; an undergraduate music therapy student at ASU; and a music education student of master's degree at ASU. In the evaluation on the measurements, the scores of the major music condition were slightly higher than the scores of the minor music condition in all three areas; competency of movements, facial expression, and concentration on the dance. However, the differences of the results in all three areas were not statistically significant.
ContributorsYun, Yeo Kwang (Author) / Crowe, Barbara (Thesis advisor) / Rio, Robin (Committee member) / Stauffer, Sandra (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
This study investigates ways in which music teachers make personal sense of their professional selves and their perceptions of their places within the broader landscape of music education relative to other types of music teachers in school and community settings. A social phenomenological framework based on the writing of Alfred Schutz was used to examine how participants constructed a sense of self in their social worlds and how they both shaped and were shaped by their social worlds. Eight music teachers participated in this study and represented differing types of music teaching careers, including: public school general music teaching and ensemble directing; independent studio teaching and teaching artistry; studio lessons, classes, and ensembles at community music centers; church ensemble directing; and other combinations of music teaching jobs throughout school and community settings. Data were collected from in-depth interviews, observations of the music teachers in their various teaching roles, and artifacts related to their music teaching positions. Research questions included: Who do the participants conceive of themselves to be as music professionals and music teachers; How do they construct and enact their professional selves, including their teaching selves; How is their construction of professional self, including teaching self, supported and sustained by interactions in their social worlds; and, What implications does this have for the music profession as a whole? After developing a professional portrait of each participant, analysis revealed an overall sense of professional self and various degrees of three role-taking selves: performing, teaching, and musical. Analysis also considered sense of self in relation to social worlds, including consociates, contemporaries, predecessors, and successors, and the extent to which performing, teaching, and musical selves were balanced, harmonized, or reconciled for each participant. Social worlds proved influential in terms of participants' support for sense of self. Participants who enacted the most harmonized, reconciled senses of self appeared to have a professional self that was grounded in a strong sense of musical self, enabling them to think and act flexibly. Participants whose professional selves were dominated by a strong sense of teaching or performing self seemed confined by the structures of their social world particular to teaching or performing, lacked a sense of musical self, and were less able to think and act flexibly. Findings suggest that active construction of consociate relationships throughout varied social worlds can support a balanced, reconciled conception of self, which informs teaching practice and furthers the ability to act in entrepreneurial ways.
ContributorsBucura, Elizabeth (Author) / Stauffer, Sandra (Thesis advisor) / Landes, Heather (Committee member) / Tobias, Evan (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2013
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
Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.
ContributorsDeBoer, Andrew Caleb (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Norton, Kay (Committee member) / McAllister, Timothy (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
Cerebral palsy (CP) is a non-progressive neurologic disorder characterized by motor pathway damage prior to functional development. Damage to the central nervous system impairs motor functioning, including control of motor movement, loss of coordination, and loss of purposeful posture in individuals with cerebral palsy. This creates abnormal walking gait, impaired balance, and loss of muscle control. Current research shows positive results in studying the use of rhythmic music and walking gait for individuals with neurologic disorders. However, most research focuses on neurologic disorders acquired later in life, such as post-stroke patients and individuals with Parkinson's disease and traumatic brain injuries. The current study addresses the impact of rhythmic music on walking gait for an individual with cerebral palsy. Research addresses whether the use of rhythmic music impacts: (a) endurance (laps, distance traversed, and steps taken) (b) cadence (steps per minute), (c) velocity (distance over time), (d) emotional responsiveness (positive or negative affect), and (e) motivation. The current study is a single subject, mixed method design under randomized treatment conditions. The subject is a 25-year-old female diagnosed with spastic diplegic cerebral palsy. The subject participated in a five-week study, three times a week for one hour each session. Assessment was conducted during the first session. The following 14 sessions included gait training either under treatment (the use of recorded rhythmic music accompanied by audible drum beat) or control (no music) randomly assigned prior to the beginning of the study. Data were collected through video recordings, subject and researcher journals, and emotional responsiveness surveys. Data were analyzed for treatment versus control conditions. Analysis of both quantitative and qualitative data indicated that rhythmic music does impact walking gait for individuals with cerebral palsy. When compared to control conditions, the treatment conditions showed an increase in endurance, cadence, and velocity, and improvement in affect and motivation.
ContributorsTindal, Sevrina (Author) / Crowe, Barbara (Thesis advisor) / Rio, Robin (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
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
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 saxophone is privileged to have a wide variety of repertoire from contemporary composers. Due to its invention in the later half of the nineteenth century, it has no repertoire written by baroque composers, including Johann Sebastian Bach. There are several published arrangements of Bach’s three solo violin partitas including that of Ronald Caravan and Raaf Hekkema. These collections either do not present every movement of each of these three partitas, or they do not present them in their original keys. An advantage to arranging these works in their original keys is that saxophonists have the opportunity to learn more about the works by playing along with recordings of great violinists such as Itzhak Perlman and Hilary Hahn, something that would be very difficult to do if they were not in the original keys. In Ronald Caravan’s Bach for Solo Saxophone, Caravan includes a collection of many unaccompanied works by Bach for saxophone but does not include all of the movements from the three partitas and they are not in the original keys that Bach wrote for. In Raaf Hekkema’s Bach for Saxophone, Hekkema arranges the entirety of the three partitas, however they are not set in the original keys that Bach wrote for. In addition to these points, those collections do not provide information of the life of J.S. Bach, baroque performance practice, mechanics of the baroque violin, baroque dances, and advice on going about the mechanics of these pieces from a saxophonist’s perspective. This information is very useful to a young saxophonist who is trying to fully understand and perform Bach’s three solo violin partitas.
ContributorsSalazar, Nathan John (Author) / Creviston, Christopher (Thesis director) / Saucier, Catherine (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This creative project explores the concept of how music is like a language and how, as a teacher, I plan to enforce this concept through my teaching. The aim of this project is to highlight the importance of completing research and acquiring knowledge of aspects, such as the composer's life, historical background and literary references, when learning a piece of music. Through this project, I address connections between the brain and music pertaining to memorization, the components of language, the similarities between language and music, the role of the teacher and the development of a "toolbox" of knowledge for studying a piece of music. I present my own research on Schumann's Novelette Op. 21, No. 8 in f-sharp minor as well as my own experiences of learning the piece to demonstrate an example of the process and discoveries I hope my students will make in their own studies of repertoire.
ContributorsLee, Kara Jia-Shan (Author) / Pagano, Caio (Thesis director) / Creviston, Hannah (Committee member) / Division of Teacher Preparation (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12