Matching Items (8)
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- All Subjects: pedagogy
- Creators: Rogers, Rodney
- Creators: Caslor, Jason
Description
The purpose of this project was to provide a pedagogical resource for students and teachers to utilize when preparing six standard formative pieces from the euphonium repertoire. The guided practice sections are written in plain English with several instances of first person writing to explain certain concepts in a less formal way. This was done so that any teacher, regardless of level could help a younger, more inexperienced student. In addition, the sections of guided practice were written to help those teachers who may or may not be intimately familiar with the works chosen. The recording was designed to present the music in current published format, with no improvisation by the soloist. The solos that were chosen are either college preparatory pieces, or formative works for the younger collegiate musician. All of the pieces included are published, and as of September 2010, available for purchase. The works included are: Six Studies in English Folk Song, by Ralph Vaughan Williams, ed. Paul Droste, Introduction and Dance, by J. Edouard Barat, ed. Glenn Smith, Andante et Allegro, by Joseph- Guy Ropartz, ed. Shapiro, Sonata for Unaccompanied Euphonium (or Trombone), by Fred L. Clinard, Jr., Suite for Baritone, by Don Haddad, and Andante and Rondo, by Antonio Capuzzi, ed. Philip Catelinet.
ContributorsStuckemeyer, Pat (Author) / Pilafian, Samuel (Thesis advisor) / Ericson, John Q. (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2010
Description
Clarinet articulation is a process that uses the tongue to create an interruption in sound production either by contacting the reed or disrupting the air stream. This process occurs inside the mouth and is hidden from direct view. As a result, various solutions were developed in clarinet pedagogy to address the issue of teaching with no visual feedback. Clarinet pedagogy literature consists of language that makes it possible for other clarinetists to discuss, teach, and research various aspects of clarinet playing. The interdisciplinary application of theoretical concepts in linguistics and how they map onto the language of clarinet pedagogy offers a new perspective for understanding the teaching methods used for articulation. To provide insight into the relationship of language and clarinet pedagogy, an overview of several linguistic theories and concepts, such as Peircean semiotics, metalanguages, discursive strategies, and articulatory phonetics, is presented. Additionally, a brief explanation of articulation techniques (single, multiple, flutter, and slap articulation) and commonly used teaching strategies is outlined. The language used in clarinet pedagogy literature from resources by prominent clarinet pedagogues, such as the works of John Anderson, Joshua Gardner, Michèle Gingras, Eric C. Hansen, Howard Klug, Phillip Rehfeldt, Thomas Ridenour, Heather Roche, Robert Spring, and Rachel Yoder, is surveyed. Pedagogical insights from a linguistic analysis are used to create resources for teaching and/or correcting articulation. Since the interdisciplinary application of linguistics and clarinet pedagogy is an underexplored topic, this research also aims to serve as a basis for further interdisciplinary studies.
Contributorsde Alba, Francisco Javier (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Fossum, Dave (Committee member) / Caslor, Jason (Committee member) / Arizona State University (Publisher)
Created2021
Description
This paper highlights a method for jazz transcription, comprehension, and practice to be implemented primarily in applied saxophone instruction with undergraduate students. The purpose is the identify and mend the divide between jazz and classical that appears in academia. This divide is one that came about by necessity in the saxophone’s relative youth in the academic world as it found solid footing in conservatories around the world. A literature review establishes the current state of dialogue between both jazz and classical in the academic saxophone community, including the current state of crossover scholarship that discusses the interaction between multiple genres. This review investigates what serves as pedagogical material in an aural discipline like jazz. A thorough approach to transcription is crucial change to the standard practice of jazz transcription typically employed in applied saxophone studios. This approach takes the focus away from the product and places it on the process. This process is demonstrated through a transcription and deconstruction of Charlie Parker’s “Cheryl.” Though this approach is presented through the perspective of a saxophonist, this process can be applied to any number of instrumental disciplines seeking to understand jazz transcription and improvisation more fully.
ContributorsFeher, Patrick Francis (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Libman, Jeffrey (Committee member) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
Description
ABSTRACT
The history of Indian education within public schools is deeply problematic. Power imbalances have led western education to enter Indigenous communities with their own agendas and without prior consultation with the people and communities. As a consequence, Indigenous scholars are moving to take control and reclaim ownership of the education of our children that occurs in our communities and public schools. This dissertation focuses on attitudes toward culturally relevant instruction/curriculum by asking the question, what is the landscape and current climate of culturally responsive schooling for Pueblo and American Indian students within Bernalillo High School and Bernalillo Public Schools in Bernalillo, New Mexico? Through a qualitative study, teachers, administrators, consultants and faculty were interviewed to gain their perspectives on culturally relevant instruction/curriculum. Through analysis of these interviews and focus group, it was found that participants were aware of culturally relevant instruction/curriculum and utilize it in some sense with their students. This study also looks at the current landscape of American Indian and Pueblo education in the state of New Mexico. Indigenous education has always been a part of the learning process for Pueblo people. With the coming of western education Pueblo people were forced to attend boarding schools as well as public schools causing assimilation. This study calls on culturally relevant instruction/curriculum as a way to provide a successful education for Pueblo students. This study looks at the need for culturally responsive schooling paradigms and practices for Indigenous students. It also looks at culturally relevant pedagogy (CRP) as a way to help explore, shape and provide valuable theoretical tools for developing culturally relevant instruction/curriculum. The policy paper proposes that Bernalillo Public Schools (BPS) work with Pueblos to promote the delivery of the most appropriate education and services for Pueblo children.
The history of Indian education within public schools is deeply problematic. Power imbalances have led western education to enter Indigenous communities with their own agendas and without prior consultation with the people and communities. As a consequence, Indigenous scholars are moving to take control and reclaim ownership of the education of our children that occurs in our communities and public schools. This dissertation focuses on attitudes toward culturally relevant instruction/curriculum by asking the question, what is the landscape and current climate of culturally responsive schooling for Pueblo and American Indian students within Bernalillo High School and Bernalillo Public Schools in Bernalillo, New Mexico? Through a qualitative study, teachers, administrators, consultants and faculty were interviewed to gain their perspectives on culturally relevant instruction/curriculum. Through analysis of these interviews and focus group, it was found that participants were aware of culturally relevant instruction/curriculum and utilize it in some sense with their students. This study also looks at the current landscape of American Indian and Pueblo education in the state of New Mexico. Indigenous education has always been a part of the learning process for Pueblo people. With the coming of western education Pueblo people were forced to attend boarding schools as well as public schools causing assimilation. This study calls on culturally relevant instruction/curriculum as a way to provide a successful education for Pueblo students. This study looks at the need for culturally responsive schooling paradigms and practices for Indigenous students. It also looks at culturally relevant pedagogy (CRP) as a way to help explore, shape and provide valuable theoretical tools for developing culturally relevant instruction/curriculum. The policy paper proposes that Bernalillo Public Schools (BPS) work with Pueblos to promote the delivery of the most appropriate education and services for Pueblo children.
ContributorsChavez, Curtis (Author) / Brayboy, Bryan (Thesis advisor) / Sumida-Huaman, Elizabeth (Thesis advisor) / Tsinnajinnie, Leola (Committee member) / Arizona State University (Publisher)
Created2018
Description
These are unprecedented times. Like never before, humans, having separated themselves from the web of life through the skillful use of their opposable thumbs, have invented the means of extinction and have systematized it for the benefit of the few at the expense of all else. Yet humans are also designing fixes and alternatives that will soon overcome the straight line trajectory to ugliness and loss that the current order would lead the rest of humanity through. The works in this dissertation are connected by two themes: (1) those humans who happen to be closely connected to the lands, waters and wildlife, through millennia of adaptation and inventive association, have a great deal to share with the rest, who, through history have become distanced from the lands and waters and wildlife they came from; and (2) as the inheritors of all the insults that the current disrespectful and wasteful system is heaping upon all true sensibilities, young people, who are Indigenous, and who are the critical generation for biocultural survival, have an immense role to play - for their cultures, and for all of the rest. The survivance of autochthonous culture through intergenerational conduct of cultural practice and spirituality is profoundly affected by fundamental physical factors of resilience related to food, water, and energy security, and the intergenerational participation of youth. So this work is not so much an indictment of the system as it is an attempt to reveal at least two ways that the work of these young Indigenous people can be expedited: through the transformation of their education so that more of their time as youths is spent focusing on the wonderful attributes of their cultural associations with the lands, waters, and wildlife; and through the creation of a self-sustaining youth owned and operated enterprise that provides needed services to communities so they can adapt to and mitigate the increasingly variable, unpredictable, and dangerous effects and impacts of global heating and climate disruption.
ContributorsEricson, Mark (Author) / Brayboy, Bryan (Thesis advisor) / Sumida Huaman, Elizabeth (Thesis advisor) / Swadener, Elizabeth (Committee member) / Schugurensky, Daniel, 1958- (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
ContributorsBreadon, Thomas, Jr (Author) / Micklich, Albie (Thesis advisor) / Creviston, Christopher (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2015
Description
Since 1913, some of the world’s finest trumpeters have utilized the advantages of
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
ContributorsEwing, Bryan Christopher (Author) / Hickman, David (Thesis advisor) / Humphreys, Jere T (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2016
Description
By examining the cognitive mechanisms behind human memory, the author hypothesizes that instrumental conductors can more quickly and effectively internalize music scores. With this theory, conductors could offer more informed and nuanced communications to their ensembles. Furthermore, these ideas could be incorporated into how conducting is taught to younger students by cultivating a more in-depth understanding of the music being studied.
This research paper surveys current trends in cognitive science related to the interactions of long-term memory (LTM) and short-term memory (STM) concerning score study and memorization employed by instrumental conductors. The research is divided into three sections, beginning with an examination of the key literature from the field of cognitive science. It continues with an overview of current musicological research and applications and finally concludes with a review of current instrumental conducting pedagogy that include discussions of memory. Moreover, recommended steps and a potential framework to incorporate cognitive science research into future conducting pedagogies are further outlined. The primary cognitive theory of focus is the Working Memory Theory of Alan Baddeley and Graham Hitch.
This research paper surveys current trends in cognitive science related to the interactions of long-term memory (LTM) and short-term memory (STM) concerning score study and memorization employed by instrumental conductors. The research is divided into three sections, beginning with an examination of the key literature from the field of cognitive science. It continues with an overview of current musicological research and applications and finally concludes with a review of current instrumental conducting pedagogy that include discussions of memory. Moreover, recommended steps and a potential framework to incorporate cognitive science research into future conducting pedagogies are further outlined. The primary cognitive theory of focus is the Working Memory Theory of Alan Baddeley and Graham Hitch.
ContributorsLucas, Cullan Baynes (Author) / Caslor, Jason (Thesis advisor) / Gardener, Joshua (Committee member) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017