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Description
This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
ContributorsWilkinson, Michael Scott (Author) / Ericson, John (Thesis advisor) / Kocour, Michael (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
The current research examines the influence of disciplines, advisors, committees, language, culture, and previous experiences in students' search and selection of dissertation topics, as well as whether and how students react to those influences during this process. Invention has been an area of research for rhetoricians for centuries, but most modern research focuses exclusively on the pre-writing process in first composition classrooms (Young, 1976). The current research collected survey and interview data from second- and third-year Ph.D. students in natural sciences, social sciences, and humanities at a large research university in the United States. 80 second- and third-year Ph.D. students completed an online survey; 11 students and four of their advisors participated in a semi-structured interview. The results demonstrate that the majority of students spent over three months in the selection of dissertation topics, and the humanities students tended to spend longer time in this process than social sciences or humanities students. Additionally, students have much in common in their perception of the criteria they would use in the selection of dissertation topics, and those criteria are similar to what previous researchers (Isaac, Koenigsknecht, Malaney, & Karras, 1989; Kozma, 1997; Sessions, 1971) have identified. However, when it comes to the actual selection experiences, the interviews show that students do not necessarily apply those criteria rationally. Moreover, disciplines appear to have an overarching effect on students' topic selection. Natural sciences advisors appeared to have more direct involvement in students' topic choice than advisors in social sciences or humanities. The linguistic and cultural backgrounds of the eleven doctoral participants were not found influential in their selection of dissertation topics. Finally, although Ph.D. advisors generally have a good understanding of students' academic progress, their knowledge of the students' personal and professional concerns may differ, and the latter knowledge is crucial in their advising on students' dissertation topic choice. The current study suggests invention in the scholar and researcher level is significantly different from that of first-year composition classrooms. The successful invention of dissertation topics is indispensable of the influence of disciplines, programs as well as the intellectual and practical support students can receive.
ContributorsXia, Jing (Author) / Matsuda, Paul K (Thesis advisor) / James, Mark (Committee member) / Renaud, Claire (Committee member) / Arizona State University (Publisher)
Created2013
Description
There has been a tremendous amount of innovation in policing over the last 40 years, from community and problem-oriented policing to hot spots and intelligence-led policing. Many of these innovations have been subjected to empirical testing, with mixed results on effectiveness. The latest innovation in policing is the Bureau of Justice Assistance's Smart Policing Initiative (2009). Created in 2009, the SPI provides funding to law enforcement agencies to develop and test evidence-based practices to address crime and disorder. Researchers have not yet tested the impact of the SPI on the funded agencies, particularly with regard to core principles of the Initiative. The most notable of these is the collaboration between law enforcement agencies and their research partners. The current study surveyed SPI agencies and their research partners on key aspects of their Initiative. The current study uses mean score comparisons and qualitative responses to evaluate this partnership to determine the extent of its value and effect. It also seeks to determine the areas of police agency crime analysis and research units that are most in need of enhancement. Findings indicate that the research partners are actively involved in a range of aspects involved in problem solving under the Smart Policing Initiative, and that they have positively influenced police agencies' research and crime analysis functions, and to a lesser extent, have positively impacted police agencies' tactical operations. Additionally, personnel, technology, and training were found to be the main areas of the crime analysis and research units that still need to be enhanced. The thesis concludes with a discussion of the implications of these findings for police policy and practice.
ContributorsMartin-Roethele, Chelsie (Author) / White, Michael D. (Thesis advisor) / Ready, Justin (Committee member) / D'Anna, Matthew (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
The purpose of this survey study was to collect data from pre-K-12 educators in the U.S. regarding their perceptions of the purpose, conceptions, use, impact, and results of educational research. The survey tool was based on existing questionnaires and case studies in the literature, as well as newly developed items. 3,908 educators in a database developed over 10+ years at the world's largest education company were sent a recruiting email; 400 elementary and secondary teachers in the final sample completed the online survey containing 48 questions over a three-week deployment period in the spring of 2013. Results indicated that overall teachers believe educational research is important, that the most important purpose of research is to increase effectiveness of classroom practice, yet research is not frequently sought out during the course of practice. Teachers perceive results in research journals as the most trustworthy yet also perceive research journals the most difficult to access (relying second-most often for research via in-service trainings). These findings have implications for teachers, administrators, policy-makers, and researchers. Educational researchers should seek to address both the theoretical and the applied aspects of learning. Professional development must make explicit links between research findings and classroom strategies and tactics, and research must be made more readily available to those who are not currently seeking additional credentialing, and therefore do not individually have access to scholarly literature. Further research is needed to expand the survey sample and refine the survey instrument. Similar research with administrators in pre-K-20 settings as well as in-depth interviews would serve to investigate the "why" of many findings.
ContributorsMahoney, Shawn (Author) / Savenye, Wilhelmina (Thesis advisor) / Nelson, Brian (Committee member) / Atkinson, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close.
ContributorsSneider, Elliot (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hackbarth, Glenn (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
In the university setting, when a person wants to conduct research that deals with human subjects, they are required to receive the approval of their Institutional Review Board (IRB). This process takes place to ensure the proposed research is ethical and poses minimal risks to the willing subject. In Indian Country, there is a growing trend where American Indian nations are taking control over regulating research that is conducted within their jurisdictional boundaries.
In my thesis, I discuss the historical background that has led to the IRBs academics are familiar within universities they see today. In addition, I discuss the body of literature that addresses IRBs, human subjects, and the debate on which research should or should not be regulated by universities. I will then, critically analyze the established research protocols that exist in Arizona American Indian tribes. I use Darrell Posey's (1996) idea of Community Controlled Research (CCR) as the framework for my analysis. CCR dictates the people of the community decide the ways in which research is conducted. The purpose of my research is to create recommendations that will assist and inform tribes how to either, strengthen their existing protocols, or create a research protocol that will promotes Community Controlled Research.
In my thesis, I discuss the historical background that has led to the IRBs academics are familiar within universities they see today. In addition, I discuss the body of literature that addresses IRBs, human subjects, and the debate on which research should or should not be regulated by universities. I will then, critically analyze the established research protocols that exist in Arizona American Indian tribes. I use Darrell Posey's (1996) idea of Community Controlled Research (CCR) as the framework for my analysis. CCR dictates the people of the community decide the ways in which research is conducted. The purpose of my research is to create recommendations that will assist and inform tribes how to either, strengthen their existing protocols, or create a research protocol that will promotes Community Controlled Research.
ContributorsTom, Naomi (Author) / Vicenti Carpio, Myla (Thesis advisor) / Killsback, Leo (Committee member) / Tippeconnic, John (Committee member) / Arizona State University (Publisher)
Created2015
Description
The overarching purpose of my dissertation is to offer one Pueblo perspective about research and health education to contribute to critical dialogue among Pueblo people so that relevant research and health education approaches grounded in Pueblo thinking can emerge. Research was a pebble in my shoe that caused me great discomfort as I walked within academia during the many years I worked as a health educator at a university, and continues to bother me. The purpose of my journal article is to discuss why much mainstream research is problematic from a Pueblo Indian standpoint and to explore considerations for research with Pueblo people. The purpose of my book chapter is to reflect on my experiences as a Pueblo Indian health educator to add to the discussion about the importance of grounding Pueblo health education in local Pueblo knowledge systems and to discuss the limitations of delivering health education primarily grounded in a western biomedical disease model. Finally, my policy brief is an urgent call to action for tribal leaders regarding a recent change to the New Mexico Department of Health's race and ethnicity presentation in health data standard. This change resulted in 39,636 American Indians and Alaska Natives in New Mexico being reclassified as Hispanic. It is my intention to connect my ideas about research and health education with the work of other Pueblo scholars to add to the growing body of Pueblo informed writing to contribute to current and future scholarship that will ultimately benefit Pueblo people.
ContributorsSuina, Michele (Author) / Sumida Huaman, Elizabeth (Thesis advisor) / Brayboy, Bryan (Thesis advisor) / Gomez, Alan (Committee member) / Arizona State University (Publisher)
Created2015
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
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