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Description
This dissertation addresses the tendency among some disability scholars to overlook the importance of congenital deformity and disability in the pre-modern West. It argues that congenital deformity and disability deviated so greatly from able-bodied norms that they have played a pivotal role in the history of Western Civilization. In particular, it explores the evolution of two seemingly separate, but ultimately related, ideas from classical antiquity through the First World War: (1) the idea that there was some type of significance, whether supernatural or natural, to the existence of congenital deformity and (2) the idea that the existence of disabled people has resulted in a disability problem for western societies because many disabilities can hinder labor productivity to such an extent that large numbers of the disabled cannot survive without taking precious resources from their more productive, able-bodied counterparts. It also looks at how certain categories of disabled people, including, monsters, hunchbacks, cripples, the blind, the deaf and dumb, and dwarfs, which signified aesthetic and functional deviations from able-bodied norms, often reinforced able-bodied prejudices against the disabled.
ContributorsParry, Matthew (Author) / Fuchs, Rachel (Thesis advisor) / Tirosh-Samuelson, Hava (Committee member) / Wright, Johnson K. (Committee member) / Arizona State University (Publisher)
Created2013
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
This qualitative study examines the major changes in relationship closeness of married couples when one spouse acquires a vision disability. Turning Points analysis and Retrospective Interview Technique (RIT) were utilized which required participants to plot their relational journey on a graph after the onset of the disability. A sample of 32 participants generating 100 unique turning points and 32 RIT graphs lent in-depth insight into the less explored area of the impact of a visual disability on marital relationships. A constant comparison method employed for the analysis of these turning points revealed six major categories, which include Change in Relational Dynamics, Realization of the Disability, Regaining Normality in Life, Resilience, Reactions to Assistance, and Dealing with the Disability. These turning points differ in terms of their positive or negative impact on the relational closeness between partners. In addition, the 32 individual RIT graphs were also analyzed and were grouped into four categories based on visual similarity, which include Erratic Relational Restoration, Erratic Relational Increase, Consistent Closeness and Gradual Relational Increase. Results provide theoretical contributions to disability and marriage literature. Implications for the application of turning points to the study of post-disability marital relationships are also discussed, and research directions identified.
ContributorsBhagchandani, Bhoomika (Author) / Kassing, Jeffrey W. (Thesis advisor) / Kelley, Douglas L. (Committee member) / Fisher, Carla L. (Committee member) / Li, Baoxin (Committee member) / Arizona State University (Publisher)
Created2014
Description
Blind and visually impaired individuals have historically demonstrated a low participation in the fields of science, engineering, mathematics, and technology (STEM). This low participation is reflected in both their education and career choices. Despite the establishment of the Americans with Disabilities Act (ADA) and the Individuals with Disabilities Education Act (IDEA), blind and visually impaired (BVI) students continue to academically fall below the level of their sighted peers in the areas of science and math. Although this deficit is created by many factors, this study focuses on the lack of adequate accessible image based materials. Traditional methods for creating accessible image materials for the vision impaired have included detailed verbal descriptions accompanying an image or conversion into a simplified tactile graphic. It is very common that no substitute materials will be provided to students within STEM courses because they are image rich disciplines and often include a large number images, diagrams and charts. Additionally, images that are translated into text or simplified into basic line drawings are frequently inadequate because they rely on the interpretations of resource personnel who do not have expertise in STEM. Within this study, a method to create a new type of tactile 3D image was developed using High Density Polyethylene (HDPE) and Computer Numeric Control (CNC) milling. These tactile image boards preserve high levels of detail when compared to the original print image. To determine the discernibility and effectiveness of tactile images, these customizable boards were tested in various
university classrooms as well as in participation studies which included BVI and sighted students. Results from these studies indicate that tactile images are discernable and were found to improve performance in lab exercises as much as 60% for those with visual impairment. Incorporating tactile HDPE 3D images into a classroom setting was shown to increase the interest, participation and performance of BVI students suggesting that this type of 3D tactile image should be incorporated into STEM classes to increase the participation of these students and improve the level of training they receive in science and math.
university classrooms as well as in participation studies which included BVI and sighted students. Results from these studies indicate that tactile images are discernable and were found to improve performance in lab exercises as much as 60% for those with visual impairment. Incorporating tactile HDPE 3D images into a classroom setting was shown to increase the interest, participation and performance of BVI students suggesting that this type of 3D tactile image should be incorporated into STEM classes to increase the participation of these students and improve the level of training they receive in science and math.
ContributorsGonzales, Ashleigh (Author) / Baluch, Debra P (Thesis advisor) / Maienschein, Jane (Committee member) / Ellison, Karin (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
According to national data, there continues to be an ongoing achievement gap between students with disabilities and their non-disabled peers (USDE, n.d.b). This data is representative of a continued disparity in academic performance for students in local Arizona school districts. To address this gap, many districts have implemented inclusion models in which students with disabilities spend increasing amounts of time in general education classrooms, in some cases for the majority of or all of their school day. However, the persistence of the achievement gap suggests that general education teachers working in inclusion models may be lacking systematic instructional methods for ensuring access to the curriculum for those with disabilities and other diverse learning needs.
The purpose of this action research study was to examine the impact that a series of professional development workshops had on teacher beliefs and understanding of disability, intelligence, and accessible pedagogy. The study was conducted over the course of a school semester at a kindergarten through 8th grade school in a large, semi-rural school district in southeastern Arizona. Ten teachers from a variety of grade levels and subject areas participated in the study along with a school psychologist and two school administrators. Theoretical frameworks guiding this project included critical disability theory, growth mindset, universal design for learning, and transformative learning theory. A mixed-methods action research approach was used to collect both qualitative and quantitative data in the form of surveys, interviews, and written reflections. The workshop series included five modules that began with activities fostering critical reflection of assumptions regarding disability and intelligence and ended with pedagogical strategies in the form of universal design for learning.
The results indicate that the innovation was successful in reshaping participant views of disability, intelligence, and pedagogy; however, changes in classroom instruction were small. Implications for future research and practice include more extended sessions on universal design for learning and a more diverse sample of participants. Workshop sessions utilized a variety of active learning activities that were well received by participants and will be included in future professional learning plans across the district.
The purpose of this action research study was to examine the impact that a series of professional development workshops had on teacher beliefs and understanding of disability, intelligence, and accessible pedagogy. The study was conducted over the course of a school semester at a kindergarten through 8th grade school in a large, semi-rural school district in southeastern Arizona. Ten teachers from a variety of grade levels and subject areas participated in the study along with a school psychologist and two school administrators. Theoretical frameworks guiding this project included critical disability theory, growth mindset, universal design for learning, and transformative learning theory. A mixed-methods action research approach was used to collect both qualitative and quantitative data in the form of surveys, interviews, and written reflections. The workshop series included five modules that began with activities fostering critical reflection of assumptions regarding disability and intelligence and ended with pedagogical strategies in the form of universal design for learning.
The results indicate that the innovation was successful in reshaping participant views of disability, intelligence, and pedagogy; however, changes in classroom instruction were small. Implications for future research and practice include more extended sessions on universal design for learning and a more diverse sample of participants. Workshop sessions utilized a variety of active learning activities that were well received by participants and will be included in future professional learning plans across the district.
ContributorsLeckie, Adam (Author) / Hermanns, Carl (Thesis advisor) / Rotherum-Fuller, Erin (Committee member) / Rupard, Jane (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsPagano, Caio, 1940- (Performer) / Mechetti, Fabio (Conductor) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Rodrigues, Christiano (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Avanti Festival Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
Description
The purpose of this study was to trouble existing conceptions of disability that ground music education literature and practice. I sought plausible insights into how disability is experienced in, through, and/or around music by participants who are disabled persons/persons with disabilities (DP/PwD). Insights gained might allow readers to complexify and trouble taken-for-granted assumptions about disability. Questions included: (a) How do participants experience disability in, through, and around music? (b) What plausible insights related to disability can be gained by attending to participants’ experiences of disability in, through, and around music? (c) What plausible insights related to inclusion can be gained by attending to participants’ experiences of disability in, through, and around music? The inquiry approach was grounded in Buberian relational ontology, phenomenology, interactional theories of disability, and narrative.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
ContributorsRathgeber, Jesse (Author) / Stauffer, Sandra L (Thesis advisor) / Mantie, Roger (Committee member) / Schmidt, Margaret (Committee member) / Solís, Ted (Committee member) / Tobias, Evan S (Committee member) / Arizona State University (Publisher)
Created2019
Description
This dissertation is an examination of a modernist desire to construct future materiality via material language, which represents a desire to overcome biology and the biological body. As such, modernist discourses of material language must be understood within their broader historical context, as these textual constructs developed against a cultural backdrop replete with eugenicist ideologies. Modernists wielded discourses of material language to determine via cultural reproduction which futures might materialize, as well as which bodies could occupy those futures and in what capacities. This dissertation argues that these modernist constructs contain their own failure in their antibiologism and their refusal to acknowledge the agency of corporeal materiality before them. Unlike language, the body expresses biopower through its material (re)productivity—its corpo-reality—which, though it can be shaped and repressed by discourse, persistently ruptures through the restraints of eugenicist ideologies and the autonomous liberal model of white masculine embodiment they uphold. This work analyses sexually marginalized bodies in texts by Mina Loy, Djuna Barnes, Nathanael West, and Ernest Hemingway that, through their insistently persistent biological materiality, disrupt modernist discourses of material language that offer no future for feminine, queer, and disabled corporeality. By exploring how intersecting issues of gender, sexuality, and disability complicate theories of language’s materiality in modern American literature, this dissertation brings attention to writers and texts that challenge broader attempts in the early decades of the twentieth century to subvert the biological body through eugenicist projects of cultural reproduction.
ContributorsJohnston, Amilynne Rose (Author) / Clarke, Deborah (Thesis advisor) / Holbo, Christine (Committee member) / Goggin, Maureen D (Committee member) / Arizona State University (Publisher)
Created2019