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- Creators: Arizona State University
- Creators: Ruth, Bryon
Description
This study examines the possibility of using social and historical contexts, image analysis, and personal themes to engage adolescent photography students in the craft of photography. This new curriculum was designed around large themes that correspond to the developmental stage of adolescence. Issues such as self-identity, teenage stereotypes, school, family, and community were explored through examining historical documents and photographs, comparing popular culture perspectives, and learning basic semiotics. The students then worked within these ideas by creating their own photographs and reflecting upon their art making choices. The new approach was implemented in an analog film class in which basic 35mm camera and film techniques are taught. It is argued that meaning making motivates the adolescent photographer rather than the achievement of strong technical skills. This qualitative study was conducted using an action research approach, in which the author was both the classroom teacher and the researcher. The study incorporates data collected from student-created photographs, student written responses, interviews of students, interviews of photography teachers, and the researcher's field notes. Major themes were discovered over time by applying a grounded theory approach to understanding the data. The curriculum brought a new level of student engagement, both in participation in the course and in the complexity of their image making. By incorporating the chosen topics, students' images were rich with personal meaning. Students retained concepts of historical and social uses for photography and demonstrated a base understanding of semiotic theory. Furthermore, the data points to a stronger sense of community and teacher-student relationships within the classroom. The researcher argues that this deeper rapport is due to the concentration on personal themes within the practice of photography. Setbacks within the study included censorship by the school of mature subjects, a limited amount of equipment, and a limited amount of time with the students. This study demonstrates the need for art curriculum to provide connections between visual art, interdisciplinary associations, students' level of development, and students' personal interests. The research provides a possible approach to redesigning curriculum for photography courses for the twenty-first century student.
ContributorsOverby, Alexandra (Author) / Young, Bernard (Thesis advisor) / Margolis, Eric (Committee member) / Erickson, Mary (Committee member) / Stokrocki, Mary (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
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
During adolescence, friends are a central part of adolescents' daily lives, they serve as significant sources of emotional support and companionship (Keefe & Berndt, 1996; Way & Robinson, 2003) as well as provide opportunities to negotiate interpersonal conflicts and disagreements (Laursen & Pursell, 2009). This study was designed to examine the nature and correlates of friendships, capturing the multidimensional nature of these relationships. Specifically, three goals were proposed: (a) to use a pattern-analytic approach to identify different profiles of adolescents' friendships along three dimensions: intimacy, negativity, and involvement; (b) to examine linkages between profile membership and adolescents' cultural orientations and values; and (c) to explore the relation between profile membership and adolescent well-being. Participants were 246 Mexican-origin adolescents (M = 12.50 years; SD = 0.58) who participated in home interviews and a series of nightly phone calls. Adolescents reported on their friendship qualities, their cultural orientations and values, as well as their depressive symptoms, risky behaviors, and on their current grades (GPA). Adolescents' time spent with best friends was calculated from the seven nightly phone calls. Results revealed three distinct latent profiles: Positive Engagement, Moderate Engagement, and Low Involvement. Profile membership was not linked to adolescents' cultural orientations and values. Further, associations emerged between profile membership and adolescents' GPA, but not their risky behaviors and depressive symptoms.
ContributorsRodriguez, Sue Annie (Author) / Updegraff, Kimberly (Thesis advisor) / Umana-Taylor, Adriana (Committee member) / Bradley, Robert (Committee member) / Arizona State University (Publisher)
Created2011
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
The Vocal Jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate Vocal Jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the Vocal Jazz ensemble. The discussion relies on recent data showing the benefits of Vocal Jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training.
ContributorsAmerind, Gregory (Author) / Kocour, Michael (Thesis advisor) / Carpenter, Ellon (Committee member) / Britton, David (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Communication skills within dating contexts are developed during the adolescent years, and are associated with a lifelong ability to have satisfying, enduring, and non-violent partnerships. As such, they are currently and increasingly implemented into both more general forms of healthy relationship education, as well as that targeting the prevention of teen dating violence specifically. Reaching Mexican American youth with culturally and developmentally appropriate relationship education, including communication skills, may be particularly important given their earlier transitions to marital and parenting relationships, acculturative stressors that present them with unique coupling challenges, and their higher rates of teen dating violence as compared to European American youth. We know very little about how Mexican American dating couples communicate about areas of conflict. This dissertation research utilizes Bell and Naugle's (2008) framework of interpersonal violence to explore how cultural and developmental considerations may be integrated in order to better understand how communication behaviors contribute to Mexican American middle adolescents' experiences with dating conflict. I use an observational study design in order to 1.) Qualitatively explore the communication strategies used by a sample of committed couples, including integration of culturally- and developmentally-relevant contexts, 2.) Quantitatively examine whether couple-level discrepancies in acculturation are associated with observed negativity, including whether this relationship may be mediated by dissimilar gender-related beliefs, and to 3.) Review empirical findings pertaining to the communication behaviors of Mexican American adolescents and to integrate ecodevelopmental theory in said framework as informed by Papers 1, 2, and literature specific to this topic area. The ultimate aim of this dissertation research is to generate findings that may improve the dating health of Mexican American adolescents living in the United States.
ContributorsAdams, Heidi (Author) / Rankin Williams, Lela (Thesis advisor) / Marsiglia, Flavio (Committee member) / Anthony, Elizabeth (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
Accumulating evidence implicates exposure to adverse childhood experiences in the development of hypocortisolism in the long-term, and researchers are increasingly examining individual-level mechanisms that may underlie, exacerbate or attenuate this relation among at-risk populations. The current study takes a developmentally and theoretically informed approach to examining episodic childhood stressors, inherent and voluntary self-regulation, and physiological reactivity among a longitudinal sample of youth who experienced parental divorce. Participants were drawn from a larger randomized controlled trial of a preventive intervention for children of divorce between the ages of 9 and 12. The current sample included 159 young adults (mean age = 25.5 years; 53% male; 94% Caucasian) who participated in six waves of data collection, including a 15-year follow-up study. Participants reported on exposure to negative life events (four times over a 9-month period) during childhood, and mothers rated child temperament. Six years later, youth reported on the use of active and avoidant coping strategies, and 15 years later, they participated in a standardized psychosocial stress task and provided salivary cortisol samples prior to and following the task. Path analyses within a structural equation framework revealed that a multiple mediation model best fit the data. It was found that children with better mother-rated self-regulation (i.e. low impulsivity, low negative emotionality, and high attentional focus) exhibited lower total cortisol output 15 years later. In addition, greater self-regulation in childhood predicted greater use of active coping in adolescence, whereas a greater number of negative life events predicted increased use of avoidant coping in adolescence. Finally, a greater number of negative events in childhood predicted marginally lower total cortisol output, and higher levels of active coping in adolescence were associated with greater total cortisol output in young adulthood. Findings suggest that children of divorce who exhibit better self-regulation evidence lower cortisol output during a standardized psychosocial stress task relative to those who have higher impulsivity, lower attentional focus, and/or higher negative emotionality. The conceptual significance of the current findings, including the lack of evidence for hypothesized relations, methodological issues that arose, and issues in need of future research are discussed.
ContributorsHagan, Melissa (Author) / Luecken, Linda (Thesis advisor) / MacKinnon, David (Committee member) / Wolchik, Sharlene (Committee member) / Doane, Leah (Committee member) / Arizona State University (Publisher)
Created2013
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