Matching Items (878)
Filtering by
- All Subjects: Jazz
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
As schools across Arizona worked to meet NCLB's AYP requirement in 2010-2011, they were also labeled and sanctioned by AZ Learns. This phenomenological study focused on six effective high school principals in two Arizona school districts to ascertain how accountability policies impacted the principals' job responsibilities, autonomy, and ability to pursue social justice on their campuses. Interviews were conducted in three phases: superintendents, three principals from the superintendents' recommendations of effective school leaders, and three teachers from each school. In addition to analysis of individual principal leadership patterns, comparisons were made across districts, and from school to school within the same district. The goal of the study was to determine if and how principals were able to accomplish their goals for their school. The principals' leadership styles were examined through a Vortex Leadership Framework that posited principals at the center of a vortex of varying leadership roles, interests, and external forces, including accountability, autonomy, and limited resources. Key findings included (a) high school principals' responsibilities now include selling change to their staff, (b) principals' accountability is limited more by district constraints than by state or federal accountability, (c) principals must contend with rigid one-size fits all accountability standards that do not always meet the needs of their students, and (d) principals' autonomy is tied to their resources, including funding for staffing and programs.
ContributorsBatsell, Holly (Author) / Powers, Jeanne M. (Thesis advisor) / Mccarty, Teresa (Committee member) / Davey, Lynn (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
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
This thesis focuses on sequencing questions in a way that provides students with manageable steps to understand some of the fundamental concepts in discrete mathematics. The questions are aimed at younger students (middle and high school aged) with the goal of helping young students, who have likely never seen discrete mathematics, to learn through guided discovery. Chapter 2 is the bulk of this thesis as it provides questions, hints, solutions, as well as a brief discussion of each question. In the discussions following the questions, I have attempted to illustrate some relationships between the current question and previous questions, explain the learning goals of that question, as well as point out possible flaws in students' thinking or point out ways to explore this topic further. Chapter 3 provides additional questions with hints and solutions, but no discussion. Many of the questions in Chapter 3 contain ideas similar to questions in Chapter 2, but also illustrate how versatile discrete mathematics topics are. Chapter 4 focuses on possible future directions. The overall framework for the questions is that a student is hosting a birthday party, and all of the questions are ones that might actually come up in party planning. The purpose of putting it in this setting is to make the questions seem more coherent and less arbitrary or forced.
ContributorsBell, Stephanie (Author) / Fishel, Susana (Thesis advisor) / Hurlbert, Glenn (Committee member) / Quigg, John (Committee member) / Arizona State University (Publisher)
Created2014
Description
Benefits and Challenges of Collaboration and Autonomy in a High School Beginning Art Class In the twenty-first century students are used to communicating. Using social media they often collaborate with peers. Despite this students may prefer to work independently rather than collaborating with fellow students in art class. Also, collaboration has become more common with twenty-first century artists. This study addresses the possible disconnect between the popular culture of today's art students' preference for the traditional independent autonomous practices in the art classroom, and the collaborative practice of many contemporary artists. The purpose of this study is to investigate how working collaboratively or working autonomously affects the artworks and oral and written responses about their artwork of high school beginning art students. I used a mix of quantitative and qualitative methods to gather data. Data for this study are the artworks made by the participants, idea starter sheets, participant written reflections, their oral answers to interview questions, and my observations of the classes. The participants in this study are students from four intact classrooms of high school beginning art. This study produced multiple findings, such as: The artworks revealed differences between collaborative classes and autonomous classes. Additionally, no differences were revealed from the written and oral responses made by the participants in the two classes. I conclude that, when given the opportunity to collaborate or work autonomously, high school beginning art students in this study made different artworks but made no different oral and written responses.
ContributorsBomberg-Roth, Patricia (Author) / Erickson, Mary (Thesis advisor) / Stokrocki, Mary (Committee member) / Young, Bernard (Committee member) / Arizona State University (Publisher)
Created2014
Description
This ethnographic study contributes to the literature on Latin@ youth in the US by focusing on the experiences of Latin@ youth in Arizona and their identity management practices. The data from 9 months of field observations and 11 unstructured interviews provides a vivid picture of the youth's daily encounters. Using a thematic analysis this study reveals the youth's experiences in occupying predominantly white spaces, managing privilege, and managing negative stereotypes. The youth's involvement at El Centro, an Arizona nonprofit organization, provided them a safe space in which they created a familial environment for themselves and their peers.
ContributorsTerminel Iberri, Ana (Author) / Mean, Lindsey (Thesis advisor) / Téllez, Michelle (Thesis advisor) / Gruber, Diane (Committee member) / Arizona State University (Publisher)
Created2014
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
Description
Career and technical education was founded on the common practice of apprenticeships integrated into the public schools at the beginning of the 20th century as manual arts, which continued to evolve into a culture and practice of its own as vocational education, and into what is now career and technical education,with an evolving focus on college and career readiness. This study sought to collect and compare the perceptions of superintendents, principals, assistant principals, and deans who were affiliated with ten Northeastern Arizona high schools, which were members of Northern Arizona Vocational Institute of Technology (NAVIT) to seven similar sized high schools in rural Arizona, which were not affiliated with NAVIT. The NAVIT schools were members of the Joint Technological Educational District. The member schools were required by intergovernmental agreement to operate their career and technical education programs by specific guidelines and curriculum.This study also compared the combined average academic achievement of the 2011 CTE concentrators of the NAVIT high schools, the non-NAVIT high schools, and all Arizona statewide CTE concentrators. Both NAVIT and non-NAVIT administrators were administered a survey, designed to measure perceptions of college/postsecondary preparation, career guidance and counseling,academic tracking, and curriculum. Results revealed that both NAVIT and non-NAVIT administrators were supportive of career and technical education, but for different reasons. The NAVIT administrators tended to view students in career and technical education programs as more mainstream, with college opportunities. The non-NAVIT administrators supported career and technical education as a system of programs that offered students opportunities for success, whether college bound or not. A significant number of NAVIT and non-NAVIT administrators opted for no opinion responses for several potentially controversial survey questions, which suggested discomfort with the topics. The academic achievement of the NAVIT, non-NAVIT, and statewide CTE concentrators as measured by the Arizona Instrument to Measure Standards pass rates were marginal between groupings. The statewide average was highest, followed by NAVIT, and non-NAVIT. Recommendations for further research include conducting personal interviews of administrators to better assess leaders' perceptions of career and technical education and their influences on the academic and postsecondary career successes of students.
ContributorsHaussman, Charles E (Author) / Spencer, Dee Ann (Thesis advisor) / Appleton, Nicholas (Committee member) / Mckinnon, Jeri (Committee member) / Arizona State University (Publisher)
Created2012