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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
Statistics is taught at every level of education, yet teachers often have to assume their students have no knowledge of statistics and start from scratch each time they set out to teach statistics. The motivation for this experimental study comes from interest in exploring educational applications of augmented reality (AR) delivered via mobile technology that could potentially provide rich, contextualized learning for understanding concepts related to statistics education. This study examined the effects of AR experiences for learning basic statistical concepts. Using a 3 x 2 research design, this study compared learning gains of 252 undergraduate and graduate students from a pre- and posttest given before and after interacting with one of three types of augmented reality experiences, a high AR experience (interacting with three dimensional images coupled with movement through a physical space), a low AR experience (interacting with three dimensional images without movement), or no AR experience (two dimensional images without movement). Two levels of collaboration (pairs and no pairs) were also included. Additionally, student perceptions toward collaboration opportunities and engagement were compared across the six treatment conditions. Other demographic information collected included the students' previous statistics experience, as well as their comfort level in using mobile devices. The moderating variables included prior knowledge (high, average, and low) as measured by the student's pretest score. Taking into account prior knowledge, students with low prior knowledge assigned to either high or low AR experience had statistically significant higher learning gains than those assigned to a no AR experience. On the other hand, the results showed no statistical significance between students assigned to work individually versus in pairs. Students assigned to both high and low AR experience perceived a statistically significant higher level of engagement than their no AR counterparts. Students with low prior knowledge benefited the most from the high AR condition in learning gains. Overall, the AR application did well for providing a hands-on experience working with statistical data. Further research on AR and its relationship to spatial cognition, situated learning, high order skill development, performance support, and other classroom applications for learning is still needed.
ContributorsConley, Quincy (Author) / Atkinson, Robert K (Thesis advisor) / Nguyen, Frank (Committee member) / Nelson, Brian C (Committee member) / Arizona State University (Publisher)
Created2013
Description
Incidental learning of sequential information occurs in visual, auditory and tactile domains. It occurs throughout our lifetime and even in nonhuman species. It is likely to be one of the most important foundations for the development of normal learning. To date, there is no agreement as to how incidental learning occurs. The goal of the present set of experiments is to determine if visual sequential information is learned in terms of abstract rules or stimulus-specific details. Two experiments test the extent to which interaction with the stimuli can influence the information that is encoded by the learner. The results of both experiments support the claim that stimulus and domain specific details directly shape what is learned, through a process of tuning the neuromuscular systems involved in the interaction between the learner and the materials.
ContributorsMarsh, Elizabeth R (Author) / Glenberg, Arthur M. (Thesis advisor) / Amazeen, Eric (Committee member) / Brewer, Gene (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
Categories are often defined by rules regarding their features. These rules may be intensely complex yet, despite the complexity of these rules, we are often able to learn them with sufficient practice. A possible explanation for how we arrive at consistent category judgments despite these difficulties would be that we may define these complex categories such as chairs, tables, or stairs by understanding the simpler rules defined by potential interactions with these objects. This concept, called grounding, allows for the learning and transfer of complex categorization rules if said rules are capable of being expressed in a more simple fashion by virtue of meaningful physical interactions. The present experiment tested this hypothesis by having participants engage in either a Rule Based (RB) or Information Integration (II) categorization task with instructions to engage with the stimuli in either a non-interactive or interactive fashion. If participants were capable of grounding the categories, which were defined in the II task with a complex visual rule, to a simpler interactive rule, then participants with interactive instructions should outperform participants with non-interactive instructions. Results indicated that physical interaction with stimuli had a marginally beneficial effect on category learning, but this effect seemed most prevalent in participants were engaged in an II task.
ContributorsCrawford, Thomas (Author) / Homa, Donald (Thesis advisor) / Glenberg, Arthur (Committee member) / McBeath, Michael (Committee member) / Brewer, Gene (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
Due to the push down of academics, today's elementary students are being asked to learn more concepts and sit for longer periods of time. Sitting slows thinking, whereas movement wakes up the brain. Using movement to learn is embodied cognition, or learning through both the body and the brain. Movement should be part of instruction for young students; however teachers are often not sure how to incorporate movement in their lesson plans. The Japanese practice of lesson study may help because it embeds teachers' new learning in their classrooms while intimately connecting it to the learning of their students, and it links with the cyclical, constructed theory of learning provided by Vygotsky Space. If teachers incorporate movement in their lessons, children have the potential to become more engaged and learn. This action research study was designed to understand if two first grade, two second grade, and one third grade teacher at a Title One elementary school in the Southwestern United States could learn how to use movement more during instruction through lesson study. This innovation took place for 14-weeks during which 12 lessons using movement were developed and taught. Data were collected prior to the study and during each portion of the cyclical process including, while teachers learned, during lessons using movement, and when lessons were discussed and changed. The data sources were pre and post teacher surveys, student surveys, observation protocols, lesson plans, transcripts of lesson study meetings, and researcher notes. To reduce bias a triangulated mixed methods design was used. Results indicate that through lesson study teachers were able to learn about movement, try it, observe the results, and adjust it to fit their teaching style and their students' needs. Data showed increased student engagement in lessons that incorporated movement as evidenced in the students' words, bodies, and learning. After participating in the study, the teachers realized they personally use movement to learn, and teachers' efficacy regarding their ability to plan movement in their lessons increased. Additionally, they started purposefully planning movement across their curriculum. Based on the results, further cycles
ContributorsLyding, Linnea (Author) / Zambo, Debby (Thesis advisor) / Hansen, Cory (Committee member) / Isai, Shelley (Committee member) / Arizona State University (Publisher)
Created2012
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