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- All Subjects: Jazz
- All Subjects: Clarinet and piano music
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
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
This study collected and examined information on K-12 teachers currently involved in online education in the United States. The purposes of this study included defining the demographics of these teachers, determining the extent to which they were formally educated and/or trained to teach online, and to compare these findings to those from a similar study conducted six years earlier. A web-based survey, including questions in both open and closed form, was used to gather data from 325 participants currently teaching at least one online class at publicly funded K-12 online schools nationwide. Survey questions covered the following six domains: a) personal demographics, b) educational background and experience, c) pre-service training, d) in-service training, and e) current online teaching assignments. The results of this study indicate that those currently teaching online to K-12 students have demographic characteristics that are similar to face-to-face teachers, particularly in terms of gender, age, and ethnicity/race; however, the online teachers generally had higher levels of educational attainment, more years of teaching experience, and were significantly more likely to teach on a part-time basis. It was found that teachers working with K-12 students online are self-motivated, place a high value on learning and education, and enjoy the challenge and process of using technology for this purpose. Based on findings, only a limited number of university-based teacher preparation programs address any aspect of the methods and techniques required for teaching online, and even fewer offer online field placement opportunities for pre-service teachers. For the most part, current online teachers were found to have received training after graduation, while working in the field. Further research is needed to specifically define and empirically validate the methods and techniques required for effective online teaching at the K-12 levels so that formal educational and training programs can be further developed to effectively prepare future K-12 online teachers.
ContributorsLarson, Jean Sutton (Author) / Archambault, Leanna (Thesis advisor) / Savenye, Wilhelmina (Thesis advisor) / Bitter, Gary (Committee member) / Arizona State University (Publisher)
Created2014
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
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Undergraduate teacher preparation programs face scrutiny regarding pre-service teachers' preparation upon graduation. Specifically, scholars contend that teacher preparation programs do not adequately prepare pre-service teachers to plan for effective instruction. Situated in the Mary Lou Fulton Teachers College at Arizona State University, this action research study used the Theory of Pedagogical Content Knowledge to examine (a) how pre-service teachers developed unit planning practices using the Backward Design framework and (b) the pedagogical teaching practices used as they implemented the unit plan in the classroom. During the student teaching course, pre-service teachers received instruction on how to use the Backward Design framework to plan a unit of instruction to implement in their placement classroom. Results from the mixed-methods study provided evidence that Backward Design was an effective way for pre-service teachers to plan instruction. Results from the study indicated that implementing and reflecting on lessons taught from the unit plan contributed to the pedagogical teaching practices used in the classroom. Furthermore, results demonstrated that designing, implementing, and reflecting on the unit plan contributed to a shift in how participants viewed themselves. Through the study, they began to view themselves more as a teacher, than a pre-service student teacher. Keywords: teacher preparation programs, unit planning, instructional practices
ContributorsBoozer, April (Author) / Carlson, David (Thesis advisor) / Barnard, Wendy (Committee member) / Holmes, Shaun (Committee member) / Arizona State University (Publisher)
Created2014
Description
Mary Lou Fulton Teachers College at Arizona State University recently adopted a "technology infusion" approach to prepare teacher candidates (TC) to integrate technology into their instruction and meet the International Society for Technology in Education Standards for Teachers (ISTE Standards*T) by infusing technology integration approaches into methods courses. At the onset of the technology infusion approach, one important ISTE Standard-T was neglected in the curriculum--that is, digital citizenship (DC), i.e., the responsible, legal, and ethical use of technology. To address this problem of practice, a suite of teaching materials and support services was created, the Technology Infusion Support System (TISS), to help instructors effectively teach DC. The suite consisted of four online modules on essential DC topics including copyright/fair use, digital footprint/social media, acceptable use policies, and responsible student behavior. The support component consisted of ongoing just-in-time support from a technology integration specialist, an instructor's guide, and a resource folder.
This mixed methods action research study was conducted to examine: DC instruction by those who used the TISS and the influence of DC instruction on TC's intention to promote and model DC in their future classrooms. With respect to the second objective, the Theory of Planned Behavior (TPB) guided study efforts.
Participants included teacher education faculty members who taught DC in technology-infused methods courses, their students, and the technology infusion specialists who provided ongoing support to instructors throughout the duration of the study. Data gathered included survey data, observations, focus group interviews, instructor interviews, and researcher journal entries. Results suggested the TISS was a useful intervention in a college using a technology infusion approach. Course instructors provided consistent instruction on a topic outside of their area of expertise. Further, there was a significant increase in the students' intention to promote and model DC in their future classrooms. The discussion focuses on explaining: the effectiveness of DC instruction; how instruction in DC changes students' intentions to promote and model DC; and the usefulness of the TPB model in understanding how attitudes toward DC, and perceived behavioral control, i.e., efficacy, influence intention to promote and model DC.
This mixed methods action research study was conducted to examine: DC instruction by those who used the TISS and the influence of DC instruction on TC's intention to promote and model DC in their future classrooms. With respect to the second objective, the Theory of Planned Behavior (TPB) guided study efforts.
Participants included teacher education faculty members who taught DC in technology-infused methods courses, their students, and the technology infusion specialists who provided ongoing support to instructors throughout the duration of the study. Data gathered included survey data, observations, focus group interviews, instructor interviews, and researcher journal entries. Results suggested the TISS was a useful intervention in a college using a technology infusion approach. Course instructors provided consistent instruction on a topic outside of their area of expertise. Further, there was a significant increase in the students' intention to promote and model DC in their future classrooms. The discussion focuses on explaining: the effectiveness of DC instruction; how instruction in DC changes students' intentions to promote and model DC; and the usefulness of the TPB model in understanding how attitudes toward DC, and perceived behavioral control, i.e., efficacy, influence intention to promote and model DC.
ContributorsLindsey, LeeAnn (Author) / Buss, Ray R (Thesis advisor) / Zucker, Stanley (Committee member) / Fritschi, Jennifer (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
ContributorsBurton, Charlotte (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-08