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Description
In order to analyze data from an instrument administered at multiple time points it is a common practice to form composites of the items at each wave and to fit a longitudinal model to the composites. The advantage of using composites of items is that smaller sample sizes are required in contrast to second order models that include the measurement and the structural relationships among the variables. However, the use of composites assumes that longitudinal measurement invariance holds; that is, it is assumed that that the relationships among the items and the latent variables remain constant over time. Previous studies conducted on latent growth models (LGM) have shown that when longitudinal metric invariance is violated, the parameter estimates are biased and that mistaken conclusions about growth can be made. The purpose of the current study was to examine the impact of non-invariant loadings and non-invariant intercepts on two longitudinal models: the LGM and the autoregressive quasi-simplex model (AR quasi-simplex). A second purpose was to determine if there are conditions in which researchers can reach adequate conclusions about stability and growth even in the presence of violations of invariance. A Monte Carlo simulation study was conducted to achieve the purposes. The method consisted of generating items under a linear curve of factors model (COFM) or under the AR quasi-simplex. Composites of the items were formed at each time point and analyzed with a linear LGM or an AR quasi-simplex model. The results showed that AR quasi-simplex model yielded biased path coefficients only in the conditions with large violations of invariance. The fit of the AR quasi-simplex was not affected by violations of invariance. In general, the growth parameter estimates of the LGM were biased under violations of invariance. Further, in the presence of non-invariant loadings the rejection rates of the hypothesis of linear growth increased as the proportion of non-invariant items and as the magnitude of violations of invariance increased. A discussion of the results and limitations of the study are provided as well as general recommendations.
ContributorsOlivera-Aguilar, Margarita (Author) / Millsap, Roger E. (Thesis advisor) / Levy, Roy (Committee member) / MacKinnon, David (Committee member) / West, Stephen G. (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
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
Science, Technology, Engineering & Mathematics (STEM) careers have been touted as critical to the success of our nation and also provide important opportunities for access and equity of underrepresented minorities (URM's). Community colleges serve a diverse population and a large number of undergraduates currently enrolled in college, they are well situated to help address the increasing STEM workforce demands. Geoscience is a discipline that draws great interest, but has very low representation of URM's as majors. What factors influence a student's decision to major in the geosciences and are community college students different from research universities in what factors influence these decisions? Through a survey-design mixed with classroom observations, structural equation model was employed to predict a student's intent to persist in introductory geology based on student expectancy for success in their geology class, math self-concept, and interest in the content. A measure of classroom pedagogy was also used to determine if instructor played a role in predicting student intent to persist. The targeted population was introductory geology students participating in the Geoscience Affective Research NETwork (GARNET) project, a national sampling of students in enrolled in introductory geology courses. Results from SEM analysis indicated that interest was the primary predictor in a students intent to persist in the geosciences for both community college and research university students. In addition, self-efficacy appeared to be mediated by interest within these models. Classroom pedagogy impacted how much interest was needed to predict intent to persist, in which as classrooms became more student centered, less interest was required to predict intent to persist. Lastly, math self-concept did not predict student intent to persist in the geosciences, however, it did share variance with self-efficacy and control of learning beliefs, indicating it may play a moderating effect on student interest and self-efficacy. Implications of this work are that while community college students and research university students are different in demographics and content preparation, student-centered instruction continues to be the best way to support student's interest in the sciences. Future work includes examining how math self-concept may play a role in longitudinal persistence in the geosciences.
ContributorsKraft, Katrien J. van der Hoeven (Author) / Husman, Jenefer (Thesis advisor) / Semken, Steven (Thesis advisor) / Baker, Dale R. (Committee member) / McConnell, David (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
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
Lexical diversity (LD) has been used in a wide range of applications, producing a rich history in the field of speech-language pathology. However, for clinicians and researchers identifying a robust measure to quantify LD has been challenging. Recently, sophisticated techniques have been developed that assert to measure LD. Each one is based on its own theoretical assumptions and employs different computational machineries. Therefore, it is not clear to what extent these techniques produce valid scores and how they relate to each other. Further, in the field of speech-language pathology, researchers and clinicians often use different methods to elicit various types of discourse and it is an empirical question whether the inferences drawn from analyzing one type of discourse relate and generalize to other types. The current study examined a corpus of four types of discourse (procedures, eventcasts, storytelling, recounts) from 442 adults. Using four techniques (D; Maas; Measure of textual lexical diversity, MTLD; Moving average type token ratio, MATTR), LD scores were estimated for each type. Subsequently, data were modeled using structural equation modeling to uncover their latent structure. Results indicated that two estimation techniques (MATTR and MTLD) generated scores that were stronger indicators of the LD of the language samples. For the other two techniques, results were consistent with the presence of method factors that represented construct-irrelevant sources. A hierarchical factor analytic model indicated that a common factor underlay all combinations of types of discourse and estimation techniques and was interpreted as a general construct of LD. Two discourse types (storytelling and eventcasts) were significantly stronger indicators of the underlying trait. These findings supplement our understanding regarding the validity of scores generated by different estimation techniques. Further, they enhance our knowledge about how productive vocabulary manifests itself across different types of discourse that impose different cognitive and linguistic demands. They also offer clinicians and researchers a point of reference in terms of techniques that measure the LD of a language sample and little of anything else and also types of discourse that might be the most informative for measuring the LD of individuals.
ContributorsFergadiotis, Gerasimos (Author) / Wright, Heather H (Thesis advisor) / Katz, Richard (Committee member) / Green, Samuel (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 presents a structural model of coping with dating violence. The model integrates abuse frequency and solution attribution to determine a college woman's choice of coping strategy. Three hundred, twenty-four undergraduate women reported being targets of some physical abuse from a boyfriend and responded to questions regarding the abuse, their gender role beliefs, their solution attribution and the coping behaviors they executed. Though gender role beliefs and abuse severity were not significant predictors, solution attribution mediated between frequency of the abuse and coping. Abuse frequency had a positive effect on external solution attribution and external solution attribution had a positive effect on the level of use of active coping, utilization of social support, denial and acceptance.
ContributorsBapat, Mona (Author) / Tracey, Terence J.G. (Thesis advisor) / Bernstein, Bianca (Committee member) / Green, Samuel (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study investigated the role of broad cognitive processes in the development of mathematics skills among children and adolescents. The participants for this study were a subsample of a nationally representative sample used in the standardization of the Woodcock-Johnson III Tests of Cognitive Abilities and the Woodcock-Johnson III Tests of Achievement, Normative Update (Woodcock, McGrew, & Mather, 2007). Participants were between 5 years old and 18 years old (N = 4721; mean of 10.98 years, median of 10.00 years, standard deviation of 3.48 years), and were 50.7% male and 49.3% female. Structural equation models supported the theoretical suggestion that broad cognitive processes play significant and specific roles in the development of mathematical skills among children and adolescents. Implications for school psychology researchers and practitioners are discussed.
ContributorsCalderón, Carlos Oreste (Author) / Caterino, Linda (Thesis advisor) / Nakagawa, Kathryn (Thesis advisor) / Knight, George (Committee member) / Mcgrew, Kevin (Committee member) / Arizona State University (Publisher)
Created2012