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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
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
The primary goals of this study were to empirically identify subgroups of socially withdrawn youth in late childhood using latent profile analysis and to examine profiles of students' scholastic adjustment. Further, comparisons of the academic functioning for different subtypes of withdrawn children, with particular emphasis on socially disinterested and socially avoidant youth, were made. Participants were 358 fifth grade children. Results indicated that theoretical subtypes of socially withdrawn youth emerge among fifth grade students (i.e., shy, socially disinterested, socially avoidant, and nonwithdrawn). Additionally, associations among subtype membership and various indices of academic engagement and achievement demonstrated unique academic profiles depending on subgroup classification. In particular, youth who were identified as socially avoidant were at greatest risk for academic difficulties compared to their peers. Findings also emerged for socially disinterested youth indicating some degree of academic maladjustment associated with a preference for solitude. These findings have implications for students exhibiting different forms of social withdrawal for their academic functioning in later childhood.
ContributorsSechler, Casey M (Author) / Ladd, Gary W. (Thesis advisor) / Kochel, Karen P. (Committee member) / Kochenderfer-Ladd, Becky (Committee member) / Arizona State University (Publisher)
Created2012
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
Research regarding social competence is growing rapidly, but there remain a few aspects of social development that merit more attention. The presented pair of studies were planned to address two such areas in the social development literature, specifically the longitudinal trajectories of social competence and the role of social competence in second language development in language minority (LM) students. The goal of the first investigation was to examine the developmental trends of interpersonal skills (IS) across the early childhood and elementary school years in a nationally representative, U.S. sample. The goal of the second study was to examine whether differing trajectories of IS development in language minority children in the U.S. were related to their language and literacy (LL) skills at grade 5. Both studies utilized data from the Early Childhood Longitudinal Study - Kindergarten Class of 1998-1999 and modeled ratings of children's IS at five time points between fall of kindergarten and spring of fifth grade using latent class growth analyses in Mplus. In study 1, the best model was a quadratic two-class latent class growth analysis. Trajectory class 1 was a higher-level path with a marginally significant non-linear shape and class 2 was a primarily stable, moderate level path with a slight, non-significant increase over time. The same pattern of results emerged for both boys and girls separately as with the combined-sex model, and in all three final models the proportion of the sample in the higher-level class was greater than the moderate-level class. In study 2 a sample of U.S. children whose primary language at home was something other than English was utilized. LL at the start of kindergarten and sex were included as covariates and LL in fifth grade as a distal outcome. The best model for the data was a cubic two-class latent class growth analysis. Class 1 followed a higher-level path with small, incremental change over time and class 2 was a moderate-level path with greater undulation. Both covariates significantly predicted latent class and language and literacy scores at grade 5 differed significantly across classes.
ContributorsDiDonato, Alicia (Author) / Wilcox, M. Jeanne (Thesis advisor) / Bradley, Robert (Committee member) / Wilkens, Natalie (Committee member) / Valiente, Carlos (Committee member) / Arizona State University (Publisher)
Created2014
Description
This study investigated father-child Activation Theory and the impact of activative fathering on children's dysregulation and social skills. The sample followed 145 families of typically developing children across ages 4 to 6. Fathering and mothering behaviors were coded via naturalistic observations at child age 4, children's dysregulation was coded during a laboratory puzzle task at age 5, and children's social skills were rated by parents and teachers at age 6. Results found support for a constellation of activative fathering behaviors unique to father-child interactions. Activative fathering, net of mothering behaviors, predicted decreased behavioral dysregulation one year later. Support was not found for moderation of the relation between activative fathering and children's dysregulation by paternal warmth, nor was support found for children's dysregulation as a mediator of the relation between activative fathering and children's social skills. These results suggest that parenting elements of father-child activation are unique to fathering and may be more broadly observable in naturalistic contexts not limited to play activities alone. Additionally, activative fathering appears to uniquely influence children's self-regulatory abilities above and beyond identical mothering behavior. In the present work, paternal warmth was not a necessary for activative fathering to positively contribute to children's regulatory abilities nor did children's dysregulation link activative fathering to social skills.
ContributorsStevenson, Matthew (Author) / Crnic, Keith (Thesis advisor) / Dishion, Thomas (Committee member) / Bradley, Robert (Committee member) / Eisenberg, Nancy (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
This dissertation examines Japanese preschool teachers' cultural practices and beliefs about the pedagogy of social-emotional development. The study is an interview-based, ethnographic study, which is based on the video-cued mutivocal ethnographic method. This study focuses on the emic terms that Japanese preschool teachers use to explain their practices, such as amae (dependency), omoiyari (empathy), sabishii (loneliness), mimamoru (watching and waiting) and garari (peripheral participation). My analysis suggests that sabishii, amae, and omoiyari form a triad of emotional exchange that has a particular cultural patterning and salience in Japan and in the Japanese approach to the socialization of emotions in early childhood. Japanese teachers think about the development of the class as a community, which is different from individual-centric Western pedagogical perspective that gives more attention to each child's development. Mimamoru is a pedagogical philosophy and practice in Japanese early childhood education. A key component of Japanese teachers' cultural practices and beliefs about the pedagogy of social-emotional development is that the process requires the development not only of children as individuals, but also of children in a preschool class as a community. In addition, the study suggests that at a deeper level these emic concepts reflect more general Japanese cultural notions of time, space, sight, and body. This dissertation concludes with the argument that teachers' implicit cultural practices and beliefs is "A cultural art of teaching." Teachers' implicit cultural practices and beliefs are harmonized in the teachers' mind and body, making connections between them, and used depending on the nuances of a situation, as informed by teachers' conscious and unconscious thoughts. The study has also shown evidence of similar practices and logic vertically distributed within Japanese early childhood education, from the way teachers act with children, to the way directors act with teachers, to the way government ministries act with directors, to the way deaf and hearing educators act with their deaf and hearing students. Because these practices are forms of bodily habitus and implicit Japanese culture, it makes sense that they are found across fields of action.
ContributorsHayashi, Akiko (Author) / Tobin, Joseph (Thesis advisor) / Eisenberg, Nancy (Committee member) / Nakagawa, Kathryn (Committee member) / Fischman, Gustavo (Committee member) / Swadener, Elizabeth (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
The purpose of this study was to examine the effects of an after-school music program on music underachievers' musical achievement, social development and self-esteem. A true-experimental pretest-posttest design was used and included 14 hours of treatment time. The subjects (N = 66), fifth-grade students were randomly selected from the lowest quartile of scores on Colwell's Music Achievement Test (MAT), which was administered to all fifth-grade students (N = 494) in three Korean elementary schools. The treatment group (n =33) experienced a movement-based after-school music program (MAMP); the control group (n = 33) did not receive the after-school music program. Measurements included sections of Colwell's Music Achievement Test (MAT), Kim's Social Development Scale (SDS), and Hare's Self-Esteem Scale (HSS). The researcher and music teachers of each school administered all measurements. Fourteen treatment lessons occurred over fourteen weeks. One-way analyses of covariance tests were used to test for post-test differences between groups. A significant difference was found in music achievement total scores of the MAT with the treatment group scoring higher scores than the control group. There were no significant differences for interval and meter discrimination tests of MAT. There were no significant differences between treatment and control groups in the post-test scores of the Social Development Scale (SDS) and the Self-Esteem Scale (HSS). However, for both tests, mean scores increased for the treatment group and decreased for the control group. Results from this study suggest that a movement-based after-school music program promotes music underachievers' musical growth and may also support music underachievers' social development and self-esteem.
ContributorsYun, Gwan Ki (Author) / Stauffer, Sandra L (Thesis advisor) / Bush, Jeffrey B (Committee member) / Schmidt, Margaret T (Committee member) / Sullivan, Jill M (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2011