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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
With changes in federal legislation and the proposed reauthorization of The Elementary and Secondary Education Act, school administrators are held to high standards in an attempt to improve achievement for all students. They no longer just manage their schools but must now be instructional leaders charged with observing and conferencing with teachers, leading professional development aligned to data, and measuring results. Classroom walkthroughs have become a way of assisting with these tasks while supporting the mission of each school. The purpose of this research was to describe how walkthroughs operate in practice and how they were experienced by school administration, teacher leaders, and teachers at two schools within the same suburban district. Interviews illustrated that experiences were varied using the classroom walkthrough protocol. Continued professional development needed to occur with administrators and teachers. Participants shared their thoughts on implementation and usage, as well as made recommendations to schools and/or districts considering implementing classroom walkthroughs. Results also indicated a great deal of attention paid to the collection of data within the schools but there was less consensus on the analysis and use of the collected data. There was also confusion with teachers as to the vision, purpose, and goals of using classroom walkthroughs. Changes in leadership during the five years since implementation and young administrators, who were relatively new in their positions, helped shape school experiences. Recommendations to schools and/or districts considering implementation focused on support from the district office, a need for help with data collection and analysis, and a clear vision for the use of the protocol. Interviewees mentioned it would benefit districts and schools to develop a shared vocabulary for instructional engagement, alignment, and rigor, as well as a focus for professional development. They also shared the view that calibration conferences and conversations, centered on instruction, provided a focus for teaching and learning within a school and/or district.
ContributorsCunningham, Alexa Renee (Author) / Danzig, Arnold (Thesis advisor) / Harris, Connie (Committee member) / Hurley, Beverly (Committee member) / Arizona State University (Publisher)
Created2012
Description
The use of educational technologies as a tool to improve academic achievement continues to increase as more technologies becomes available to students. However, teachers are entering the classroom not fully prepared to integrate technology into their daily classroom teaching because they have not been adequately prepared to do so. Teacher preparation programs are falling short in this area because educational technology and the role of technology in the classroom is seen as an extra component to daily teaching rather than a central one. Many teacher preparation programs consist of one stand-alone educational technology course that is expected to prepare teachers to integrate technology in their future classrooms. Throughout the remainder of the program, the teachers are not seeing educational technologies modeled in their other core courses, nor are they getting the hands-on interaction necessary to become more confident in using these technologies with their future students. The purpose of this study was to examine teachers' views of educational technology in the classroom from those enrolled in a graduate program. The study consisted 74 first- and second-year teachers who were enrolled an alternative teacher preparation program. Thirty-four of the teachers received the Integrating Curriculum and Technology (iCAT) intervention and the remaining 40 teachers were part of the control group. Each teacher completed a pre- and post-intervention questionnaire and 23 of the 74 teachers participated in one of three focus group interviews. Additional data from the teachers' course instructors were gathered and analyzed to compliment the focus group and quantitative data. Results showed that iCAT participants' scores for confidence in using technology and efficacy for using educational technology increased at a faster rate than the control group participants' scores. Similarly, confidence in using technology, perceptions about integrating technology in the classroom, and efficacy for using educational technology could be predicted by the amount of hands-on interaction with technology that the teachers received during their graduate course. The discussion focuses on recommendations for infusing technology throughout teacher preparation programs so that teachers have the tools to prepare their students to use a variety of technologies so that their students can be better prepared to complete in today's workforce.
ContributorsKisicki, Todd (Author) / Wetzel, Keith (Thesis advisor) / Bitter, Gary (Thesis advisor) / Buss, Ray (Committee member) / Savenye, Wilhelmina (Committee member) / Arizona State University (Publisher)
Created2012
Description
Recently there has been an increase in the number of people calling for the incorporation of relevant mathematics in the mathematics classroom. Unfortunately, various researchers define the term relevant mathematics differently, establishing several ideas of how relevancy can be incorporated into the classroom. The differences between mathematics education researchers' definitions of relevant and the way they believe relevant math should be implemented in the classroom, leads one to conclude that a similarly varied set of perspectives probably exists between teachers and students as well. The purpose of this exploratory study focuses on how the student and teacher perspectives on relevant mathematics in the classroom converge or diverge. Specifically, do teachers and students see the same lessons, materials, content, and approach as relevant? A survey was conducted with mathematics teachers at a suburban high school and their algebra 1 and geometry students to provide a general idea of their views on relevant mathematics. An analysis of the findings revealed three major differences: the discrepancy between frequency ratings of teachers and students, the differences between how teachers and students defined the term relevance and how the students' highest rated definitions were the least accounted for among the teacher generated questions, and finally the impact of differing attitudes towards mathematics on students' feelings towards its relevance.
ContributorsRedman, Alexandra P (Author) / Middleton, James (Thesis advisor) / Sloane, Finbarr (Committee member) / Blumenfeld-Jones, Donald (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
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
Effectively educating students with autism is a necessary element in providing all students with a free and appropriate public education, and as the number of students diagnosed with an autism spectrum disorder continues to increase in both public and private educational settings, providing successful and satisfactory professional development opportunities in the area of autism is becoming increasingly essential. This study explored the experiences of twenty-three educators in a suburban southwest K-12 public school district, as they participated in a fifteen-hour professional development course in an online or face-to-face format, and collaboratively problem-solved their challenges in educating students with autism. Qualitative data was collected from participants' weekly written reflections and comments from a pre- and post-survey on attitudes, to determine quality of and satisfaction with collaboration in relation to course format. Results indicated that the online format produced higher-quality collaboration when it came to presenting one's own situation(s) to the group, finding group discussions helpful, having enough time to collaborate, providing feedback/suggestions to group members, and perceiving suggestions for one's own situation as helpful (as evidenced by the number of suggestions that participants said they would likely implement). The face-to-face format produced higher-quality collaboration when it came to in-depth problem-solving regarding a situation, implementing suggestions for one's own situation, and relating course content to collaborative activities. Participants' attitudes about using technology as a means of collaboration showed little change overall from pre- to post-survey. Though slight increases in positive attitudes concerning technology were found in various areas, many participants still thought highly of a face-to-face format for collaborative purposes, even after participating in the online professional development course. Findings may be of use to educational institutions developing online or face-to-face professional development opportunities in the area of autism.
ContributorsWozniak, Renee M (Author) / McCoy, Kathleen M. (Thesis advisor) / Puckett, Kathleen (Committee member) / Gehrke, Rebecca (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
Children with epilepsy represent a unique group of students who may require accommodations in school to be optimally successful. Therefore, it is important for teachers to understand the possible academic consequences epilepsy can have on a child. An important step in providing this information about epilepsy to teachers is understanding where they would prefer to acquire this information. The current study examined differences between teachers of differing ages, school levels and special education teaching status in their preferences for gaining information from parents and the internet. Contrary to expectations, older teachers (those 56 years of age and older) were no less likely that younger teachers to prefer information from the internet. As predicted, elementary school teachers were more likely than high school teachers to prefer information from parents. However, interestingly middle school teachers were also more likely to prefer information from parents than high school teachers. Lastly, contrary to hypothesized results, special education teachers were no more likely to prefer information from parents than non-special education colleagues. Limitations of this study, implications for practice and directions for future research are discussed.
ContributorsGay, Catherine (Author) / Wodrich, David (Thesis advisor) / Levy, Roy (Committee member) / Hart, Juliet (Committee member) / Arizona State University (Publisher)
Created2011