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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
Growing popularity of alternatively certifying teachers has created challenges for teacher preparation programs. Many non-traditional routes into classroom include no full-time mentor teacher. Absence of a mentor teacher in the classroom leaves teachers with a deficit. This study follows ten teachers on the intern certificate enrolled in both an alternative certification teacher preparation program and the Teach for America organization as they pursue a master's degree in education and state teaching certification from a large southwestern university. The five randomly chosen for the treatment group and the control group contained 1 male and 4 female teachers, some of whom teach at public schools and others at charter schools. All were secondary education language arts teachers ranging in age from 22- 29. The treatment used in this study is a job-embedded, professional development, software tool designed to help teachers track their classroom practices called MyiLOGS. The purpose of this action research project was to study the effect using MyiLOGS had on six of the nine areas evaluated by a modified version of the Teacher Advancement Program evaluation rubric, alignment with Opportunity To Learn constructs, and the tool's influence on the efficacy of these first year teachers. The data generated from this study indicate that the MyiLOGS tool did have a positive effect on the teachers' TAP evaluation performances. Also, the MyiLOGS tool had a large impact on the teachers' instruction as measured by the constructs of Opportunity to Learn and their teaching self-efficacy. Implications suggested the tool was an asset to these teachers because they tracked their data, became more reflective, and self-sufficient.
ContributorsRoggeman, Pamela (Author) / Puckett, Kathleen (Thesis advisor) / Kurz, Alexander (Committee member) / Mathur, Sarup (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
First-year alternatively certified teachers face significant challenges as they attempt to address the complexities of classroom teaching, particularly when they are assigned to teach in urban school settings. As the number of alternatively certified teachers continues to increase, it is important to provide them with professional development opportunities that address the challenges that they encounter in their first year of teaching. This action research study was conducted to examine a professional development model designed to support the development of a small group of first-year alternatively certified teachers in the Mary Lou Fulton Teachers College (MLFTC) at Arizona State University. As first-year teachers within the Induction, Masters, and Certification (InMAC) program, their professional learning needs were unique. They had an immediate need to effectively acquire knowledge and apply it in their teaching practice as they concurrently completed coursework to obtain their master's degree and certification while serving as the teacher of record. This study provided the opportunity for five first-year alternatively certified teachers to participate in a project that provided professional development to meet their specific needs. This two-pronged professional development model included two components: (a) a mentoring component provided by a recently retired master teacher, and (b) a learning community that included opportunities for observation, collaboration, and reflection with National Board Certified teachers. This study was designed to improve teaching practices and increase teaching self-efficacy among the first-year alternatively certified teacher participants. Results from the mixed-method study provided evidence that the model benefited the participants by improving their teaching practices and increasing their teaching self-efficacy. In the discussion, the importance of non-evaluative feedback provided by the mentors was emphasized. Further, highly developed interpersonal relationships, effective communication processes, and helpful collaborative procedures were useful in understanding how alternatively certified teachers benefited from mentor feedback and guidance. Finally, implications for future practice and further research were offered.
ContributorsPreach, Deborah (Author) / Buss, Ray R (Thesis advisor) / Barnett, Joshua (Committee member) / Gasket, Karen (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
This action research study focused on the beginning teacher attrition issues plaguing schools today. Specifically, this project explored a way to support out-of-state beginning teachers, who are traditionally difficult to retain. While there is literature on teacher retention, the retention of out-of-state teachers has not been well examined. Maslow's hierarchy of needs theory and Bandura's self-efficacy theories provided a foundational understanding of this group's needs.
This study utilized interactive support sessions for six out-of-state beginning teachers that had five face-to-face sessions and required the teachers to submit weekly reflections between sessions using an iPad and app that allowed teachers to design their reflections using digital images, words, and/or narration. These weekly digital reflections, mapping activities collected during the support sessions, a pre- and post-innovation questionnaire, and interviews provided insights on the impact of these supports, as well as changes that occurred in self-perceptions.
The results of this study indicate the challenge and complexities of being an out-of-state beginning teacher. The data showed that the teachers must first have had their basic needs met before they could fully explore and settle into their new identities and role as the classroom teacher. The data also indicated that intentionally teaching these teachers strategies around resiliency, stress management, and self-advocacy was useful for navigating their first semester. The supportive community that developed within the group emerged as a significant finding, and showed the importance of support structures for new teachers, especially for those who are struggling with both a new job and new community.
This study utilized interactive support sessions for six out-of-state beginning teachers that had five face-to-face sessions and required the teachers to submit weekly reflections between sessions using an iPad and app that allowed teachers to design their reflections using digital images, words, and/or narration. These weekly digital reflections, mapping activities collected during the support sessions, a pre- and post-innovation questionnaire, and interviews provided insights on the impact of these supports, as well as changes that occurred in self-perceptions.
The results of this study indicate the challenge and complexities of being an out-of-state beginning teacher. The data showed that the teachers must first have had their basic needs met before they could fully explore and settle into their new identities and role as the classroom teacher. The data also indicated that intentionally teaching these teachers strategies around resiliency, stress management, and self-advocacy was useful for navigating their first semester. The supportive community that developed within the group emerged as a significant finding, and showed the importance of support structures for new teachers, especially for those who are struggling with both a new job and new community.
ContributorsOlson-Stewart, Kelly (Author) / Rotheram-Fuller, Erin (Thesis advisor) / Liou, Daniel (Committee member) / Hargrove, Elizabeth (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
Description
Pedagogical content knowledge (PCK) has been described as the knowledge teachers' use in the process of designing and implementing lessons to a particular group of students. This includes the most effective representations that make the content understandable to students, together with the preconceptions and misconceptions that students hold. For chemistry, students have been found to have difficulty with the discipline due to its reliance upon three levels of representation called the triplet: the macro, the submicro, and the symbolic. This study examines eight beginning chemistry teachers' depiction of the chemistry content through the triplet relationship and modifications as a result of considering students' understanding across the teacher's first three years in the classroom. The data collected included classroom observations, interviews, and artifacts for the purpose of triangulation. The analysis of the data revealed that beginning chemistry teachers utilized the abstract components, submicro and symbolic, primarily in the first year. However, the teachers began to engage more macro representations over time building a more developed instructional repertoire. Additionally, teachers' developed an awareness of and responded to their students' understanding of learning atomic structure during the second and third year teaching. The results of this study call for preservice and induction programs to help novice chemistry teachers build a beginning repertoire that focuses on the triplet relationship. In so doing, the teachers enter the classroom with a repertoire that allows them to address the needs of their students. Finally, the study suggests that the triplet relationship framework should be revisited to include an additional component that frames learning to account for socioscientific issues and historical contributions.
ContributorsAdams, Krista (Author) / Luft, Julie A. (Thesis advisor) / Baker, Dale (Committee member) / Williams, Stanley (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