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- All Subjects: Violin and piano music
ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
This study investigates ways in which music teachers make personal sense of their professional selves and their perceptions of their places within the broader landscape of music education relative to other types of music teachers in school and community settings. A social phenomenological framework based on the writing of Alfred Schutz was used to examine how participants constructed a sense of self in their social worlds and how they both shaped and were shaped by their social worlds. Eight music teachers participated in this study and represented differing types of music teaching careers, including: public school general music teaching and ensemble directing; independent studio teaching and teaching artistry; studio lessons, classes, and ensembles at community music centers; church ensemble directing; and other combinations of music teaching jobs throughout school and community settings. Data were collected from in-depth interviews, observations of the music teachers in their various teaching roles, and artifacts related to their music teaching positions. Research questions included: Who do the participants conceive of themselves to be as music professionals and music teachers; How do they construct and enact their professional selves, including their teaching selves; How is their construction of professional self, including teaching self, supported and sustained by interactions in their social worlds; and, What implications does this have for the music profession as a whole? After developing a professional portrait of each participant, analysis revealed an overall sense of professional self and various degrees of three role-taking selves: performing, teaching, and musical. Analysis also considered sense of self in relation to social worlds, including consociates, contemporaries, predecessors, and successors, and the extent to which performing, teaching, and musical selves were balanced, harmonized, or reconciled for each participant. Social worlds proved influential in terms of participants' support for sense of self. Participants who enacted the most harmonized, reconciled senses of self appeared to have a professional self that was grounded in a strong sense of musical self, enabling them to think and act flexibly. Participants whose professional selves were dominated by a strong sense of teaching or performing self seemed confined by the structures of their social world particular to teaching or performing, lacked a sense of musical self, and were less able to think and act flexibly. Findings suggest that active construction of consociate relationships throughout varied social worlds can support a balanced, reconciled conception of self, which informs teaching practice and furthers the ability to act in entrepreneurial ways.
ContributorsBucura, Elizabeth (Author) / Stauffer, Sandra (Thesis advisor) / Landes, Heather (Committee member) / Tobias, Evan (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2013
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
The rise of print book culture in sixteenth-century England had profound effects on understandings of identity that are reflected in the prose, poetry, and drama of the age. Drawing on assemblage and actor-network theory, this dissertation argues that models of identity constructed in relation to books in Renaissance England are neither static nor self-contained, arising instead out of a collaborative engagement with books as physical objects that tap into historically specific cultural discourses. Renaissance representations of book usage blur the boundary between human beings and their books, both as textual carriers and as physical artifacts.
The first chapter outlines the relationship between book history and assemblage theory to examine how books contribute to the assembly of the human subject in different ways for readers, owners, and authors and to lay a theoretical and historical foundation for reading cultural assemblages in later chapters. The second chapter studies how authors and sometimes printers attempt as makers of books to construct public identities through them. The chapter focuses on how Edmund Spenser’s Shepheardes Calender and Isabella Whitney’s poetry anthologies play with texts and paratexts in order to create the illusion of control over the resulting authorial persona, even while acknowledging that the book itself is a deterritorialized element of their own identities with particular agencies of its own. The third chapter investigates how Renaissance drama represents human beings using books to curate their identity assemblages both publicly and inwardly, particularly as depicted in the work of Thomas Kyd, William Shakespeare, and the author of Arden of Faversham. The successes and failures of these assemblages on the stage reflect anxieties about the book as an agentive object in an assembled identity. The fourth chapter examines the prose work of Philip Sidney, Roger Ascham, and Fulke Greville, considering the obsession with travel books and writing as a reflection of wider notions about the permeability and possible contamination by foreign influences of the self constructed through books and writings related to travel.
The first chapter outlines the relationship between book history and assemblage theory to examine how books contribute to the assembly of the human subject in different ways for readers, owners, and authors and to lay a theoretical and historical foundation for reading cultural assemblages in later chapters. The second chapter studies how authors and sometimes printers attempt as makers of books to construct public identities through them. The chapter focuses on how Edmund Spenser’s Shepheardes Calender and Isabella Whitney’s poetry anthologies play with texts and paratexts in order to create the illusion of control over the resulting authorial persona, even while acknowledging that the book itself is a deterritorialized element of their own identities with particular agencies of its own. The third chapter investigates how Renaissance drama represents human beings using books to curate their identity assemblages both publicly and inwardly, particularly as depicted in the work of Thomas Kyd, William Shakespeare, and the author of Arden of Faversham. The successes and failures of these assemblages on the stage reflect anxieties about the book as an agentive object in an assembled identity. The fourth chapter examines the prose work of Philip Sidney, Roger Ascham, and Fulke Greville, considering the obsession with travel books and writing as a reflection of wider notions about the permeability and possible contamination by foreign influences of the self constructed through books and writings related to travel.
ContributorsAdams, John Henry (Author) / Fox, Cora (Thesis advisor) / Moulton, Ian F (Committee member) / Ryner, Bradley D. (Committee member) / Irish, Bradley J. (Committee member) / Arizona State University (Publisher)
Created2015
Description
The life of Jean-Michel Basquiat is often misinterpreted in artistic discourse. From a social justice perspective, Basquiat's work is not merely art. Despite the symbolism and subject matter open for analysis, Basquiat articulated the self in relation to nuances of race, socio-economy, and historical scripts based upon real relations and conditions. Of the genre of Neo-Expressionism without a disciplined schooling in art, Jean-Michel is categorized as 'primitive' in style and form, labeled the "first black artist." Beyond the art world's possessive confines and according to post-colonial aesthetics, Jean-Michel articulates the existence of a learning self. With a pedagogical lens, a process of becoming an "artist" deepened Basquiat's expressions of self in relation to a “white” art world, which typically restricted the artist to specific categories and definitional parameters.
While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self.
While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self.
ContributorsDiffie, Dillon (Author) / Lauderdale, Pat (Thesis advisor) / Vicenti Carpio, Myla (Committee member) / Swadener, Beth Blue (Committee member) / Arizona State University (Publisher)
Created2017
Description
ABSTRACT
It is critical for students to be provided with opportunities to learn in settings that foster their academic growth. It is equally important that schools endeavor to be a place where students’ social and emotional needs are met as well. However, due to lack of funding, over-testing, inappropriate evaluation measures, and other persistent policy pressures, our public schools have often resorted to a focus on raising standardized test scores through direct instruction with an increasingly narrowed curriculum. As a result, schools have often become places in which students, rather than being seen as valued future members of a productive society, are part of the bleak statistics that shine a spotlight on how our schools have failed to motivate and connect with the students of today. Consequently, many educators have come to believe they are not influential enough to make a significant difference, and have resigned themselves to accepting their current situation. The problem with this thinking is that it minimizes the purpose of the job we promised to do – to educate.
The innovation I implemented and describe in my dissertation can be characterized with one word – dialogue. Dialogue that occurs for the purpose of understanding and learning more about that which we do not know. In this innovation, I endeavored to demonstrate how social learning by way of dialogic discussion could not only support students’ academic growth, but their social and emotional growth as well. Results from the data collected and analyzed in this study suggest social learning had a highly positive impact both on how students learned and how they viewed themselves as learners.
Education is one of the cornerstones of our country. Educational opportunities that help meet the academic and social-emotional needs of students should not be seen as a privilege but rather as a fundamental right for all students. Equally, the right to express one’s thoughts, opinions and ideas is a foundational element in our democratic society. Failing to connect with our students and teach them how to exercise these rights in our classrooms is to fail ourselves as educators.
It is critical for students to be provided with opportunities to learn in settings that foster their academic growth. It is equally important that schools endeavor to be a place where students’ social and emotional needs are met as well. However, due to lack of funding, over-testing, inappropriate evaluation measures, and other persistent policy pressures, our public schools have often resorted to a focus on raising standardized test scores through direct instruction with an increasingly narrowed curriculum. As a result, schools have often become places in which students, rather than being seen as valued future members of a productive society, are part of the bleak statistics that shine a spotlight on how our schools have failed to motivate and connect with the students of today. Consequently, many educators have come to believe they are not influential enough to make a significant difference, and have resigned themselves to accepting their current situation. The problem with this thinking is that it minimizes the purpose of the job we promised to do – to educate.
The innovation I implemented and describe in my dissertation can be characterized with one word – dialogue. Dialogue that occurs for the purpose of understanding and learning more about that which we do not know. In this innovation, I endeavored to demonstrate how social learning by way of dialogic discussion could not only support students’ academic growth, but their social and emotional growth as well. Results from the data collected and analyzed in this study suggest social learning had a highly positive impact both on how students learned and how they viewed themselves as learners.
Education is one of the cornerstones of our country. Educational opportunities that help meet the academic and social-emotional needs of students should not be seen as a privilege but rather as a fundamental right for all students. Equally, the right to express one’s thoughts, opinions and ideas is a foundational element in our democratic society. Failing to connect with our students and teach them how to exercise these rights in our classrooms is to fail ourselves as educators.
ContributorsOhanian, Jennifer Lyn (Author) / Hermanns, Carl (Thesis advisor) / Jordan, Michelle (Committee member) / Durden, Felicia (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsWhite, Aaron (Performer) / Kim, Olga (Performer) / Hammond, Marinne (Performer) / Shaner, Hayden (Performer) / Yoo, Katie (Performer) / Shoemake, Crista (Performer) / Gebe, Vladimir, 1987- (Performer) / Wills, Grace (Performer) / McKinch, Riley (Performer) / Freshmen Four (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-27
ContributorsRosenfeld, Albor (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-03