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Description
This philosophical inquiry explores the work of philosophers Gilles Deleuze and Félix Guattari and posits applications to music education. Through the concepts of multiplicities, becoming, bodies without organs, smooth spaces, maps, and nomads, Deleuze and Guattari challenge prior and current understandings of existence. In their writings on art, education, and how might one live, they assert a world consisting of variability and motion. Drawing on Deleuze and Guattari's emphasis on time and difference, I posit the following questions: Who and when are we? Where are we? When is music? When is education? Throughout this document, their philosophical figuration of a rhizome serves as a recurring theme, highlighting the possibilities of complexity, diverse connections, and continual processes. I explore the question "When and where are we?" by combining the work of Deleuze and Guattari with that of other authors. Drawing on these ideas, I posit an ontology of humans as inseparably cognitive, embodied, emotional, social, and striving multiplicities. Investigating the question "Where are we?" using Deleuze and Guattari's writings as well as that of contemporary place philosophers and other writers reveals that humans exist at the continually changing confluence of local and global places. In order to engage with the questions "When is music?" and "When is education?" I inquire into how humans as cognitive, embodied, emotional, social, and striving multiplicities emplaced in a glocalized world experience music and education. In the final chapters, a philosophy of music education consisting of the ongoing, interconnected processes of complicating, considering, and connecting is proposed. Complicating involves continually questioning how humans' multiple inseparable qualities and places integrate during musical and educative experiences. Considering includes imagining the multiple directions in which connections might occur as well as contemplating the quality of potential connections. Connecting involves assisting students in forming variegated connections between themselves, their multiple qualities, and their glocal environments. Considering a rhizomatic philosophy of music education includes continually engaging in the integrated processes of complicating, considering, and connecting. Through such ongoing practices, music educators can promote flourishing in the lives of students and the experiences of their multiple communities.
ContributorsRicherme, Lauren Kapalka (Author) / Stauffer, Sandra (Thesis advisor) / Gould, Elizabeth (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2013
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Efforts to privilege STEM (Science, Technology, Engineering, and Mathematics) disciplines, initiatives, and industries in American discourse are arguably the foremost expressions of scientific authority in contemporary educational policy. Citing a diverse body of STEM literature, I discuss the histories and rationales that sustain the promotion of STEM. In doing so, I appropriate two concepts -Michel Foucault's Regime of Truth and Hayden White's Emplotment- for the purpose of analyzing the complex interests embodied by STEM discourse. I argue that the Sputnik Narrative is the prevailing story in STEM advocacy discourse. I claim that STEM advocates typically emplot this history as a Romance. Furthermore, I classify two major bases of appeal (rationales) that appear within this literature to justify STEM projects and proposals, "competition" and "equity." Throughout my writing, I cite discursive strategies for challenging and reimagining STEM history. My goal in indicating these sites of narrative possibilities is broaden the discursive field to new, perhaps liberating possibilities.
ContributorsGeldis, Christopher (Author) / Harris, Lauren M (Thesis advisor) / Lyon, Edward (Committee member) / Greenes, Carole (Committee member) / Arizona State University (Publisher)
Created2014
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project offers an exploration of the constitution of English language learners (ELLs) in the state of Arizona as subjects of government through the discursive rationalities of rule that unfolded alongside the Flores v. Arizona case. The artifacts under consideration span the 22 years (1992-2014) of Flores' existence so far. These artifacts include published academic scholarship; Arizona's legislative documents and floor debate audio and video; court summaries, hearings, and decisions; and public opinion texts found in newspapers and online, all of which were produced in response to Flores. These artifacts lay bare but some of the discursive rationalities that have coagulated to form governable elements of the ELL student population--ways of knowing them, measuring them, regarding them, constituting them, and intervening upon them. Somehow, some way, students who do not speak English as their first language have become a social problem to be solved. ELLs are therein governed by rationalities of English language normalization, of enterprise, of entrepreneurship, of competition, of empowerment, and of success. In narrating rationalities of rule that appear alongside the Flores case, I locate some governmental strategies in how subjects conduct themselves and govern the conduct of others with the hope that seeing subject constitution as a work of thought and not a necessary reality will create a space for potentially unknown alternatives. Through this work, I'd like to make possible the hope of thinking data differently, rejecting superimposition of meaning onto artifact, being uncomfortable, uncertain, undefinitive, and surprised. With that, this work encourages potential paths to trod in the field of curriculum studies.
ContributorsThomas, Melinda Arlene Hollis (Author) / Carlson, David Lee (Thesis advisor) / Malewski, Erik (Committee member) / Fischman, Gustavo (Committee member) / Brass, Jory (Committee member) / Arizona State University (Publisher)
Created2014
Description
The need for a critical education in a democracy, its difficulties, and how to reform this field requires urgent attention. This project begins with the premise that education is necessary for a vibrant democracy. While examining differing voices that advocate for educational reform, mainly that of Critical Pedagogy, it is shown how conflicting forms are advocating similar ideals. Henry Giroux and David Horowitz, both reformers that are on opposite sides of the political spectrum appear to have similar goals. Yet, the question becomes how to solve these differences between these parties? By examining the philosophical origins of these projects and explicating differences rooted in human nature and the good, the basic differences can begin to be shown. In showing these differences it requires going back to the work of Kant. Kant shows the necessity of beginning with philosophy and examining basic assumptions in order to begin to critique and build an education that would guarantee equality.
ContributorsNolen, Matthew (Author) / Wise, Greg (Thesis advisor) / Anderson, Owen (Committee member) / Ramsey, Ramsey (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsPagano, Caio, 1940- (Performer) / Mechetti, Fabio (Conductor) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Rodrigues, Christiano (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Avanti Festival Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
ContributorsSchuring, Martin (Performer) / Stromberg, Eric (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-08-19
ContributorsDe La Cruz, Nathaniel (Performer) / LoGiudice, Rosa (Contributor) / Tallino, Michael (Performer) / McKinch, Riley (Performer) / Li, Yuhui (Performer) / Armenta, Tyler (Contributor) / Gonzalez, David (Performer) / Jones, Tarin (Performer) / Ryall, Blake (Performer) / Senseman, Stephen (Performer)
Created2018-10-10