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- Genre: Doctoral Dissertation
Description
This study examined the intended and unintended consequences associated with the Education Value-Added Assessment System (EVAAS) as perceived and experienced by teachers in the Houston Independent School District (HISD). To evaluate teacher effectiveness, HISD is using EVAAS for high-stakes consequences more than any other district or state in the country. A large-scale electronic survey was used to investigate the model's reliability and validity; to determine whether teachers used the EVAAS data in formative ways as intended; to gather teachers' opinions on EVAAS's claimed benefits and statements; and to understand the unintended consequences that occurred as a result of EVAAS use in HISD. Mixed methods data collection and analyses were used to present the findings in user-friendly ways, particularly when using the words and experiences of the teachers themselves. Results revealed that the reliability of the EVAAS model produced split and inconsistent results among teacher participants, and teachers indicated that students biased the EVAAS results. The majority of teachers did not report similar EVAAS and principal observation scores, reducing the criterion-related validity of both measures of teacher quality. Teachers revealed discrepancies in the distribution of EVAAS reports, the awareness of trainings offered, and among principals' understanding of EVAAS across the district. This resulted in an underwhelming number of teachers who reportedly used EVAAS data for formative purposes. Teachers disagreed with EVAAS marketing claims, implying the majority did not believe EVAAS worked as intended and promoted. Additionally, many unintended consequences associated with the high-stakes use of EVAAS emerged through teachers' responses, which revealed among others that teachers felt heightened pressure and competition, which reduced morale and collaboration, and encouraged cheating or teaching to the test in attempt to raise EVAAS scores. This study is one of the first to investigate how the EVAAS model works in practice and provides a glimpse of whether value-added models might produce desired outcomes and encourage best teacher practices. This is information of which policymakers, researchers, and districts should be aware and consider when implementing the EVAAS, or any value-added model for teacher evaluation, as many of the reported issues are not specific to the EVAAS model.
ContributorsCollins, Clarin (Author) / Amrein-Beardsley, Audrey (Thesis advisor) / Berliner, David C. (Committee member) / Fischman, Gustavo E (Committee member) / Arizona State University (Publisher)
Created2012
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
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
The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
ContributorsBrown, Jr., Fredrick Marcell (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Schmelz, Peter (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
ContributorsWu, Xuelai (Author) / Campbell, Andrew (Thesis advisor) / DeMars, James (Committee member) / Landschoot, Thomas (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2017
Description
The work of collaborative pianists can vary widely, requiring a large spectrum of musical and foreign language skills. In addition, many non-musical skills are required of collaborative pianists in order to adapt to various types of work, the roles they assume, and the needs of the people they encounter professionally. Collaborative pianists usually develop good habits for survival on the job, but rarely receive preliminary training in capacities such as facilitation, maintaining objectivity in collaboration, asking good questions, and giving feedback effectively. The emerging field of teaching artistry offers a wealth of information for the development of these non-musical skills in collaborative pianists. The skills necessary for teaching artistry and collaborative piano frequently overlap, which is instructive for collaborative pianists as they prepare for their various musical and leadership roles. This paper explores shared practices between these disciplines, how they can enhance the activities of a collaborative pianist, and also help them develop skills as arts advocates. Advocating techniques for new music and audience engagement are addressed, as well as programming, content development and building teams around projects. The idea of the collaborative pianist becoming a teaching artist is also explored, as the diverse activities and experiences of a collaborative pianist can serve as valuable resources. All of these approaches to non-musical skills focus on building strong processes, leading to creative activities that are process-driven rather than product-driven. This study seeks to enrich activities of collaborative pianists through the application of teaching artist capacities and pave pathways for new, more effective professional collaborations.
ContributorsWitt, Juliana (Author) / Campbell, Andrew (Thesis advisor) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2020
Description
Teacher evaluation policies have recently shifted in the United States. For the first time in history, many states, districts, and administrators are now required to evaluate teachers by methods that are up to 50% based on their "value-added," as demonstrated at the classroom-level by growth on student achievement data over time. Other related instruments and methods, such as classroom observations and rubrics, have also become common practices in teacher evaluation systems. Such methods are consistent with the neoliberal discourse that has dominated the social and political sphere for the past three decades. Employing a discourse analytic approach that called upon a governmentality framework, the author used a complementary approach to understand how contemporary teacher evaluation polices, practices, and instruments work to discursively (re)define teachers and teacher quality in terms of their market value.
For the first part of the analysis, the author collected and analyzed documents and field notes related to the teacher evaluation system at one urban middle school. The analysis included official policy documents, official White House speeches and press releases, evaluation system promotional materials, evaluator training materials, and the like. For the second part of the analysis, she interviewed teachers and their evaluators at the local middle school in order to understand how the participants had embodied the market-based discourse to define themselves as teachers and qualify their practice, quality, and worth accordingly.
The findings of the study suggest that teacher evaluation policies, practices, and instruments make possible a variety of techniques, such as numericization, hierarchical surveillance, normalizing judgments, and audit, in order to first make teachers objects of knowledge and then act upon that knowledge to manage teachers' conduct. The author also found that teachers and their evaluators have taken up this discourse in order to think about and act upon themselves as responsibilized subjects. Ultimately, the author argues that while much of the attention related to teacher evaluations has focused on the instruments used to measure the construct of teacher quality, that teacher evaluation instruments work in a mutually constitutive ways to discursively shape the construct of teacher quality.
For the first part of the analysis, the author collected and analyzed documents and field notes related to the teacher evaluation system at one urban middle school. The analysis included official policy documents, official White House speeches and press releases, evaluation system promotional materials, evaluator training materials, and the like. For the second part of the analysis, she interviewed teachers and their evaluators at the local middle school in order to understand how the participants had embodied the market-based discourse to define themselves as teachers and qualify their practice, quality, and worth accordingly.
The findings of the study suggest that teacher evaluation policies, practices, and instruments make possible a variety of techniques, such as numericization, hierarchical surveillance, normalizing judgments, and audit, in order to first make teachers objects of knowledge and then act upon that knowledge to manage teachers' conduct. The author also found that teachers and their evaluators have taken up this discourse in order to think about and act upon themselves as responsibilized subjects. Ultimately, the author argues that while much of the attention related to teacher evaluations has focused on the instruments used to measure the construct of teacher quality, that teacher evaluation instruments work in a mutually constitutive ways to discursively shape the construct of teacher quality.
ContributorsHolloway-Libell, Jessica (Author) / Amrein-Beardsley, Audrey (Thesis advisor) / Anderson, Kate T. (Thesis advisor) / Berliner, David C. (Committee member) / Arizona State University (Publisher)
Created2014
Description
The reed quintet is an intriguing and innovative chamber ensemble that offers adistinctive soundscape to the genre of chamber music. Through significant efforts to
legitimize the ensemble, the reed quintet now exists as a viable option for chamber
musicians. However, a significant challenge remains in the limited accessibility of
repertoire suitable for developing musicians interested in reed quintets. REED
REVOLUTION: A Fundamental Approach to Reed Quintet represents a comprehensive
solution, offering aspiring student chamber musicians the essential pedagogical tools and
materials needed to excel in a reed quintet setting.
This method book encompasses a wide array of strategies aimed at fostering a
functional and collaborative ensemble, establishing foundational chamber music skills,
and introducing five original compositions commissioned specifically for this project.
With REED REVOLUTION, student reed quintets can begin their chamber music journey
equipped with tools to become a successful ensemble prepared to explore the existing
reed quintet repertoire. Additionally, the method book includes a collection of online
resources and recordings, performed by the Arcane Reed Quintet, produced by Dr.
Joshua Gardner, and recorded by Jin Studios, LLC. These resources include reference
recordings and practice tracks for each instrument and the ensemble, serving as
invaluable aids in the learning process.
ContributorsMacDonald, Benjamin Xavier (Author) / Creviston, Christopher (Thesis advisor) / Gardner, Joshua (Committee member) / Shea, Nicholas (Committee member) / Arizona State University (Publisher)
Created2023
Description
Over the past 20 years in the United States (U.S.), teachers have seen a marked
shift in how teacher evaluation policies govern the evaluation of their performance.
Spurred by federal mandates, teachers have been increasingly held accountable for their
students’ academic achievement, most notably through the use of value-added models
(VAMs)—a statistically complex tool that aims to isolate and then quantify the effect of
teachers on their students’ achievement. This increased focus on accountability ultimately
resulted in numerous lawsuits across the U.S. where teachers protested what they felt
were unfair evaluations informed by invalid, unreliable, and biased measures—most
notably VAMs.
While New Mexico’s teacher evaluation system was labeled as a “gold standard”
due to its purported ability to objectively and accurately differentiate between effective
and ineffective teachers, in 2015, teachers filed suit contesting the fairness and accuracy
of their evaluations. Amrein-Beardsley and Geiger’s (revise and resubmit) initial analyses
of the state’s teacher evaluation data revealed that the four individual measures
comprising teachers’ overall evaluation scores showed evidence of bias, and specifically,
teachers who taught in schools with different student body compositions (e.g., special
education students, poorer students, gifted students) had significantly different scores
than their peers. The purpose of this study was to expand upon these prior analyses by
investigating whether those conclusions still held true when controlling for a variety of
confounding factors at the school, class, and teacher levels, as such covariates were not
included in prior analyses.
Results from multiple linear regression analyses indicated that, overall, the
measures used to inform New Mexico teachers’ overall evaluation scores still showed
evidence of bias by school-level student demographic factors, with VAMs potentially
being the most susceptible and classroom observations being the least. This study is
especially unique given the juxtaposition of such a highly touted evaluation system also
being one where teachers contested its constitutionality. Study findings are important for
all education stakeholders to consider, especially as teacher evaluation systems and
related policies continue to be transformed.
shift in how teacher evaluation policies govern the evaluation of their performance.
Spurred by federal mandates, teachers have been increasingly held accountable for their
students’ academic achievement, most notably through the use of value-added models
(VAMs)—a statistically complex tool that aims to isolate and then quantify the effect of
teachers on their students’ achievement. This increased focus on accountability ultimately
resulted in numerous lawsuits across the U.S. where teachers protested what they felt
were unfair evaluations informed by invalid, unreliable, and biased measures—most
notably VAMs.
While New Mexico’s teacher evaluation system was labeled as a “gold standard”
due to its purported ability to objectively and accurately differentiate between effective
and ineffective teachers, in 2015, teachers filed suit contesting the fairness and accuracy
of their evaluations. Amrein-Beardsley and Geiger’s (revise and resubmit) initial analyses
of the state’s teacher evaluation data revealed that the four individual measures
comprising teachers’ overall evaluation scores showed evidence of bias, and specifically,
teachers who taught in schools with different student body compositions (e.g., special
education students, poorer students, gifted students) had significantly different scores
than their peers. The purpose of this study was to expand upon these prior analyses by
investigating whether those conclusions still held true when controlling for a variety of
confounding factors at the school, class, and teacher levels, as such covariates were not
included in prior analyses.
Results from multiple linear regression analyses indicated that, overall, the
measures used to inform New Mexico teachers’ overall evaluation scores still showed
evidence of bias by school-level student demographic factors, with VAMs potentially
being the most susceptible and classroom observations being the least. This study is
especially unique given the juxtaposition of such a highly touted evaluation system also
being one where teachers contested its constitutionality. Study findings are important for
all education stakeholders to consider, especially as teacher evaluation systems and
related policies continue to be transformed.
ContributorsGeiger, Tray (Author) / Amrein-Beardsley, Audrey (Thesis advisor) / Anderson, Kate (Committee member) / McGuire, Keon (Committee member) / Holloway, Jessica (Committee member) / Arizona State University (Publisher)
Created2020