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- Genre: Masters Thesis
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
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
Learning analytics application is evolving into a student-facing solution. Student-facing learning analytics dashboards (SFLADs), as one popular application, occupies a pivotal position in online learning. However, the application of SFLADs faces challenges due to teacher-centered and researcher-centered approaches. The majority of SFLADs report student learning data to teachers, administrators, and researchers without direct student involvement in the design of SFLADs. The primary design criteria of SFLADs is developing interactive and user-friendly interfaces or sophisticated algorithms that analyze the collected data about students’ learning activities in various online environments. However, if students are not using these tools, then analytics about students are not useful. In response to this challenge, this study focuses on investigating student perceptions regarding the design of SFLADs aimed at providing ownership over learning. The study adopts an approach to design-based research (DBR; Barab, 2014) called the Integrative Learning Design Framework (ILDF; Bannan-Ritland, 2003). The theoretical conjectures and the definition of student ownership are both framed by Self-determination theory (SDT), including four concepts of academic motivation. There are two parts of the design in this study, including prototypes design and intervention design. They are guided by a general theory-based inference which is student ownership will improve student perceptions of learning in an autonomy-supportive SFLAD context. A semi-structured interview is used to gather student perceptions regarding the design of SFLADs aimed at providing ownership over learning.
ContributorsLi, Siyuan (Author) / Zuiker, Steven (Thesis advisor) / Cunningham, James (Committee member) / Lande, Micah (Committee member) / Arizona State University (Publisher)
Created2019
Description
In this study, the current literature regarding student engagement and student voice were reviewed to explore the connection between these two classroom elements. Currently, frequently incorporating student voice in order to increase student engagement most commonly takes place at the high school and university levels. Thus, utilizing Finn’s (1989) participation-identification theory, this study set out to implement a practical design intervention in an elementary classroom to increase student engagement through the incorporation of student voice. Using Design-Based Research, I implemented a collaborative reflection process which allowed students, teacher/researcher, and co-educators to provide feedback on classroom task and participant structures. The feedback was then considered for further iterations of the task and participant structures. This was a pilot study of the collaborative reflection process and was implemented in a fourth-grade math classroom with 26 participants. Along with participating in the collaborative reflection process, the student participants also took a 26 question Learner Empowerment Measure to survey their feelings of identity with the classroom before and after the design intervention. After analyzing audio data gathered during the classroom tasks, as well as student feedback, it was found that student participation did increase due to the design intervention. However, there was no measurable difference in students’ feelings of identity with the classroom due to the collaborative reflection process. Future studies should consider implementing the collaborative reflection process in multiple classrooms across diverse activities during the school year.
ContributorsSanders, Elizabeth (Author) / Zuiker, Steven (Thesis advisor) / Jordan, Michelle (Committee member) / Henderson, J. Bryan (Committee member) / Arizona State University (Publisher)
Created2019
Description
Today’s science education has been highly criticized in the United States despite reform efforts that attempt to promote more wholistic and integrated goals for teaching and learning science, which include both the understanding of key content and the acquisition of scientific skills. Outdoor education may be a means with which to better engage students in science, but educators often find this type of teaching difficult to adopt for a variety of reasons. Nature journaling may be a useful access point to outdoor education for teachers experiencing those barriers. This study examines a six-month implementation of nature journaling activities in a high school Ecology & Animal Behavior course. It was found that students completing nature journaling in this classroom utilized both scientific knowledge and scientific practices in their work, and that instances and depth of these demonstrations increased as a general trend over time, which may be considered successful learning according to situativity theory. Further, students communicated their understanding of what they were accomplishing through their journal work as highly beneficial, though their own perceptions of their competencies in scientific practices did not change. Though additional research needs to be conducted, this study points to a potentially positive relationship between modern science education and outdoor learning through nature journal activities.
ContributorsSuloff, Sarah (Author) / Weinberg, Andrea (Thesis advisor) / Jordan, Michelle (Committee member) / Franz, Nico (Committee member) / Arizona State University (Publisher)
Created2021