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- All Subjects: Clarinet and piano music
Description
Examining the elements of the hidden curriculum in theatre education allows theatre educators the opportunity to reflect on their own pedagogy and its effects on the learner. The hidden curriculum refers to the unspoken or implicit values, norms, and beliefs that are transmitted through tacit messages. When the hidden curriculum remains veiled, the impact on the learner's education and socialization process can perpetuate gender, race, and class inequalities. In order to understand how the hidden curriculum manifests itself in theatre classrooms, we have to look at schools as "agents of legitimation, organized to produce and reproduce the dominant categories, values, and social relationships necessary for the maintenance of the larger society" (Giroux, 1983, p. 72). This qualitative study examined the hidden curriculum in theatre at the secondary level and looked at theatre teachers' pedagogy in reproducing elements of the hidden curriculum. Interviews, naturalistic observation, and a researcher reflective journal were employed in the data collection process to better understand: a) the elements of hidden curriculum that appear in theatre education at the secondary level, b) how the pedagogical practices of theatre teachers support societal structures, and c) how the hidden curriculum in theatre reinforces gender, race, and social class distinctions. Data were then coded and analyzed to find emergent themes. Multiple theoretical perspectives serve as a conceptual framework for understanding the hidden curriculum, and provide a neglected perspective of the hidden curriculum in theatre education. The theatre classroom provides a unique space to view hidden curriculum and can be viewed as a unique agent of social change. Themes related to the first research question emerged as: a) privileges for older students, b) school rules, c) respect for authority, d) acceptance of repetitive tasks, and c) punctuality. Themes related to the second research question emerged as: a) practices, b) procedures, c) rules, d) relationships, and e) structures. Finally, themes related to the third question emerged as: a) reinforcement of social inequality, b) perpetuation of class structure, and c) acceptance of social destiny. The discussion looks at the functions of theatre pedagogy in the reproduction of class, inequality, and institutionalized cultural norms.
ContributorsHines, Angela R (Author) / Saldana, Johnny (Thesis advisor) / Malewski, Erik (Committee member) / Fischman, Gustavo (Committee member) / Arizona State University (Publisher)
Created2013
Description
Multivariate forms of social oppression, such as racism, linguicism, and heterosexism, are manifested in schools that, as part of our communities, reflect the societal stratification and structural inequalities of a larger society. Teacher educators engaged in multicultural education are responsible for providing pre-service teachers with opportunities to critically examine the intricacies of cultural diversity in U.S. classrooms, developing critical multicultural dispositions. What are effective pedagogical strategies that encourage pre-service teachers to develop such critical multicultural practices? The researcher has found that participatory theatre, including Boalian theatre games, Forum Theatre, Image Theatre, and ethnodrama, can be a transformative, emancipatory pedagogical tool to engage students in critical and creative exploration of cultural diversity. The primary objective of this study is to illustrate how pre-service teachers develop critical consciousness through attending the researcher's multicultural teacher education classroom, which was designed at the nexus of Freirean and Boalian critical (performance) pedagogy, followed by analyzing his teaching practice, which focuses mainly on participatory theatre exercises. This doctoral dissertation is an ethnographic documentary of the researcher's striving to challenge the hegemonic status quo in teacher education by liberating himself from the anti-dialogical banking educator, and encouraging his students to liberate themselves as passive consumers of education. Such reflection may provide teacher educators with examples of counter-hegemonic (artistic) practice for social change relating to their own work.
ContributorsMitsumura, Masakazu (Author) / Tobin, Joseph (Thesis advisor) / Saldana, Johnny (Committee member) / Sterling, Pamela (Committee member) / Arizona State University (Publisher)
Created2012
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Guided by Clifford Geertz's notion of culture as symbolic stories people tell themselves about themselves, the purpose of this study is to examine how youth in an urban area of Phoenix, AZ experience collectively creating and performing original documentary theatre. I pay attention to the ways youth participants--also known as artist-researchers--construct, perform, and/or perceive their identities as they practice drama techniques including improvisation, physical theatre, and Theatre of the Oppressed for the purposes of making docutheatre for social justice. First the artist-researchers chose the topics for their play. Next, they learned and applied drama and research skills to gather and examine data sources used to construct a script that explores hiding and exposure. In the process of sharing and gathering true stories our unique docutheatre-making culture was created. This multimodal qualitative research case study draws upon the genres of arts-based research and visual ethnography as primary modes of data collection and interpretation. Narrative description and the ethnodramatic mode of representation are used in conjunction with still images and this study's companion website (www.meant2see.com) to report research findings. Primary data sources include participant observation fieldnotes, over twenty hours of recorded video footage, photographs, and the project's original script and performance of To Be What's Not Meant to See . Further data include journal entries, drawings, and social media. All data were coded using In Vivo and Process Coding methods and analyzed through a cultural studies lens. Codes were sorted into phenomenological categories representative of recurring ideas and themes. Assertions were then solidified once specific key linkages were constructed. This study's key assertions are: Key Assertion 1: Participation in devising documentary social justice theatre influences and affects the construction, perception, and/or performance of urban youth identities through profound connections made with interviewees during the interview process and through the collection of true stories that provide new information and rare opportunities for self-reflection and self-realization; Key Assertion 2: Portions of the roles urban youth play in their identity narratives are disguised or hidden--purposefully, reluctantly, and/or subconsciously--in order to appeal to friends, families, or the codes of dominant culture.
ContributorsGiannone, Enza (Author) / Saldana, Johnny (Thesis advisor) / Etheridge Woodson, Stephani (Committee member) / Margolis, Eric (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsBurton, Charlotte (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-08
ContributorsDruesedow, Elizabeth (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsClements, Katrina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-15
Description
In May 2014, The Encyclopedia Show: Chicago performed its last volume. Like all others before, the Show was a collection of performances devised by artists, musicians, poets and playwrights all performing various subtopics surrounding a central theme, taken from “an actual Encyclopedia.” The final show was Volume 56 for Chicago; the founding city ended their six year run with an amassed body of work exploring topics ranging from Wyoming to Alan Turing, Serial Killers to Vice Presidents.
Perhaps more impressive than the monthly performance event in Chicago is the fact that the show has been “franchised” to organizers and performers in at least seventeen cities. Franchise agreements mandated that for at least the first year of performance, topics were to follow Chicago’s schedule, thus creating an archive of Shows around the world, each that started with Bears, moved to The Moon, onto Visible Spectrum of Color, and so on.
Now that the Chicago show has ended, I wonder what will happen to the innovative format for community performance that has reached thousands of audience members and inspired hundreds of individual performances across the globe in a six-year period.
This project, like much of my own work, has two aims: first, to provide the first substantive history of The Encyclopedia Show for archival purposes; and second, to explore whether this format can be used to achieve the goals of “interdisciplinarity” in the classroom. In an effort to honor my own interests in multiple academic disciplines and in an attempt to capture the structural and performative “feel” of an Encyclopedia Show, this dissertation takes the shape of an actual Encyclopedia Show. The overarching topic of this “show” is: Michelle Hill: The Doctoral Process. In an actual Encyclopedia Show, subtopics would work to explore multiple perspectives and narratives encompassed by the central topic. As such, my “subtopics” are devoted to the roles I have played throughout my doctoral process: historian, academic, teacher. A fourth role, performer, works to transition between the sections and further create the feel of a “breakage” from a more traditional dissertation.
Perhaps more impressive than the monthly performance event in Chicago is the fact that the show has been “franchised” to organizers and performers in at least seventeen cities. Franchise agreements mandated that for at least the first year of performance, topics were to follow Chicago’s schedule, thus creating an archive of Shows around the world, each that started with Bears, moved to The Moon, onto Visible Spectrum of Color, and so on.
Now that the Chicago show has ended, I wonder what will happen to the innovative format for community performance that has reached thousands of audience members and inspired hundreds of individual performances across the globe in a six-year period.
This project, like much of my own work, has two aims: first, to provide the first substantive history of The Encyclopedia Show for archival purposes; and second, to explore whether this format can be used to achieve the goals of “interdisciplinarity” in the classroom. In an effort to honor my own interests in multiple academic disciplines and in an attempt to capture the structural and performative “feel” of an Encyclopedia Show, this dissertation takes the shape of an actual Encyclopedia Show. The overarching topic of this “show” is: Michelle Hill: The Doctoral Process. In an actual Encyclopedia Show, subtopics would work to explore multiple perspectives and narratives encompassed by the central topic. As such, my “subtopics” are devoted to the roles I have played throughout my doctoral process: historian, academic, teacher. A fourth role, performer, works to transition between the sections and further create the feel of a “breakage” from a more traditional dissertation.
ContributorsHill, Michelle (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Linde, Jennifer (Committee member) / Early, Jessica (Committee member) / Underiner, Tamara (Committee member) / Arizona State University (Publisher)
Created2017