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- Genre: Doctoral Dissertation
Description
The purpose of this study is to raise questions by exploring, writing, imagining, and telling the musical life stories of Billy Cioffi. Billy Cioffi is a professional musician, band leader, private teacher, professor of English, and, formerly, a musical director for acts such as Chuck Berry, Del Shannon, and others. In this document I explore the life of Billy Cioffi with the following questions in mind: 1. What might Billy's musical experiences, expertise, teaching, and learning teach us about music education? 2. What might the story of Billy’s musical life cause us to question about institutional music education? 3. How might his story trouble beliefs and perceptions about music teaching and learning? Prior to Billy’s story, which appears as a novella, I raise questions about popular music, its histories, and its place in music education contexts. Following the novella, I invite readers into four different “endings” to this document.
ContributorsBickmore, Isaac (Author) / Stauffer, Sandra (Thesis advisor) / Schmidt, Margaret (Committee member) / Mantie, Roger (Committee member) / Tobias, Evan (Committee member) / Thompson, Jason (Committee member) / Arizona State University (Publisher)
Created2017
Description
Engagement as a concept and emerging theory has been explored, but key elements have not been clearly described, and as such, work has not been comprehensive in nature. Research was needed to explore the concept and theory of engagement in general, as well its application to the study of volunteer tourism. Additional research was also needed to incorporate youth perspectives of a volunteer tourism program, along with exploration of engagement impacts on program youth. The purpose of this case study was to explore participant engagement in a volunteer tourism youth education program and impacts on program youth as perceived by program participants (volunteer tourist teachers, adult residents, and program youth). Confined within the Engagement Theoretical Framework, data were retrieved from nonprofit documents and websites, researcher observations, individual interviews, and focus groups (two focus groups used participant generated photo elicitation method).
Findings suggest participant engagement in a volunteer tourism program is related to the themes of connection, communication, and hope. The primary reason participant engagement in this program is due to the Mpingo (tree), the symbolic bridge between community members and volunteer tourist teachers. This culturally relevant symbol has linkages to the study of signs (or symbols) called semiotics. Through volunteers traveling to this area to teach, this culturally relevant symbol helps to connect, aids in the communication between, and gives hope to, participants. Significant contributions of this study to literature include: volunteer tourist and community member engagement plays an important role in the planning, and the sustaining, of volunteer tourism community development programs today; program youth perspectives about program impacts may result in prospective youth leadership and future adult civic engagement; program skill matched volunteers are likely to be repeat volunteers which leads to group cohesion and program sustainability; and the major theme of hope appears to be a significant motive for program participation in a community development project. In terms of deep meaning ascribed to culturally relevant symbols, this unique finding contributes to engagement research by understanding there are multiple dimensions involved in a diverse group of participants engaged in a specific community program.
Findings suggest participant engagement in a volunteer tourism program is related to the themes of connection, communication, and hope. The primary reason participant engagement in this program is due to the Mpingo (tree), the symbolic bridge between community members and volunteer tourist teachers. This culturally relevant symbol has linkages to the study of signs (or symbols) called semiotics. Through volunteers traveling to this area to teach, this culturally relevant symbol helps to connect, aids in the communication between, and gives hope to, participants. Significant contributions of this study to literature include: volunteer tourist and community member engagement plays an important role in the planning, and the sustaining, of volunteer tourism community development programs today; program youth perspectives about program impacts may result in prospective youth leadership and future adult civic engagement; program skill matched volunteers are likely to be repeat volunteers which leads to group cohesion and program sustainability; and the major theme of hope appears to be a significant motive for program participation in a community development project. In terms of deep meaning ascribed to culturally relevant symbols, this unique finding contributes to engagement research by understanding there are multiple dimensions involved in a diverse group of participants engaged in a specific community program.
ContributorsOlsen, Lana Margaret (Author) / Andereck, Kathleen (Thesis advisor) / Buzinde, Christine (Committee member) / Vogt, Christine (Committee member) / Mantie, Roger (Committee member) / Arizona State University (Publisher)
Created2018
Description
The purpose of this study was to trouble existing conceptions of disability that ground music education literature and practice. I sought plausible insights into how disability is experienced in, through, and/or around music by participants who are disabled persons/persons with disabilities (DP/PwD). Insights gained might allow readers to complexify and trouble taken-for-granted assumptions about disability. Questions included: (a) How do participants experience disability in, through, and around music? (b) What plausible insights related to disability can be gained by attending to participants’ experiences of disability in, through, and around music? (c) What plausible insights related to inclusion can be gained by attending to participants’ experiences of disability in, through, and around music? The inquiry approach was grounded in Buberian relational ontology, phenomenology, interactional theories of disability, and narrative.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
ContributorsRathgeber, Jesse (Author) / Stauffer, Sandra L (Thesis advisor) / Mantie, Roger (Committee member) / Schmidt, Margaret (Committee member) / Solís, Ted (Committee member) / Tobias, Evan S (Committee member) / Arizona State University (Publisher)
Created2019
Description
The purpose of this study was to collect specific data concerning the use of financial resources from extant adult community bands that are members of the Association of Concerts Bands (ACB). An adult community band is defined as an ensemble consisting primarily of amateur adult woodwind, brass, and percussion performers, the majority of whom are not satisfying school, college, or military requirements through participation.
This investigation comprises two main parts: 1) a perusal of the development of adult community bands within the overall history of bands in the United States, including, when possible, financial aspects of their operations; and 2) an examination of financial trends in ACB organizations, as illustrated by survey data.
An electronic survey was designed to examine six questions: 1) what are the budgets of today’s community bands, 2) how do bands compensate their staff and personnel, 3) where are bands spending their money, 4) what are their sources of income, 5) how are their current financial trends different than Peter Martin’s 1983 study on community bands, and 6) are there trends in regards to their expenses, revenues, bands’ longevity, and locations? In order to make more accurate conclusions, the author divided bands into five classes, based on their financial structure, to analyze and compare data.
Five major trends were observed: 1) current adult bands are usually non-profit organizations that list monetary compensation for their conductors on their Annual Operating Budget (AOB), 2) fifty-four percent (54%) of bands with an AOB spend between $4,000 and $19,999, 3) after adjusting for inflation, monetary compensation has remained nearly the same over the last thirty-four years, 4) music is the most common expense among adult bands, and 5) since 1983, the number of bands reporting government funding as a revenue source has decreased.
This investigation comprises two main parts: 1) a perusal of the development of adult community bands within the overall history of bands in the United States, including, when possible, financial aspects of their operations; and 2) an examination of financial trends in ACB organizations, as illustrated by survey data.
An electronic survey was designed to examine six questions: 1) what are the budgets of today’s community bands, 2) how do bands compensate their staff and personnel, 3) where are bands spending their money, 4) what are their sources of income, 5) how are their current financial trends different than Peter Martin’s 1983 study on community bands, and 6) are there trends in regards to their expenses, revenues, bands’ longevity, and locations? In order to make more accurate conclusions, the author divided bands into five classes, based on their financial structure, to analyze and compare data.
Five major trends were observed: 1) current adult bands are usually non-profit organizations that list monetary compensation for their conductors on their Annual Operating Budget (AOB), 2) fifty-four percent (54%) of bands with an AOB spend between $4,000 and $19,999, 3) after adjusting for inflation, monetary compensation has remained nearly the same over the last thirty-four years, 4) music is the most common expense among adult bands, and 5) since 1983, the number of bands reporting government funding as a revenue source has decreased.
ContributorsRaya, Bryan (Author) / Hill, Gary (Thesis advisor) / Caslor, Jason (Committee member) / Bailey, Wayne (Committee member) / Rockmaker, Jody (Committee member) / Mantie, Roger (Committee member) / Arizona State University (Publisher)
Created2017
Description
In this study, I offer a critique of representational thought and the related concept of intentionality in the theory and practice of curriculum in arts education. I use the philosophies of Jacques Derrida and Gilles Deleuze alongside new materialist and posthumanist theory to interrogate three figures of representational thought in arts education: the art object, the curriculum as enclosure, and the transmission-acquisition theory of learning. My analysis of these figures reveals how the theory and practice of curriculum in arts education uses privileged forms of interiority—the work of art, human subjectivity, and intentional consciousness—to pre-judge difference(s) according to recognizable subject-object determinations and established values. I argue that in the guise of representational thought, such determinations often (re)produce divisions and hierarchies of the human and nonhuman that, while making differences visible and knowable, also encloses them in fixed images. In arts education, such representational enclosures produce exclusionary boundaries for participation and learning which subordinate difference to identity, matter to form, and creativity to already-given determinations of subject and object in the mind of the intending human subject. I suggest that thinking about curriculum and learning in terms of inclosure rather than enclosure may allow arts educators to create living curricular forms that respond to and affirm differences rather contain them under representational identities.
ContributorsShowen, Austin (Author) / Mantie, Roger (Thesis advisor) / Stauffer, Sandra (Thesis advisor) / Sandlin, Jennifer (Committee member) / Arizona State University (Publisher)
Created2021