Matching Items (69)
Description
This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
ContributorsWilkinson, Michael Scott (Author) / Ericson, John (Thesis advisor) / Kocour, Michael (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Approaches to Holocaust representation often take their cues from both academic and public discourse. General opinion demands serious engagement that depicts the full range of the brutality and inhumanity of the genocide and the victimization of targeted groups perpetrated by the National Socialists. Such a treatment is considered necessary to adequately represent the Holocaust for generations to come. The analysis of four texts will show that humor is not only appropriate but is also an important addition to Holocaust discourse. This study argues that humor plays an important role as a stylistic tool for discussing the Holocaust as well as for its remembrance and representation. Jurek Becker's novel Jakob der Lügner and Ruth Klüger's autobiography Weiter Leben: Eine Jugend are witness-texts by Jewish authors. Humor in these two works helps the authors engage and work their experiences. Klüger's autobiography also utilizes humor to critically engage in the discussion of Holocaust representation. This study also analyzes two non-witness Jewish texts: the stage play Mein Kampf by George Tabori and the feature film Mein Führer, die wirklich wahrste Wahrheit über Adolf Hitler by Dani Levy. These two works utilize overt humor to challenge established Holocaust representations. Drawing on ideas from Mikhail M. Bakhtin, Julia Kristeva, Giorgio Agamben, the core argument of this study demonstrates humor performs two main functions in the Holocaust literature and film chosen for this investigation. First, it restores a potential loss of dignity and helps victims endure the incomprehensible. Second, it challenges the prevailing truth and the established order.
ContributorsMeirich, Hanni (Author) / Gilfillan, Daniel (Thesis advisor) / Ghanem, Carla (Committee member) / Holian, Anna (Committee member) / Arizona State University (Publisher)
Created2013
Description
Jazz continues, into its second century, as one of the most important musics taught in public middle and high schools. Even so, research related to how students learn, especially in their earliest interactions with jazz culture, is limited. Weaving together interviews and observations of junior and senior high school jazz players and teachers, private studio instructors, current university students majoring in jazz, and university and college jazz faculty, I developed a composite sketch of a secondary school student learning to play jazz. Using arts-based educational research methods, including the use of narrative inquiry and literary non-fiction, the status of current jazz education and the experiences by novice jazz learners is explored. What emerges is a complex story of students and teachers negotiating the landscape of jazz in and out of early twenty-first century public schools. Suggestions for enhancing jazz experiences for all stakeholders follow, focusing on access and the preparation of future jazz teachers.
ContributorsKelly, Keith B (Author) / Stauffer, Sandra (Thesis advisor) / Tobias, Evan (Committee member) / Kocour, Michael (Committee member) / Sullivan, Jill (Committee member) / Schmidt, Margaret (Committee member) / Arizona State University (Publisher)
Created2013
Description
Wolfgang Haas is an award-winning Austrian author known primarily for his entertaining and quirky detective novels which follow the misadventures of Simon Brenner, an Austrian private investigator. These novels are notable for their subtle and not-so-subtle critiques of contemporary Austrian society and culture, their sometimes grisly content, and their unique and colloquial use of the Austrian variety of the German language. Haas has received numerous literary awards in the German-speaking world and attributes his success to the unique way he tells his stories, rather than the stories themselves. Of the seven Brenner novels that have been published thus far, only one is available in English translation, and he remains virtually unknown in the English-speaking world. This thesis includes a brief biography of Haas and an overview of his career, an analysis of his unique writing style and the problems they pose for a translator, and an English translation of the first two chapters of the novel Silentium! (1999).
ContributorsGeisler, Paul (Author) / Gilfillan, Daniel (Thesis advisor) / Ghanem, Carla (Committee member) / Hogue, Cynthia (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation analyzes contemporary American literature, which includes novels, graphic novels, film, and television of the last forty years, to deconstruct the critical relationship between lived space, institutional power, and trauma. It examines literary representations of traumatic moments in recent American history--the attacks on the World Trade Center, Hurricane Katrina, the emergence of the Homeland Security state, and the introduction of the "new metropolis"--to demonstrate that collective trauma at the turn of the century is very much a product of the individual's complex relationship to the state and its institutional auxiliaries. As many philosophers and social critics have argued, institutional forces in contemporary America often deprive individuals of active political engagement through processes of narrative production, and this study discusses how literature both represents and simulates the traumatic consequences of this encounter. Looking to theories on urban, domestic, and textual space, this dissertation explores and problematizes the political and psychological dimensions of space, demonstrating how trauma is enacted through space and how individuals may utilize space and exploit narrative to achieve critical distance from institutional power. Literature as a narrative medium presents vital opportunities both for exposing the machinery of institutional power and for generating positions against the narratives produced by the state.
ContributorsPattison, Dale (Author) / Gilfillan, Daniel (Thesis advisor) / Clarke, Deborah (Thesis advisor) / Thompson, Ayanna (Committee member) / Arizona State University (Publisher)
Created2013
Description
Christopher Caliendo is a guitarist/composer who has written for a variety of performance mediums. His works been performed on international concert stages and recorded for film and television media. His compositions have garnered him the Henry Mancini Award for Film Composition, the Artin Arslanian Scholarship for Humanities, and the Peabody Grant for Scholarship. He has also received two commissions from the Vatican in 1992 and 1995. In 1988, he received an Emmy nomination for his work with the television series Paradise. The purpose of this project is to present a study of selected clarinet works by Christopher Caliendo: The Tango Concerto No. 1 is a three-movement work that Caliendo arranged for clarinet and piano in 2010, The Little Gypsy was written for solo clarinet, and Jal, Ven a mis Brazos, Amanacer, La Milonga, Acariciame, Amor Perdido, Caliente, Impulso, and Passione comprise a series of nine guitar/clarinet duos that were composed or arranged between 2009 and 2010. The document is comprised of a brief description of the career and compositions of Christopher Caliendo, a performer's guide to the selected works, a track listing for the performance recording, and a list of Caliendo's other clarinet and chamber music compositions that are intended for the concert stage. It is the hope of the author that this project can generate more interest in Christopher Caliendo's clarinet repertoire throughout the clarinet community.
ContributorsQuamo, Jeff (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Kocour, Michael (Committee member) / Hackbarth, Glenn (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
The "Perchtenlauf," a multi-faceted procession of masked participants found in the eastern Alps, has been the subject of considerable discourse and often debate within European ethnology since the mid-19th century. While often viewed from a mythological perspective and characterized as a relic of pre-Christian cult practices, only recently have scholars begun to examine its connection with Carnival. Research of this kind calls for an in-depth analysis of the "Perchtenlauf" that is informed by Bakhtin's theory of the carnivalesque, an aesthetic of festive merriment and the release from social restrictions which is embodied by Carnival traditions. A carnivalesque reading of the "Perchtenlauf" reveals a tradition pregnant with playful ambivalence, celebrations of the lower body, and the inversion of social hierarchies. Past interpretations of the "Perchtenlauf" have often described its alleged supernatural function of driving away the harmful forces of winter, however its carnavalesque elements have definite social functions involving the enjoyment of certain liberties not sanctioned under other circumstances. The current study solidifies the relationship between the "Perchtenlauf" and Carnival using ethnographic, historical, and etymological evidence in an attempt to reframe the discourse on the tradition's form and function in terms of carnivalesque performance.
ContributorsNatko, David (Author) / Alexander, John (Thesis advisor) / Gilfillan, Daniel (Committee member) / Horwath, Peter (Committee member) / Arizona State University (Publisher)
Created2014
Description
ABSTRACT (English)
Heinrich Hoffmann`s renowned Struwwelpeter and the famous Grimm brothers' fairy tales have been the subject of exhaustive pedagogical and psychological scrutiny. By means of shocking and fascinating literary elements Struwwelpeter's revolutionary didactic horror-comedy as well as the instructive horror-fantasy inherent in fairy tales are able to cast an enchanting, enlightening spell on their audience. However, both Hoffmann's and the Grimm's adventurous stories have suffered harsh criticism particularly owing to their often gruesome, macabre and unrealistic subject matter. Notwithstanding the barrage of denunciating objections, the remarkable longevity of Fidgety Philip, Little Red Riding Hood and Co appears to know no bounds, as their ingenious formula for success comprising captivatingly shocking, spine-tingling elements of both entertaining and educational value continues to inspire contemporary adaptations. Several German dialects have also discovered and devoted themselves to the magical world of Hoffmann's chaotic rascals and the Grimm's fascinating fairy tale characters in furtherance of enlivening them with the identity, culture and local flavor of their respective region.
The current study aims to demonstrate the extent to which dialectal adaptations of the aforesaid tales succeed in not only revitalizing the original narratives including their pedagogical and psychodynamic quintessence but also in capturing the readers' hearts by virtue of their intimate parlance/phraseology. This particular philological approach illustrates the symbiotic interaction between regional German dialects and well-known (children's) Horror-stories.
ABSTRACT (German)
Bisher waren sowohl der renommierte Struwwelpeter Heinrich Hoffmanns als auch die berühmten Märchen der Brüder Grimm Objekte erschöpfender pädagogischer und psychologischer Betrachtungen. Die revolutionäre didaktische Gruselkomik der struwwelpetrigen Abenteuer sowie die lehrhafte Gruselphantastik der Märchen vermögen vermittels ihrer schockierenden und zugleich faszinierenden Elemente Menschen jeden Alters in ihren verzaubernden, lebenserhellenden Bann zu ziehen. Allerdings mussten die hoffmannschen und grimmschen Geschichten insbesondere auf Grund grausamer, wirklichkeitsfremder Inhalte auch als Zielscheibe heftigster Kritik fungieren. Nichtsdestotrotz scheint der steilen Karriere von Zappelphilipp, Rotkäppchen und Co keine Grenzen gesetzt, denn ihre raffinierte Erfolgsformel bestehend aus unterhaltsam-belehrenden Schock- und Zaubermotiven inspiriert stets neue Adaptionen. So haben auch die deutschsprachigen Mundarten längst das skurille sowie zauberhafte Reich der chaotischen Lausbuben und Märchencharaktere für sich entdeckt, um diese mit der jeweils eigenen regionalkolorierten Identität und Kultur zu beseelen.
Im Rahmen dieser Arbeit gilt es nun zu demonstrieren, inwiefern es den dialektalen Petriaden und Märchenversionen gelingt, nicht nur die Erzählungen samt ihrer pädagogisch sowie psychodynamisch wertvollen Kerngehalte zu neuem Leben zu erwecken, sondern sich darüber hinaus in anheimelnder Weise die Herzen der Leserschaft zu erobern. Diese einzigartige philologische Perspektive beleuchtet die Erfolg versprechende Wechselwirkung zwischen den ortsspezifischen Sprachgeflechten und den (Kinder)-Gruselklassikern.
Heinrich Hoffmann`s renowned Struwwelpeter and the famous Grimm brothers' fairy tales have been the subject of exhaustive pedagogical and psychological scrutiny. By means of shocking and fascinating literary elements Struwwelpeter's revolutionary didactic horror-comedy as well as the instructive horror-fantasy inherent in fairy tales are able to cast an enchanting, enlightening spell on their audience. However, both Hoffmann's and the Grimm's adventurous stories have suffered harsh criticism particularly owing to their often gruesome, macabre and unrealistic subject matter. Notwithstanding the barrage of denunciating objections, the remarkable longevity of Fidgety Philip, Little Red Riding Hood and Co appears to know no bounds, as their ingenious formula for success comprising captivatingly shocking, spine-tingling elements of both entertaining and educational value continues to inspire contemporary adaptations. Several German dialects have also discovered and devoted themselves to the magical world of Hoffmann's chaotic rascals and the Grimm's fascinating fairy tale characters in furtherance of enlivening them with the identity, culture and local flavor of their respective region.
The current study aims to demonstrate the extent to which dialectal adaptations of the aforesaid tales succeed in not only revitalizing the original narratives including their pedagogical and psychodynamic quintessence but also in capturing the readers' hearts by virtue of their intimate parlance/phraseology. This particular philological approach illustrates the symbiotic interaction between regional German dialects and well-known (children's) Horror-stories.
ABSTRACT (German)
Bisher waren sowohl der renommierte Struwwelpeter Heinrich Hoffmanns als auch die berühmten Märchen der Brüder Grimm Objekte erschöpfender pädagogischer und psychologischer Betrachtungen. Die revolutionäre didaktische Gruselkomik der struwwelpetrigen Abenteuer sowie die lehrhafte Gruselphantastik der Märchen vermögen vermittels ihrer schockierenden und zugleich faszinierenden Elemente Menschen jeden Alters in ihren verzaubernden, lebenserhellenden Bann zu ziehen. Allerdings mussten die hoffmannschen und grimmschen Geschichten insbesondere auf Grund grausamer, wirklichkeitsfremder Inhalte auch als Zielscheibe heftigster Kritik fungieren. Nichtsdestotrotz scheint der steilen Karriere von Zappelphilipp, Rotkäppchen und Co keine Grenzen gesetzt, denn ihre raffinierte Erfolgsformel bestehend aus unterhaltsam-belehrenden Schock- und Zaubermotiven inspiriert stets neue Adaptionen. So haben auch die deutschsprachigen Mundarten längst das skurille sowie zauberhafte Reich der chaotischen Lausbuben und Märchencharaktere für sich entdeckt, um diese mit der jeweils eigenen regionalkolorierten Identität und Kultur zu beseelen.
Im Rahmen dieser Arbeit gilt es nun zu demonstrieren, inwiefern es den dialektalen Petriaden und Märchenversionen gelingt, nicht nur die Erzählungen samt ihrer pädagogisch sowie psychodynamisch wertvollen Kerngehalte zu neuem Leben zu erwecken, sondern sich darüber hinaus in anheimelnder Weise die Herzen der Leserschaft zu erobern. Diese einzigartige philologische Perspektive beleuchtet die Erfolg versprechende Wechselwirkung zwischen den ortsspezifischen Sprachgeflechten und den (Kinder)-Gruselklassikern.
ContributorsGerber, Michelle (Author) / Alexander, John (Thesis advisor) / Ghanem, Carla (Committee member) / Gilfillan, Daniel (Committee member) / Arizona State University (Publisher)
Created2015
Description
This multiple-case study addresses the nature of the out-of-school musical engagements of four undergraduate students who were enrolled as jazz studies majors in a large school of music in the U.S. southwest. It concerns what they did musically when they were outside of school, why they did what they did, what experiences they said they learned from, and how their out-of-school engagements related to their in-school curriculum. Research on jazz education, informal learning practices in music, and the in-school and out-of-school experiences of students informed this study. Data were generated through observation, interviews, video blogs (vlogs), and SMS text messages.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
ContributorsLibman, Jeffrey B (Author) / Tobias, Evan (Thesis advisor) / Kocour, Michael (Committee member) / Schmidt, Margaret (Committee member) / Solis, Theodore (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2014
Description
The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of the artists' life and method. Innovators are often the subject of published studies of this kind, but transcriptions of plunger-mute master Al Grey have been overlooked. This document fills that void, combining historical context with thirteen transcriptions of Grey's trombone features and improvisations. Selection of transcribed materials was based on an examination of historically significant solos in Al Grey's fifty-five-year career. The results are a series of open-horn and plunger solos that showcase Grey's sound, technical brilliance, and wide range of dynamics and articulation. This collection includes performances from a mix of widely available and obscure recordings, the majority coming from engagements with the Count Basie Orchestra. Methods learned from the study of Al Grey's book Plunger Techniques were vital in the realization of his work. The digital transcription software Amazing Slow Downer by Roni Music aided in deciphering some of Grey's more complicated passages and, with octave displacement, helped bring previously inaudible moments to the foreground.
ContributorsHopkins, Charles E (Author) / Pilafian, Sam (Thesis advisor) / Stauffer, Sandra (Committee member) / Solís, Ted (Committee member) / Ericson, John (Committee member) / Kocour, Michael (Committee member) / Arizona State University (Publisher)
Created2011