Matching Items (8)
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Description
This study investigated high school band students' processes of learning as well as their responses and reactions to student-led aural-based learning projects. Previous research has focused on various aspects of informal learning and student-centered learning--the frameworks upon which this study is based--but none have focused on inclusion of informal learning

This study investigated high school band students' processes of learning as well as their responses and reactions to student-led aural-based learning projects. Previous research has focused on various aspects of informal learning and student-centered learning--the frameworks upon which this study is based--but none have focused on inclusion of informal learning methods into a secondary large ensemble classroom setting with an emphasis on playing by ear.

Participants in this study were 20 students divided into four small groups in a 45-member high school band. The study took place during the regularly scheduled band class during one full class period for eight weeks, culminating in small group performances. Data were collected throughout the study via observation and audio- or video-recording of weekly group rehearsal, participant interviews, teacher interviews, and collection of student artifacts. Data were analyzed by creating a case study of each of the four groups to determine their working processes.

Cross-case analysis revealed themes common to the participant groups in these categories: navigation of the learning process, playing by ear, and student attitudes and perceptions of benefits and drawbacks of the project. Discussion of navigation of the learning process includes group members' methods of problem solving within a constructivist classroom environment. These methods included problem finding, strategizing, and responding, peer assessment and feedback, and teacher scaffolding; I also discuss how group dynamics played a major role in student's learning processes. While learning to play by ear, musical elements students addressed included pitch, division of parts, form, key and modality, intonation, instrumentation, dynamics, tempo, rhythm, improvisation, and range. Students' attitudes included enjoyment of most aspects of the project, and dislike or frustration with a few aspects. Benefits students perceived from participation in the project included increased ability to play by ear and increased confidence. Recommendations for music teachers and music teacher educators as well as suggestions for future research are provided.
ContributorsSpears, Amy Elizabeth (Author) / Schmidt, Marg (Thesis advisor) / Sullivan, Jill (Committee member) / Stauffer, Sandra (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2014
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Description
This project will attempt to supplement the current registry of lesbian inquiry in literature by exploring a very specific topos important to the Modern era: woman and her intellect. Under this umbrella, the project will perform two tasks: First, it will argue that the Modern turn that accentuates what I

This project will attempt to supplement the current registry of lesbian inquiry in literature by exploring a very specific topos important to the Modern era: woman and her intellect. Under this umbrella, the project will perform two tasks: First, it will argue that the Modern turn that accentuates what I call negative valence mimesis is a moment of change that enables the general public to perceive lesbianism in representations of women that before, perhaps, remained unacknowledged. And, second, that the intersection of thought and resistance to heteronormative structures, such as heterosexual desire/sex, childbirth, marriage, religion, feminine performance, generate topoi of lesbianism that lesbian studies should continuously critique in order to index the myriad and creative ways through which fictional representations of women have evaded their proper roles in society. The two tasks above will be performed amidst the backdrop of a crucial moment in history in which lesbianism jumped from fiction to fact through the publication and obscenity trial of Radclyffe Hall's novel, The Well of Loneliness. Deconstructive feminist and queer inquiry of under-researched novels by women from the UK and the US written within the decade surrounding the trial reveals the possibilities of lesbianism in novels where the protagonists' investment in heteronormativity has remained unquestioned. In those texts where the protagonists have been questioned, the analysis of lesbianism will be delved into more deeply in order to illustrate new ways of reading these texts. I will focus on women writers who, as Terry Castle suggests, "both usurped and deepened the [lesbian] genre" with the arrival of the new century (Literature 29). It is my attempt to combat heteronormativity through a more positive approach. As Michael Warner asserts, "heteronormativity can be overcome only by actively imagining a necessarily and desirably queer world" (xvi). This is not to say this study will be all roses and no thorns; a desirably queer world is not about a wish for an utopia. For this project, it is about rigorously engaging in the lesbianism of literature while acknowledging how a lesbian reading, a reading for lesbianism, can continue to both expand and enrich the critical tradition of a text and the customary interpretation of various characters.
ContributorsWagner, Johanna M. (Author) / Clarke, Deborah (Thesis advisor) / Lussier, Mark (Thesis advisor) / Mallot, Edward (Committee member) / Arizona State University (Publisher)
Created2012
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Description
ABSTRACT

This study examines the experiences of five women doctoral students in music education. The goal was to gain insight into the important experiences and concerns they encountered during their studies. While the literature on women in other fields indicates that socialization of women to the academy differs from that of

ABSTRACT

This study examines the experiences of five women doctoral students in music education. The goal was to gain insight into the important experiences and concerns they encountered during their studies. While the literature on women in other fields indicates that socialization of women to the academy differs from that of their male counterparts, this concern has yet to be addressed in the field of music education.

Participants, selected to show maximum variation in personal and professional characteristics, were women who had previously taught in K-12 settings and who were enrolled in or recently graduated from a doctoral program in music education in the United States. Data were collected primarily through in-depth interviews and photo elicitation, and were analyzed through both individual case and cross-case analyses.

All of the women initially stated gender was not an issue that influenced their doctoral studies, but analysis showed that they had clearly internalized the socially constructed roles and expectations reflected in society, and that those roles and expectation did, indeed, impact their choices and behaviors prior to and during their doctoral studies. Three facets of gender were important, specifically socially constructed roles and expectations for women in both their families and in their doctoral studies, gender performativity related to the male-centered expectations in academia, and the importance of intersectionality. The participants’ doctoral experiences were contextualized not just by their gender, but also by their race/ethnicity, class, sexuality, religion, and age. Analysis supports other researchers’ findings that women doctoral students may have different experiences in their doctoral studies than their male counterparts.

Recommendations for doctoral programs in music education and music teacher educators are provided. This study’s findings suggest further research is needed to investigate the impact of gender balance in doctoral cohort and faculty, amount of teaching experience prior to studies, and educational background or prior research experience on women’s doctoral experiences, as well as the roles of intersectionality and performativity for women in an academic context.
ContributorsMeyers, Liza (Author) / Schmidt, Marg (Thesis advisor) / Holbrook, Amy (Committee member) / Stauffer, Sandra (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2017
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DescriptionIn this study, the first two novels of Margaret Atwood's MaddAddam Trilogy are discussed in their global context as social commentary on the current system of global economics. The study focuses on the novels' depiction of the commodification of women's bodies and the bodies of animals as consumable products.
ContributorsManning, Devan Marie (Author) / Sadowski-Smith, Claudia (Thesis director) / Voaden, Rosalynn (Committee member) / Mallot, Edward (Committee member) / Barrett, The Honors College (Contributor) / School of Politics and Global Studies (Contributor) / Department of English (Contributor)
Created2013-05
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Description
In a comparative analysis of Vladimir Nabokov's "Pale Fire" (1962) and Mark Z. Danielewski's "House of Leaves" (2000), common aesthetic values and principles of content assist in establishing them as manifestations of ergodic literature. The term ergodic, derived from the Greek terms for "work" and "path" was defined in Espen

In a comparative analysis of Vladimir Nabokov's "Pale Fire" (1962) and Mark Z. Danielewski's "House of Leaves" (2000), common aesthetic values and principles of content assist in establishing them as manifestations of ergodic literature. The term ergodic, derived from the Greek terms for "work" and "path" was defined in Espen J. Aarseth's literature theory book Cybertext: Perspectives on Ergodic Literature. Using Aarseth's theories about non-conventional novels, the unique similarities in specific postmodern novels creates a new classification and genre for novels that employ unique aesthetics and visual elements to recreate the act of reading into an experience that cannot be imitated by new age media.
ContributorsChan, Morgan Scott (Author) / Sadowski-Smith, Claudia (Thesis director) / Mallot, Edward (Committee member) / Ison, Tara (Committee member) / Barrett, The Honors College (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Department of English (Contributor)
Created2013-05
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DescriptionDiscusses the reading experience and writing strategies in relation to four prominent novels from the genre
ContributorsO'Malley, Erik Andrew (Author) / Cook, Paul (Thesis director) / Mallot, Edward (Committee member) / Broglio, Ronald (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Department of English (Contributor)
Created2013-05
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Description

When discussing gay literature in the French, contemporary sphere, one of the most up
and coming and prominent authors is Édouard Louis. His works’ focus on the realism and
violence of the working class offers a critical and necessary perspective of the gay experience in
modern-day France. While recent in their creation, Louis’

When discussing gay literature in the French, contemporary sphere, one of the most up
and coming and prominent authors is Édouard Louis. His works’ focus on the realism and
violence of the working class offers a critical and necessary perspective of the gay experience in
modern-day France. While recent in their creation, Louis’ works follow a connecting thread that
is inseparable from other autofiction novels that have a narrator with same sex attractions such as
Annie Ernaux’s Ce qu’ils disent or rien and Didier Eribon’s Retour à Reims. Often commonly
discussed as French LGBT literature, these autofictional works that extend from Gide to Eribon
to now Louis demonstrate how the proposed societal dualities, limitations, and hierarchies
described by philosophers like Michel Foucault and Judith Butler affect homosexual
performativity. Louis’ first novel En finir avec Eddy Bellegueule, published on January 2, 2014,
offers another illustration of this analysis. It specifically describes the metaphysical
(metaphysical being the relationship between the outer stimuli and internal perspective) effects
and constraints of current poverty on homosexual performativity. By analyzing En finir avec
Eddy Bellegueule through this theoretical framework of power and poverty, this thesis adds a
theoretical and intersectional nuance to the narrative voice that current literature focusing on the
novel’s landscape mentions but does not reflect on. I argue that it is important to attach an
autofictional timeline that is necessary to promote and apply future ontological doctrines to this
genre.

ContributorsYanez, Mariano (Author) / Canovas, Frédéric (Thesis director) / Agruss, David (Committee member) / School of International Letters and Cultures (Contributor, Contributor, Contributor, Contributor) / Dean, The College of Liberal Arts and Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description
As the incorporation of popular music into secondary and university learning spaces continues to expand, of particular interest is how ways of learning and teaching popular music might be enacted in a school environment. Well-meaning teachers, music education organizations, and corporate entities, in an effort to codify these ways, continue

As the incorporation of popular music into secondary and university learning spaces continues to expand, of particular interest is how ways of learning and teaching popular music might be enacted in a school environment. Well-meaning teachers, music education organizations, and corporate entities, in an effort to codify these ways, continue to explore various methods of operationalizing popular music to fit within the paradigmatic structures and core narratives of music education. Given this climate, what might teachers employing popular music gain from developing a better understanding of the diverse ways popular musicians learn, create, perform, and teach?This narrative and multiple case study considers the stories of three professional musicians who, at some point in their performing career, also became music teachers. By exploring how the orientations (i.e., experiences, knowledges, beliefs, and practices) of these professional musician~teachers were cultivated through the diversity of their experiences encountered both on and off the gig as well as in and out of classroom, this study explores how these individuals blended their biographical pasts as professional musicians with their developing teaching practices in the popular music-focused classroom. Based on this exploration, the following questions guided this inquiry: 1) What are the individual orientations of professional musicians who also teach in popular music-focused learning spaces in secondary school settings?, 2) Where and how did these professional musician~teachers acquire their orientations during their time as student-musicians and as professional musicians?, 3) How do these professional musician~teachers approach teaching popular music in popular music-focused learning spaces in secondary school settings?, 4) How are their orientation(s) evident in their teaching practices?, and 5) How did their orientations evolve to include their newfound experiences as they developed their teaching practice? Findings indicate these professional musician~teachers: 1) learned to teach by teaching and, through this process, developed a unique blend of content and pedagogical knowledge, 2) adopted a flexible perspective of classroom structures and teaching approaches and, 3) transferred evaluative skills gained from their experiences as professional musicians into the classroom as they sought out ways to improve their teaching practice.
ContributorsHolley, Steve (Author) / Tobias, Evan (Thesis advisor) / Stauffer, Sandra (Thesis advisor) / Schmidt, Marg (Committee member) / Arizona State University (Publisher)
Created2023