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- All Subjects: School music
Description
The purpose of this study was to compare perceptions of success and failure, attributions of success and failure, predictions of future success, and reports of out-of-class engagement in composition among middle school band students composing in open task conditions (n = 32) and closed task conditions (n = 31). Two intact band classes at the same middle school were randomly assigned to treatment groups. Both treatment groups composed music once a week for eight weeks during their regular band time. In Treatment A (n = 32), the open task group, students were told to compose music however they wished. In Treatment B (n = 31), the closed task group, students were given specific, structured composition assignments to complete each week. At the end of each session, students were asked to complete a Composing Diary in which they reported what they did each week. Their responses were coded for evidence of perceptions of success and failure as well as out-of-class engagement in composing. At the end of eight weeks, students were given three additional measures: the Music Attributions Survey to measure attributions of success and failure on 11 different subscales; the Future Success survey to measure students' predictions of future success; and the Out-of-Class Engagement Letter to measure students' engagement with composition outside of the classroom. Results indicated that students in the open task group and students in the closed task group behaved similarly. There were no significant differences between treatment groups in terms of perceptions of success or failure as composers, predictions of future success composing music, and reports of out-of-class engagement in composition. Students who felt they failed at composing made similar attributions for their failure in both treatment groups. Students who felt they succeeded also made similar attributions for their success in both treatment groups, with one exception. Successful students in the closed task group rated Peer Influence significantly higher than the successful students in the open task group. The findings of this study suggest that understanding individual student's attributions and offering a variety of composing tasks as part of music curricula may help educators meet students' needs.
ContributorsSchwartz, Emily, 1985- (Author) / Stauffer, Sandra L (Thesis advisor) / Tobias, Evan (Committee member) / Schmidt, Margaret (Committee member) / Broatch, Jennifer (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2014
Description
Emotional competence is the capacity to handle emotional situations effectively. A teacher's emotional competence influences the choices they make both pedagogically and during student interaction. This qualitative multiple case study examines the lived experiences of four elementary general music teachers for the purposes of exploring emotional competence as related to perceptions and practices in the classroom. Research questions included: Is it possible to observe a music teacher's emotional competence in action? If it can be observed, what is the relationship between emotional competence and teaching practices, including a teacher's decisions about music, interactions with children, and his or her own emotional self-management? What is the relationship between a music teacher's self-perceived emotional competence and observed emotional competence in teaching practices? Four elementary general music teachers were observed four times within typical music teaching situations at their respective schools, and three interviews were conducted with each teacher. Teachers completed three self-report inventories drawn from the literature and revised by the researcher. An administrator and three students for each teacher were interviewed as secondary participants. Data were coded for emotional intelligence branches as outlined by Perry (2004), emotional competence skills as outlined by Saarni (1999), and "adaptive coping styles" described by Gottman (1997), and presented as individual cases. A cross-case analysis was conducted. Findings suggest that elementary general music classrooms are emotional places. Music provides students with unique emotional experiences. Effective teaching within this context has an emotional ebb and flow in which music plays a vital role. Interactions between teacher and students may result in a feedback loop in which exchanges of emotional reactions occur and where teachers may be called upon to manage their own emotional responses. When adverse situations arise, a music teacher may choose an adaptive coping style suitable for the circumstance. These choices are influenced by their knowledge, skills, and emotional competencies. Teachers' perceptions of their emotional teaching practices are not always congruent with their observed emotional teaching practices. When the knowledge and emotional abilities of music teachers are used effectively, they can have a positive influence on the emotional climate of the classroom, which may, in turn, impact learning.
ContributorsMcConkey, Michelle Stephan (Author) / Stauffer, Sandra (Thesis advisor) / Bush, Jeffrey (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2012
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
For my creative project, I originally decided to produce an original instrumental EP (Extended Play), its aim to bridge the gap between classical Choral/Orchestral literature and more modern Hip-Hop/Rhythm & Blues through the implementation of sample-based sounds and melodies. As the semester went on, however, I realized that my original focus was really putting a strain on my creativity. A broadening in scope was exactly what I needed to spark the creativity within me. I had to create what suited me at the time, or what was a reflection of my current environment. This change began to push me beyond what I believed I was capable of; the tracks for the EP seemed to follow effortlessly. For the first production on my EP, I sampled from an a cappella file that I found on a royalty-free music database. The file had a raw cut, sans instrumentation and effects, of a teenage girl singing an original Soul/Rhythm & Blues tune of hers named "Don't Go." Atop the vocal, I added an original drum kit and sub-bass waveform, sound-designed by me, and an airy synthesizer line. My second original production, titled "Dreams," is a production that exudes everything that I stand for and am inspired by with regards to music. This work is the kind of production that got me into producing music in the first place. It demonstrates simplicity and elegance in every sense. A Rhythm & Blues record (Monnie Riperton's Edge of a Dream), a simple, yet hard-hitting drum groove with drum sounds sampled from live drums, and bass-line were the only ingredients necessary to produce "Dreams." The video logs, an addition to the original productions, were put in place to track my progress throughout the semester. The observer gets to learn alongside me, from the inception and into the execution of the project, the facets of sampling, building a drum groove, and creating an arrangement. By including access to my workflow as part of this project, I wish to provide a dynamic, evolving tool for producers in the future.
ContributorsShargal, Tamir Mike (Author) / Tobias, Evan (Thesis director) / Evans, Bartlett (Committee member) / Barrett, The Honors College (Contributor) / School of Human Evolution and Social Change (Contributor)
Created2015-05
Description
E-Strings Academy (www.estringsacademy.wordpress.com) is a resource website intended for the beginning violinist, violist, cellist, and bassist. The mission of the website is to extend musical learning opportunities to students outside of the physical string classroom and to engage first-year string students in musical activities at home that supplement the instruction they receive in a school setting. The current website features five different areas for students to explore: lesson videos, tunes, listening activities, games, and resources. In each area, students have the opportunity to learn and reinforce musical concepts and skill sets that they will need in order to be successful in music, both in their first year of playing and beyond. I created E-Strings Academy with the intention that I use it with my own string students in my future teaching career. It is a flexible website that I will continue to revise, adapt, and enhance to best serve the needs of my students and enrich their musical learning outside of the classroom.
ContributorsCook, Christa Marie (Author) / Schmidt, Margaret (Thesis director) / Tobias, Evan (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05
Description
Theory Jam is a series of online, education videos that teach music theory in a fun, engaging way. Our project is a response to the growing need for successful online education content. It incorporates strategies for creating effective educational video content and engages with contemporary debates in the field of music theory surrounding the purpose of a music theory education.
ContributorsCannatelli, Joshua Bryce (Co-author) / Daval, Charles Joseph (Co-author) / Miller, April (Thesis director) / Scott, Jason (Committee member) / Tobias, Evan (Committee member) / Department of English (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Due to increasing lack of resources and funding for budding student musicians, it is often not possible for this demographic to create, record, and produce their original music in the same high-budget studio environment in which music has been traditionally made. The objective of this project is to explore alternatives which are more accessible to young independent musicians and reveal the most cost-efficient routes to obtain a high-quality result. To make this comparison, the group created budget recordings of their original music in a bedroom in true DIY fashion, and then recorded the same songs in a professional music studio using the best music and recording equipment available. The DIY recordings were mixed and mastered by the group members themselves, as well as separately by a professional audio engineer. The studio recordings were also mixed and mastered by a professional audio engineer, resulting in three final products with varying costs and quality. Ultimately, the group found that without mixing and mastering experience, it is very difficult to achieve high quality results. With the same budget recorded tracks, the group found that quality of the final product vastly increased when a professional audio engineer mixed and mastered the tracks. As far as the quality of the result, the studio recorded tracks were by far the best. Not only was the quality of the sounds from the high-end music and recording equipment much higher, the band had more freedom to be creative without the responsibility of simultaneously serving as recording engineers as was the case in the low budget recordings. The group concluded that this project was highly successful and demonstrated that high quality results could be obtained on a budget. The DIY recording techniques used in this project prove that independent musicians without access to expensive equipment and resources can still produce high quality music at the cost of more effort to serve as audio engineers in addition to musicians. However, recording in a studio with the help of a producer and professional audio engineers affords creative freedom and an increase in sound quality that is simply not possible to reproduce without the equipment and expertise that money can buy.
ContributorsBonk, Alan (Co-author) / Dhuyvetter, Nicholas Alan (Co-author) / Wickham, Kevin (Co-author) / Tobias, Evan (Thesis director) / Swoboda, Deanna (Committee member) / W.P. Carey School of Business (Contributor) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05