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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
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
This study investigates ways in which music teachers make personal sense of their professional selves and their perceptions of their places within the broader landscape of music education relative to other types of music teachers in school and community settings. A social phenomenological framework based on the writing of Alfred Schutz was used to examine how participants constructed a sense of self in their social worlds and how they both shaped and were shaped by their social worlds. Eight music teachers participated in this study and represented differing types of music teaching careers, including: public school general music teaching and ensemble directing; independent studio teaching and teaching artistry; studio lessons, classes, and ensembles at community music centers; church ensemble directing; and other combinations of music teaching jobs throughout school and community settings. Data were collected from in-depth interviews, observations of the music teachers in their various teaching roles, and artifacts related to their music teaching positions. Research questions included: Who do the participants conceive of themselves to be as music professionals and music teachers; How do they construct and enact their professional selves, including their teaching selves; How is their construction of professional self, including teaching self, supported and sustained by interactions in their social worlds; and, What implications does this have for the music profession as a whole? After developing a professional portrait of each participant, analysis revealed an overall sense of professional self and various degrees of three role-taking selves: performing, teaching, and musical. Analysis also considered sense of self in relation to social worlds, including consociates, contemporaries, predecessors, and successors, and the extent to which performing, teaching, and musical selves were balanced, harmonized, or reconciled for each participant. Social worlds proved influential in terms of participants' support for sense of self. Participants who enacted the most harmonized, reconciled senses of self appeared to have a professional self that was grounded in a strong sense of musical self, enabling them to think and act flexibly. Participants whose professional selves were dominated by a strong sense of teaching or performing self seemed confined by the structures of their social world particular to teaching or performing, lacked a sense of musical self, and were less able to think and act flexibly. Findings suggest that active construction of consociate relationships throughout varied social worlds can support a balanced, reconciled conception of self, which informs teaching practice and furthers the ability to act in entrepreneurial ways.
ContributorsBucura, Elizabeth (Author) / Stauffer, Sandra (Thesis advisor) / Landes, Heather (Committee member) / Tobias, Evan (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2013
Description
The Vocal Jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate Vocal Jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the Vocal Jazz ensemble. The discussion relies on recent data showing the benefits of Vocal Jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training.
ContributorsAmerind, Gregory (Author) / Kocour, Michael (Thesis advisor) / Carpenter, Ellon (Committee member) / Britton, David (Committee member) / Ryan, Russell (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
This mixed methods research study explores the experiences of Board Certified music therapists who completed a university-affiliated (UA) internship as part of their education and clinical training in music therapy. The majority of music therapy students complete a national roster (NR) internship as the final stage in clinical training. Limited data and research is available on the UA internship model. This research seeks to uncover themes identified by former university-affiliated interns regarding: (1) on-site internship supervision; (2) university support and supervision during internship; and (3) self-identified perceptions of professional preparedness following internship completion. The quantitative data was useful in creating a profile of interns interviewed. The qualitative data provided a context for understanding responses and experiences. Fourteen Board Certified music therapists were interviewed (N=14) and asked to reflect on their experiences during their university-affiliated internship. Commonalities discovered among former university-affiliated interns included: (1) the desire for peer supervision opportunities in internship; (2) an overall perception of being professionally prepared to sit for the Board Certification exam following internship; (3) a sense of readiness to enter the professional world after internship; and (4) a current or future desire to supervise university-affiliated interns.
ContributorsEubanks, Kymla (Author) / Rio, Robin (Thesis advisor) / Crowe, Barbara (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2013
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
ABSTRACT Two qualitative studies described the effects of parent's participation in the music therapy session on parent-child interaction during home-based musical experiences learned in music therapy session. Home-based musical play was based on two current programs: Sing & Grow (Abad & Williams, 2007; Nicolson, 2008 Abad, 2011; Williams, et al; 2012) and Musical Connection Programme(Warren & Nugent, 2010). The researcher utilized the core elements of these programs, such as session structures and parenting strategies for improving parent-child interaction during music therapy interventions. Several questions emerged as a result of these case studies as follows 1) does parent's participation affect parent-child interaction during music therapy interventions 2) does musical parenting strategies promote parent-child interaction while practicing musical play at home 3) does parent's interaction increase when they practice parental strategies listed on parent's self-check list. Music therapy session was provided once per week during an eight week period. The participants were referred by Arizona State University (ASU) music therapy clinic. Sessions took place either in the ASU music therapy treatment room or the participant's home. There were four participants- one diagnosed with Down syndrome and the other with Autism Spectrum Disorder (ASD) and two parents or caregivers (each subject was counted as one participant). The parent/caregiver filled out the parental self-checklist 3-4 times per week and the survey after the end of the program. The case study materials were gathered through with parent/caregiver. The case studies revealed that all of the parents responded that the parent's participation in music therapy helped to improve their interactions with their child. Furthermore, all parents became more responsive in interacting with their child through musical play, such as sing-a-long and movements. Second, musical parenting strategies encouraged parent-child interaction when practicing musical play at home. Third, the parent's self-checklist was shown to be effective material for increasing positive parent-child interaction. The self-checklist reminded the parents to practice using strategies in order to promote interaction with their child. Overall, it was found that the parent's participation in home-based musical play increased parent-child interaction and the musical parenting strategies enhanced parent-child interaction.
ContributorsChoi, Yoon Kyoung (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this multiple case study was to investigate what students in three high school music groups perceived as most meaningful about their participation. I also examined the role that context played in shaping students' perceptions, and sought potential principles underlying meaning and value in instrumental ensembles. Over the course of six months I conducted a series of in-depth, semi-structured interviews with six student wind ensemble members, five student guitar class members, and six jazz band members at three high schools in Winnipeg, Canada. I interviewed the participants' music teachers and school principals, observed rehearsals and performances, and spoke informally with parents and peers. Drawing upon praxial and place philosophies, I examined students' experiences within the context of each music group, and looked for themes across the three groups. What students perceived to be meaningful about their participation was multifaceted and related to fundamental human concerns. Students valued opportunities to achieve, to form and strengthen relationships, to construct identities as individuals and group members, to express themselves and communicate with others, and to engage with and through music. Although these dimensions were common to students in all three groups, students experienced and made sense of them differently, and thus experienced meaningful participation in multiple, variegated ways. Context played a substantial role in shaping not only the dimensions of meanings most salient to participants but also the ways that music experiences became meaningful for those involved. What students value and find meaningful about their participation in instrumental music education has been neither well documented nor thoroughly explored. This study raises questions about the ways that meaningful musical engagement might extend beyond the boundaries of school, and contributes student perspectives sorely needed in ongoing conversations concerning the relevance of music education in students' lives.
ContributorsCape, Janet (Author) / Stauffer, Sandra L (Thesis advisor) / Bush, Jeffrey (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2012
Description
Venezuelan maraca playing is largely unknown to musicians with Western Art Music backgrounds. While some composers utilize the instrument and its associated performance practices, the resources available to learn about the subject are limited and scattered. Through research, observations, and studying with correspondences, this document will explore the vastness of Venezuelan musical concepts and maraca techniques to seek out common goals and generate a resource that is accessible to musicians and musicologists. A large part of this research will focus on the Contemporary Music in the Western tradition that has been inspired by Venezuelan maraca playing. I will explain the context in which this music is commonly found and how to apply it to a contemporary setting. The individuals I interviewed span a variety of backgrounds and expertise. All have extensive experience in Venezuelan maraca traditions. Their individual points of view will give unique perspectives to help affix the music of the past to the creation of music in the future. The limited resources on this subject inhibit education, performance quality, new music, and further research. Ultimately, my document and recordings will provide imperative examples to help develop a greater understanding of an understudied Venezuelan art form.
ContributorsMuller, Jeremy (Author) / Smith, Jeffrey (Thesis advisor) / Kocour, Michael (Committee member) / Bush, Jeffrey (Committee member) / Sunkett, Mark (Committee member) / Hackbarth, Glenn (Committee member) / Arizona State University (Publisher)
Created2012