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ContributorsSuk, Mykola (Performer) / ASU Library. Music Library (Contributor)
Created2018-03-12
Description
This project uses fourteen transcriptions of Pete Fountain’s solos as examples to
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
ContributorsWu, Shengwen (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Carpenter, Ellon (Committee member) / Kocour, Michael (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2019
Description
Researchers have documented the importance of seeing a graph as an emergent trace of how two quantities’ values vary simultaneously in order to reason about the graph in terms of quantitative relationships. If a student does not see a graph as a representation of how quantities change together then the student is limited to reasoning about perceptual features of the shape of the graph.
This dissertation reports results of an investigation into the ways of thinking that support and inhibit students from constructing and reasoning about graphs in terms of covarying quantities. I collected data by engaging three university precalculus students in asynchronous teaching experiments. I designed the instructional sequence to support students in making three constructions: first imagine representing quantities’ magnitudes along the axes, then simultaneously represent these magnitudes with a correspondence point in the plane, and finally anticipate tracking the correspondence point to track how the two quantities’ attributes change simultaneously.
Findings from this investigation provide insights into how students come to engage in covariational reasoning and re-present their imagery in their graphing actions. The data presented here suggests that it is nontrivial for students to coordinate their images of two varying quantities. This is significant because without a way to coordinate two quantities’ variation the student is limited to engaging in static shape thinking.
I describe three types of imagery: a correspondence point, Tinker Bell and her pixie dust, and an actor taking baby steps, that supported students in developing ways to coordinate quantities’ variation. I discuss the figurative aspects of the students’ coordination in order to account for the difficulties students had (1) constructing a multiplicative object that persisted under variation, (2) reconstructing their acts of covariation in other graphing tasks, and (3) generalizing these acts of covariation to reason about formulas in terms of covarying quantities.
This dissertation reports results of an investigation into the ways of thinking that support and inhibit students from constructing and reasoning about graphs in terms of covarying quantities. I collected data by engaging three university precalculus students in asynchronous teaching experiments. I designed the instructional sequence to support students in making three constructions: first imagine representing quantities’ magnitudes along the axes, then simultaneously represent these magnitudes with a correspondence point in the plane, and finally anticipate tracking the correspondence point to track how the two quantities’ attributes change simultaneously.
Findings from this investigation provide insights into how students come to engage in covariational reasoning and re-present their imagery in their graphing actions. The data presented here suggests that it is nontrivial for students to coordinate their images of two varying quantities. This is significant because without a way to coordinate two quantities’ variation the student is limited to engaging in static shape thinking.
I describe three types of imagery: a correspondence point, Tinker Bell and her pixie dust, and an actor taking baby steps, that supported students in developing ways to coordinate quantities’ variation. I discuss the figurative aspects of the students’ coordination in order to account for the difficulties students had (1) constructing a multiplicative object that persisted under variation, (2) reconstructing their acts of covariation in other graphing tasks, and (3) generalizing these acts of covariation to reason about formulas in terms of covarying quantities.
ContributorsFrank, Kristin Marianna (Author) / Thompson, Patrick W (Thesis advisor) / Carlson, Marilyn P (Thesis advisor) / Milner, Fabio (Committee member) / Roh, Kyeong Hah (Committee member) / Zandieh, Michelle (Committee member) / Arizona State University (Publisher)
Created2017
Description
This dissertation describes the public sphere that coalesced in the Soviet jazz scene during Josef Stalin’s reign. Scholars debate the extent to which Soviet citizens, especially under Stalin, were coerced into cooperating with the regime through terror; willingly cooperated with the regime out of self-interest; or re-aligned their speech, behavior, and thoughts to conform to Bolshevik ideology and discourse. In all cases, citizens were generally unable to openly express their own opinions on what Soviet society should look like. In this dissertation, I attempt to bridge this gap by analyzing the diverse reactions to jazz music in Josef Stalin’s Soviet Union. I argue that audience engagement with jazz and discussions about the genre in the Soviet press and elsewhere were attempts to grapple with bigger questions of public concern about leisure, morality, ethnicity, cosmopolitanism and patriotism in a socialist society. This jazz public sphere was suppressed in the late 1940s and early 1950s because of Cold War paranoia and fears of foreign influences in Soviet life. In its place, a counterpublic sphere formed, in which jazz enthusiasts expressed views on socialism that were more open and contradictory to official norms. This counterpublic sphere foreshadowed aspects of post-Stalinist Soviet culture. To support my arguments, I employ archival documents such as fan mail and censorship records, periodicals, memoirs, and Stalin-era jazz recordings to determine the themes present in jazz music, how audiences reacted to them, and how these popular reactions overlapped with those of journalists, musicologists, bureaucrats, and composers. This project expands our understanding of when and where public spheres can form, challenges top-down interpretations of Soviet cultural policy, and illuminates the Soviet Union and Russia’s ambivalent relationship with the West and its culture.
ContributorsBeresford, Benjamin J. (Author) / Von Hagen, Mark (Thesis advisor) / Manchester, Laurie (Committee member) / Schmelz, Peter (Committee member) / Moore, Aaron (Committee member) / Arizona State University (Publisher)
Created2017
ContributorsFuksman, Mark (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-14
ContributorsSolari, John (Performer) / ASU Library. Music Library (Publisher)
Created2018-01-26
ContributorsZiegler, Danielle (Performer) / ASU Library. Music Library (Publisher)
Created2021-11-06
ContributorsBreslin, Cathal (Performer) / ASU Library. Music Library (Publisher)
Created2021-11-02