Matching Items (4)
Filtering by
- All Subjects: Phenomenology
- Creators: Paine, Garth
- Creators: Stauffer, Sandra L
Description
"Shapeshifting through Words" investigates the history of literature from nonhuman perspectives to determine how people understand animal experiences of the world. I gauge this history through a taxonomy, compiling around 500 stories from nonhuman vantage points to mark trends in publication frequency, as well as number and types of perspectives extracted from the data. A trope and genre analysis follows, along with the hallmarks for what constitutes a nonhuman narrative. Finally, this knowledge is adapted to a framework in the form of a booklet in how to construct a nonhuman perspective based on its cognitive and sensory understanding of the world.
ContributorsLigon, Brandon (Author) / Broglio, Ron (Thesis director) / Paine, Garth (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2024-05
Description
The purpose of this study was to trouble existing conceptions of disability that ground music education literature and practice. I sought plausible insights into how disability is experienced in, through, and/or around music by participants who are disabled persons/persons with disabilities (DP/PwD). Insights gained might allow readers to complexify and trouble taken-for-granted assumptions about disability. Questions included: (a) How do participants experience disability in, through, and around music? (b) What plausible insights related to disability can be gained by attending to participants’ experiences of disability in, through, and around music? (c) What plausible insights related to inclusion can be gained by attending to participants’ experiences of disability in, through, and around music? The inquiry approach was grounded in Buberian relational ontology, phenomenology, interactional theories of disability, and narrative.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
ContributorsRathgeber, Jesse (Author) / Stauffer, Sandra L (Thesis advisor) / Mantie, Roger (Committee member) / Schmidt, Margaret (Committee member) / Solís, Ted (Committee member) / Tobias, Evan S (Committee member) / Arizona State University (Publisher)
Created2019
Description
This study investigates the lived experience of competition in high school band and the manner in which competition influences and frames band curricula. A hermeneutic phenomenological method based on the works of van Manen and Vagle was used to investigate what it was like for participants to be in competition. A theoretical framework organized around Schwab's commonplaces of education was used to interpret findings related to the curricular areas of the teacher, learner, subject matter, and milieu. I examined data through a lens incorporating principles of John Dewey's philosophy related to each of the commonplaces.
Twelve individuals participated in the study representing experiences had both as students and as music educators. Participants lived and taught in communities throughout the United States and brought differing levels of teaching and competitive experience. Data were generated through in-depth interviews and collaborative phenomenological texts. Research questions included: What is the lived experience of competing in a high school band like?; and, How does competition frame and influence high school band curricula?
Findings indicate that competition was a meaningful and influential part of participants' work as band directors and educational experiences as students. Competition was approached with tension as participants acknowledged negative concerns over the influence of competitions on their students, yet chose to engage in competitive activities. Marching band contests offered a creative outlet where directors could develop custom materials and they did so with a significant motivation to win. Competition was perceived as an influence on band directors' professional reputations, feelings of competence, and how band programs were viewed in the community. Students were motivated by competitions and reacted strongly to competitive results such as rankings, ratings, and other distinctions.
Findings also indicate that band curricula emphasizing competition share similar curricular facets: (a) teachers carefully control and manage classroom activities and curricular choices; (b) students are viewed as skilled performers who are dependent upon their teachers for learning; (c) subject matter is narrowly considered around measurable behavioral objectives and repertoire selection; and, (d) the educational environment is dominated by the teacher who may use competition to motivate students to work and practice more.
Twelve individuals participated in the study representing experiences had both as students and as music educators. Participants lived and taught in communities throughout the United States and brought differing levels of teaching and competitive experience. Data were generated through in-depth interviews and collaborative phenomenological texts. Research questions included: What is the lived experience of competing in a high school band like?; and, How does competition frame and influence high school band curricula?
Findings indicate that competition was a meaningful and influential part of participants' work as band directors and educational experiences as students. Competition was approached with tension as participants acknowledged negative concerns over the influence of competitions on their students, yet chose to engage in competitive activities. Marching band contests offered a creative outlet where directors could develop custom materials and they did so with a significant motivation to win. Competition was perceived as an influence on band directors' professional reputations, feelings of competence, and how band programs were viewed in the community. Students were motivated by competitions and reacted strongly to competitive results such as rankings, ratings, and other distinctions.
Findings also indicate that band curricula emphasizing competition share similar curricular facets: (a) teachers carefully control and manage classroom activities and curricular choices; (b) students are viewed as skilled performers who are dependent upon their teachers for learning; (c) subject matter is narrowly considered around measurable behavioral objectives and repertoire selection; and, (d) the educational environment is dominated by the teacher who may use competition to motivate students to work and practice more.
ContributorsO'Leary, Emmett James (Author) / Tobias, Evan S (Thesis advisor) / Stauffer, Sandra L (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill M (Committee member) / Landes, Heather (Committee member) / Arizona State University (Publisher)
Created2016
Description
Mongolian overtone singing (höömii) and Mongolian wrestling songs (tsols) are vocal styles that evoke physical and mental strength in the vocalist through the accessing of nature. The phrase “höömii-tsol-thinking computer” conveys my end-goal while composing, performing, and researching for my original composition strong.mng. I wanted to create a work in which the computer would be informed by the performance methods and philosophies employed during Mongolian höömii and tsols.
Strong.mng is a 25-minute production for dancer, live digital illustrator, and overtone singer with a laptop computer serving as both a fixed and interactive responsive musical instrument. The music draws upon themes from höömii and tsols through the lens of virtual fieldwork, which was the research method I used to inform strong.mng. Through the composing and performing of strong.mng, I arrived at the following three-part hypothesis: firstly, the development of a robust symbiotic relationship between höömii, tsols, and today’s electronic music technology may transform the technological devices used into agents of deep ecology and bodily interconnectedness. Secondly, this transformation may metamorphose the performer into a more courageous being who is strengthened both physically and mentally by the Mongolian belief that, when performing höömii and tsols, the musician is drawn into kinship with nature. Lastly, I believe some computer music is restrained in its potential by techno-somatic discreteness as well as anthropocentrism, and that applying philosophies from höömii and tsols can help move computer music more towards a physically embodying means of sonification; one that is also akin with the natural world.
Strong.mng is a 25-minute production for dancer, live digital illustrator, and overtone singer with a laptop computer serving as both a fixed and interactive responsive musical instrument. The music draws upon themes from höömii and tsols through the lens of virtual fieldwork, which was the research method I used to inform strong.mng. Through the composing and performing of strong.mng, I arrived at the following three-part hypothesis: firstly, the development of a robust symbiotic relationship between höömii, tsols, and today’s electronic music technology may transform the technological devices used into agents of deep ecology and bodily interconnectedness. Secondly, this transformation may metamorphose the performer into a more courageous being who is strengthened both physically and mentally by the Mongolian belief that, when performing höömii and tsols, the musician is drawn into kinship with nature. Lastly, I believe some computer music is restrained in its potential by techno-somatic discreteness as well as anthropocentrism, and that applying philosophies from höömii and tsols can help move computer music more towards a physically embodying means of sonification; one that is also akin with the natural world.
ContributorsKennedy, Justin Leo (Author) / Paine, Garth (Thesis advisor) / Solís, Ted (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2016