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- Genre: Doctoral Dissertation
Description
The purpose of this study was to determine if social capital for parents in a low-income urban school would develop through structured or unstructured parent-teacher meetings. The parent-teacher meetings were developed to provide opportunities for parents and teachers to meet to build relationships and develop trust through teaching and learning how to support reading fluency and reading comprehension strategies. In order to build relationships between parents and teachers both parties need to trust one another. Trust is the foundation of relationships but before parties can trust one another, opportunities to form relationships need to be provided. In the case of parents and teachers, the study suggests that the parent-teacher meetings might be a starting point to provide opportunities to form trusting relationships. As parents and teachers work collaboratively to support the academic needs of the children, parents will increase their social capital and learn how to navigate the school system. The findings of the parent-teacher meetings showed that the perceptions of parents and teachers varied. The findings of the study did not display any noticeable differences in responses between the structured and unstructured group of participants. Parents appreciated meeting with teachers to learn how to support student learning at home and believed teachers were influential in the educational experience of their children. Teachers believed: parents want to support student learning at home, but lack academic skills; parents are the influential in the educational experience of the students; and parents are hesitant to ask school staff for help.
ContributorsHidalgo, Rosanna (Author) / McCoy, Kathleen M. (Thesis advisor) / Zehrbach, Gareth D (Committee member) / Cocchiarella, Martha A (Committee member) / Arizona State University (Publisher)
Created2013
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Epilepsy is the most common chronic neurological condition in children and can have a significant negative impact on education. The current study aimed to examine factors that may influence the likelihood that a teacher will contact the parents of a student with epilepsy for information regarding the disorder and its impact within the school environment. Specific variables of interest included teacher knowledge about epilepsy and confidence when teaching at student with epilepsy, parent perceived knowledge about epilepsy, and parent socio-economic status. Variables were assessed through the previously developed Teacher Epilepsy Knowledge and Confidence Scales (TEKCS) as well as case vignettes. Overall findings suggest that teachers provided with a letter from a parent of a student with epilepsy are highly likely to contact the parent for more information regardless of the above mentioned factors. Additional supplemental analyses replicated previous findings indicating that special education teachers and teachers currently teaching a student with epilepsy possess more knowledge and confidence than general education teachers and those teachers who are not currently instructing a student with epilepsy. In addition, this study also examined the specific types of information teachers sought from parents. Study limitations, implications for practice, and future research directions are discussed.
ContributorsGay, Catherine (Author) / Hart, Juliet (Thesis advisor) / Wodrich, David (Committee member) / Caterino, Linda (Committee member) / Arizona State University (Publisher)
Created2013
Description
Families and schools share the monumental responsibility of educating children. Children and parent-teacher conferences remain the primary means by which parents and teachers share academic information. Given the limited effectiveness of these conferences, a more compelling alternative for home-school collaboration on academic matters is warranted. The purpose of this action research study was to examine an alternative approach to parent-teacher conferences, Academic Parent Teacher Teams (APTT). APTT is a classroom-based parent involvement model composed of three 75-minute parent-teacher team meetings and an individual 30-minute parent-teacher session. Team meetings are highly structured and include six components: personally inviting parents by the teacher; sharing whole-class and individual student data; setting 60-day academic goals; coaching parents in `teaching' skills; distributing take-home practice materials; and networking. Quantitative data included pre- and post-intervention parent surveys, and pre- and post-intervention student scores on high frequency words and oral reading fluency. Qualitative data included field notes from APTT meetings, pre- and post-intervention teacher reflections, and teacher, parent, and student interviews. Findings from this study supported previous research that suggested most parents have high aspirations for their children's academic success. Findings also indicated parents understood their involvement was important to support academic growth. Increased quality and quantity of parent-teacher communication and interaction improved parents' ability to support student learning at home. Parents increased involvement in children's academics was related to teachers' provision of detailed information and training of parents. Qualitative results showed parents' teaching efforts contributed to students' improvement in reading. To understand this outcome, effectual congruence (EC) was offered as an explanation. EC occurred when parents and teachers agreed on an action plan for student achievement, when there was a mutual commitment to taking specific actions and when each person's role was clearly defined and implemented. EC became the process that supported achievement growth. These results demonstrated that relationships between parents and teachers are complex. Further, when teachers and parents were fully invested in collaboration it produced powerful results for students. This study provided critical information for parents, teachers, administrators and policy makers attempting to implement more effective parent involvement initiatives.
ContributorsParedes, Maria C (Author) / Buss, Ray R (Thesis advisor) / Zambo, Ronald (Committee member) / Margolis, Eric (Committee member) / Arizona State University (Publisher)
Created2011
Description
The reed quintet is an intriguing and innovative chamber ensemble that offers adistinctive soundscape to the genre of chamber music. Through significant efforts to
legitimize the ensemble, the reed quintet now exists as a viable option for chamber
musicians. However, a significant challenge remains in the limited accessibility of
repertoire suitable for developing musicians interested in reed quintets. REED
REVOLUTION: A Fundamental Approach to Reed Quintet represents a comprehensive
solution, offering aspiring student chamber musicians the essential pedagogical tools and
materials needed to excel in a reed quintet setting.
This method book encompasses a wide array of strategies aimed at fostering a
functional and collaborative ensemble, establishing foundational chamber music skills,
and introducing five original compositions commissioned specifically for this project.
With REED REVOLUTION, student reed quintets can begin their chamber music journey
equipped with tools to become a successful ensemble prepared to explore the existing
reed quintet repertoire. Additionally, the method book includes a collection of online
resources and recordings, performed by the Arcane Reed Quintet, produced by Dr.
Joshua Gardner, and recorded by Jin Studios, LLC. These resources include reference
recordings and practice tracks for each instrument and the ensemble, serving as
invaluable aids in the learning process.
ContributorsMacDonald, Benjamin Xavier (Author) / Creviston, Christopher (Thesis advisor) / Gardner, Joshua (Committee member) / Shea, Nicholas (Committee member) / Arizona State University (Publisher)
Created2023
Description
During the winter semester of 2018, I conducted a series of four workshops to teach parents (n = 6) strategies that could be used from home with their fourth-grade struggling readers. This study was situated in an elementary school located in North Las Vegas, NV. I invited students that scored two or more years below grade level, as indicated by the STAR Reading Assessment (a grade equivalency assessment).
The purpose of this study focused on how family engagement resulting from the implementation of four small group workshops delivered by the teacher (and researcher) could affect reading performance of students who were below grade level.
This mixed-methods action research study was informed by Bourdieu’s Theory of Cultural Capital (1977), Bandura’s Theory of Self-efficacy (1986), and school, family, and community partnership models.
Quantitative data included pre- and post-intervention parent surveys, post-intervention student surveys, and pre- and post-intervention student reading assessments. Qualitative data included field notes and post-intervention parent interviews.
A repeated-measure t-test found the difference between student pre- and post-assessment to be statistically significant, t(9) = -3.38, p = 0.008. Findings also indicated that parents utilized the skills learned, increased their self-efficacy in regards to family involvement, and overcame obstacles.
The purpose of this study focused on how family engagement resulting from the implementation of four small group workshops delivered by the teacher (and researcher) could affect reading performance of students who were below grade level.
This mixed-methods action research study was informed by Bourdieu’s Theory of Cultural Capital (1977), Bandura’s Theory of Self-efficacy (1986), and school, family, and community partnership models.
Quantitative data included pre- and post-intervention parent surveys, post-intervention student surveys, and pre- and post-intervention student reading assessments. Qualitative data included field notes and post-intervention parent interviews.
A repeated-measure t-test found the difference between student pre- and post-assessment to be statistically significant, t(9) = -3.38, p = 0.008. Findings also indicated that parents utilized the skills learned, increased their self-efficacy in regards to family involvement, and overcame obstacles.
ContributorsChamorro, Kevin Mark (Author) / Mertler, Craig A. (Thesis advisor) / Tovar, Andrea (Committee member) / Paredes, Maria (Committee member) / Arizona State University (Publisher)
Created2019
Description
Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
ContributorsBrown, Jr., Fredrick Marcell (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Schmelz, Peter (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
ABSTRACT
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
ContributorsWu, Xuelai (Author) / Campbell, Andrew (Thesis advisor) / DeMars, James (Committee member) / Landschoot, Thomas (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2017