IMPROVISATION AND THE CONCERT SAXOPHONIST: A SURVEY OF COMPOSITIONAL AND PERFORMANCE TECHNIQUES

Much of the contemporary concert (i.e. “classical”) saxophone literature has connections to compositional styles found in other genres like jazz, rock, or pop. Although improvisation exists as a dominant compositional device in jazz, improvisation as a performance technique is not confined to a single genre. This study looks at twelve concert saxophone pieces that are grouped into three primary categories of compositional techniques: 1) those containing unmeasured phrases, 2) those containing limited relation to improvisation but a close relationship to jazz styles, and 3) those containing jazz improvisation. In concert saxophone music, specific crossover pieces use the compositional technique of jazz improvisation. Four examples of such jazz works were composed by Dexter Morrill, Phil Woods, Bill Dobbins, and Ramon Ricker, all of which provide a foundation for this study. In addition, pieces containing varying degrees of unmeasured phrases are highlighted. As this dissertation project is based in performance, the twelve pieces were divided into three recitals that summarize a pedagogical sequence. Any concert saxophonist interested in developing jazz improvisational skills can use the pieces in this study as a method to progress toward the performance of pieces that merge jazz improvisation with the concert format. The three compositional techniques examined here will provide the performer with the necessary material to develop this individualized approach to improvisation. Specific compositional and performance techniques vary depending on the stylistic content: this study examines improvisation in the context of concert saxophone repertoire.

Self-Presentation Styles, Status, and Influence

This research examined effects of individual self-presentation styles on influence in groups. Perceived competence and social acceptance both play a role in determining how much influence group members enjoy. Aggrandizing and deprecating self-presentation styles may affect perceived competence, social acceptance, and ultimately influence. I predicted that aggrandizing self-presentation would lead to perceptions of competence and that self-deprecation would lead to social acceptance. The anticipated strength of those trends, however, was unclear, and I proposed that they would vary depending on status. I conducted two studies designed to assess whether aggrandizing or deprecating self-presentation styles lead to differences in influence outcomes for high and low-status individuals. In Study 1, participants gave feedback and a promotion recommendation for a fictitious (male or female) job candidate based on employee evaluation information presenting the candidate as either deprecating or aggrandizing. The main findings from Study 1 were that aggrandizers were rated as less likable than deprecators. No other predictions were supported. Study 2 was an online experiment in which participants made hiring recommendations in reference to résumés from fictitious applicants that varied by race, gender, and presentation style (aggrandizing, deprecating, or neutral). Results provided some evidence that low-status candidates were punished for using aggrandizing self-presentation strategies. The results of the studies suggest no one- best technique for self-presentation and that there may be costs for aggrandizing or deprecating depending on race and gender.

Electracy in Praxis: Pedagogical Relays for an Undergraduate Writing Curriculum

The paradigm shift from traditional print literacy to the postmodern fragmentation, nonlinearity, and multimodality of writing for the Internet is realized in Gregory L. Ulmer’s electracy theory. Ulmer’s open invitation to continually invent the theory has resulted in the proliferation of relays, or weak models, by electracy advocates for understanding and applying the theory. Most relays, however, remain theoretical rather than practical for the writing classroom, and electracy instruction remains rare, potentially hindering the theory’s development. In this dissertation, I address the gap in electracy praxis by adapting, developing, and remixing relays for a functional electracy curriculum with first-year writing students in the Virginia Community College System as the target audience. I review existing electracy relays, pedagogical applications, and assessment practices – Ulmer’s and those of electracy advocates – before introducing my own relays, which take the form of modules. My proposed relay modules are designed for adaptability with the goals of introducing digital natives to the logic of new media and guiding instructors to possible implementations of electracy. Each module contains a justification, core competencies and learning outcomes, optional readings, an assignment with supplemental exercises, and assessment criteria. My Playlist, Transduction, and (Sim)ulation relays follow sound backward curricular design principles and emphasize core hallmarks of electracy as juxtaposed alongside literacy. This dissertation encourages the instruction of new media in Ulmer’s postmodern apparatus in which student invention via the articulation of fragments from various semiotic modes stems from and results in new methodologies for and understandings of digital communication.