09-22-2010 DrumLine Live Coming to SWOSU on October 18

DrumLine Live, a theatrical production created by the music team behind the hit movie Drumline, will be staged Monday, October 18, at Southwestern Oklahoma State University in Weatherford

Race, Gender, and Research: Implications for Teaching from Depictions of Professors in Popular Film, 1985-2005

When students enter college classrooms for the first time they inevitably have preconceived images of professors. According to research on student evaluations of teaching, these preconceptions have important implications in college classrooms. This study explores one avenue through which these preconceptions are perpetuated – popular film. Using content analysis we examine popular films released between 1985 and 2005 that contain professors in either primary or secondary roles. Our findings show stereotypical depictions beyond glasses, bow ties, and tweed jackets. Specifically, we find stereotypical images of race and gender as well as an emphasis on the importance of research, sometimes at the expense of teaching or ethical behavior. This research provides instructors with knowledge of the stereotypes that students may have upon entering the college classroom, which may impact classroom interactions and provides insight into how race and gender affect student evaluations of professors

Drumline Live

Promotional material and playbill insert for the November 12, 2010 performance of Drumline Live.https://opus.govst.edu/cpa_memorabilia/1008/thumbnail.jp

Drumline Club

After-school club that teaches students the basics of music and drumming as a whole as well as learning the bucket-drumming piece entitled Yuck

Equipping College Students for a Marching Percussion Career in the United States

Despite the traditional American percussion curriculum being valuable to the college percussionist, there is an unclear path toward preparing students for a career in the field of marching percussion. Every year, students graduate with a desire to pursue the marching arts as a vocation without sufficient guidance. This study examined the perspectives of marching band professionals (N=107) who have carved their path in the industry. Guided by Creswell’s research design model, this qualitative inquiry identifies viewpoints from marching percussionists that can create a comprehensive percussion curriculum. Outlooks on performing, teaching, composing/arranging, and the industry have emerged as themes integral to the success of one’s marching percussion employment. Therefore, these motifs are essential learning elements throughout college. Illustrating the experiences of people who have made marching percussion an occupation, surveys will be conducted with many successful marching percussionists to create a list of surfacing motifs represented in their stories. Having a professional’s knowledge and experience is needed to develop a more efficient percussion curriculum that will improve the discipline of marching percussion. Pioneering the field of inquiry in marching percussion has only recently become explored as a valid research model. This project will serve as an example of the intersection of this young genre of percussion mixing with the traditional percussion curriculum. Additionally, this study and the ideas of new percussion curricula could encourage further investigation by other percussionists to apply this growing research method to all styles within the genre of percussion

POLITENESS STRATEGIES IN DRUMLINE MOVIE

Keywords: politeness strategies, movie, DrumlinePoliteness strategies use in communication between speaker and hearer has power tomaintain relationship, and decrease the threatening face and message that happens during the interaction. That became the point of departure in this study, in which politeness strategies were used to analyze the characters’ relationship development in a Drumline movie. The purpose of this study were (1) to identify type of negative and positive politeness strategies used by the character for the communication, and (2) to find out characters’ relationship development influenced by the politeness strategies.To answer those questions, Brown & Levinson’s politeness strategies were used as thetheoretical framework, and the research design was descriptive qualitative. Data collection was done through watching movie, classifying politeness strategies, and analyzing the classification.The result showed the Drumline’s characters tend to use negative politeness ratherthan the positive. It reveals that there were 28 data containing politeness strategies, they are 20 negative politeness strategies and 8 positive politeness strategies. At the beginning the characters mostly use positive politeness as introduction or as a socialization starting point, then they frequently use negative politeness strategy to maintain their relationship and it also triggers the character relationship development.This research is expected to contribute to the body of knowledge related to theapplication of Brown & Levinson’s politeness strategy which is used in the movie. It isalso suggested that the next researchers who want to conduct research in politeness strategy use other types of theory for example Leech or Folley, and apply it to other object of the study such as speech, novel, short story, etc. Thus, there will be more variation and knowledge sources related to politeness strategy

Audiating the LSU drumline: an ethnographic performance

This is an ethnographic study of the drumline of the LSU Marching Band and the mock-fraternity they created called Phi Boota roota (ΦBr). I argue that ΦBr was created as a site to flesh out the various tensions members experience as members of the LSU drumline; they create a rite of passage ritual that functions as a carnivalesque and celebratory inversion of the system they find themselves submerged within. Phi Boota roota marks a created articulation of the transition members make when they become part of the larger ritual of Tigerband; it is a voluntary or liminoid ritual that allows members to deal with the excess parts of their own personalities and individuality while fully embracing, though at times parodying, their inherited identity and image as members of the LSU Band. Through the use of performative writings combined with more traditional ethnographic field reports and descriptions/interpretations, this thesis strives to give voice to the tensions felt within the rituals of Tigerband and ΦBr, the tension of representation within ethnographic study, and the tension of creative experimentation within academic writing. Throughout the study, I use the metaphor of audiation to experiment with representing ethnographic experience and knowledge. Audiation is the practice of thinking and comprehending music with your mind, and it functions as a pedagogical tool for creating and remembering sound. Metaphorically, audiation illustrates an action that requires both memory and creativity; a process that gives sound/motion to a sounding/action by re-creating it in the mind. These audiations provide a forum for both the traditional and the inventive to resonate within the context of an ethnographic exploration of the performance of ΦBr

Politeness Strategies In Drumline Movie

Keywords: politeness strategies, movie, DrumlinePoliteness strategies use in communication between speaker and hearer has power tomaintain relationship, and decrease the threatening face and message that happens during the interaction. That became the point of departure in this study, in which politeness strategies were used to analyze the characters' relationship development in a Drumline movie. The purpose of this study were (1) to identify type of negative and positive politeness strategies used by the character for the communication, and (2) to find out characters' relationship development influenced by the politeness strategies.To answer those questions, Brown & Levinson's politeness strategies were used as thetheoretical framework, and the research design was descriptive qualitative. Data collection was done through watching movie, classifying politeness strategies, and analyzing the classification.The result showed the Drumline's characters tend to use negative politeness ratherthan the positive. It reveals that there were 28 data containing politeness strategies, they are 20 negative politeness strategies and 8 positive politeness strategies. At the beginning the characters mostly use positive politeness as introduction or as a socialization starting point, then they frequently use negative politeness strategy to maintain their relationship and it also triggers the character relationship development.This research is expected to contribute to the body of knowledge related to theapplication of Brown & Levinson's politeness strategy which is used in the movie. It isalso suggested that the next researchers who want to conduct research in politeness strategy use other types of theory for example Leech or Folley, and apply it to other object of the study such as speech, novel, short story, etc. Thus, there will be more variation and knowledge sources related to politeness strategy

An Exploration of the Culture, Playing Style, and Performance Practices of the Marching Percussion Sections of Historically Black Colleges and Universities

This document will focus on traditional-style marching percussion. This style of marching percussion is normally found at HBCU and predominantly black high schools although there are some exceptions in which a Black band director at a predominately white high school chooses to model his program in the traditional style. With that being said, the purpose of this document is to explore the culture of HBCU drumlines, their musical preparation, performance practice and provide a guide as to how to successfully implement these practices. This document is meant to serve as a guide to both those who wish to start a traditional-style drumline as well as those who are already overseeing a traditional-style drumline. This guide will cover things such as equipment selection, playing styles and techniques, performance practice, recruiting, tuning, and composition style. It is my goal that any reader of this document will have a strong understanding of how a traditional style drumline should function both alone and with the marching band. Findings of this study were that lines that have a more corps-style approach have teachers that either marched in a Drum Corps International ensemble or in a high school marching band that was modeled after one. These schools are also in areas where there are not many high schools that practice traditional style marching percussion such as the case of Virginia State University. Meanwhile, HBCUs in the midsouth feature an approach much like an aggressive, groove-centered approach that is the same at both the collegiate and high school levels due to the students continuing their education at schools with marching bands that suit their interests. No matter the region, drumlines at these HBCUs take these past experiences and combine them with dance moves and grooves to accomplish their main goal of entertaining their audience rather than adjudication