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Description
"Chronos" is a composition by the great jazz pianist, Aaron Parks. Originally arranged for a quartet consisting of piano, upright bass, drums and tenor saxophone, I sought to arrange the piece for a sextet consisting of trombone, alto saxophone, tenor saxophone, guitar, upright, bass, and drums. This thesis outlines my process as I transcribed "Chronos" from the original recording and then arranged it for a new ensemble. It also discusses the difficulties faced in all the phases of the project from transcribing to rehearsing and performing the work. My arrangement is included with the thesis for those who wish to analyze the music as well as a recording of a live performance of my arrangement at The Nash in downtown Phoenix on April 7th, 2015.
ContributorsMcdaniel, Sean Wesley (Author) / Kocour, Michael (Thesis director) / Haines, Ryan (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05
Description
Witching Hours is the debut studio album of Chicago-born, Phoenix-residing trumpet player John Michael Sherman. It is a consummation of his work in the Arizona State University jazz studies program both as a performer and composer. Featured on the album are several other musicians who John Michael played alongside throughout his tenure at ASU, including Chaz Martineau on tenor saxophone, Evan Rees on piano, Reid Riddiough on guitar, Vince Thiefain on bass, Matt McClintock on drums, and Dan Meadows on baritone saxophone. The album features seven pieces, all original compositions or arrangements. The first track, "Workin' My Nerves", is a blues shuffle in the key of F. This is followed by "Scarborough Fair", an arrangement of the classic English folk tune in a rock style. The title track, "Witching Hours", is an cadaverous linear composition in 7/4 which is followed by "Goliath", a pseudo-tone poem about the biblical giant. "I Should Have Known" is a pensive ballad featuring an a capella intro and cadenza, followed by the most recent composition, a minor blues-esque piece entitled "Who Said That?" The final track, "Don't Change A Thing", is an upbeat samba which was written in John Michael's first year of college. These pieces demonstrate an understanding of the jazz tradition and exhibit influences from such musicians as Clifford Brown, Freddie Hubbard, Wayne Shorter, and Snarky Puppy. The album was recorded at Tempest Recording in Tempe and produced by Clarke Rigsby. Clarke is a veteran recording engineer and is the first choice of many of Phoenix's finest jazz musicians, including thesis director and head of the ASU jazz department Michael Kocour. The pieces were composed and recorded under the guidance of Mike Kocour and Jeff Libman. Witching Hours represents a culmination of John Michael's course in the Arizona State University jazz department and his endeavors as a trumpet player and composer.
ContributorsSherman, John Michael (Author) / Kocour, Michael (Thesis director) / Libman, Jeffrey (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
This study tracks specific earworm tendencies amongst a sample of university students in an effort to support previous theories and to offer fresh perspectives about what causes earworms and why some people may experience more earworms than others. Every participant was placed in one of four categories: Female Music Major (FMM), Female, Non-Music Major (FNM), Male Music Major (MMM), and Male, Non-Music Major (MNN). This study determined that females experienced more earworms than males, and music majors experienced less earworms than other majors. The study also found that most earworms occurred while participants were in an environment that they did not find particularly engaging, ranging from doing homework to commuting on the bus. Data collected from this research provides potential platforms for future research in the topic of a deep analysis of earworm tendencies amongst a wider population.
ContributorsPallad, Alexandra Nicole (Author) / Mantie, Roger (Thesis director) / Ericson, John (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Using two interviews with local Phoenix professional chamber musicians, this document aims to compare their experiences across musical styles to find common ground and understand the value of chamber music as a professional and educational tool.
ContributorsGrahmann, Robert (Author) / Libman, Jeffrey (Thesis director) / Compitello, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
Description
This paper highlights a method for jazz transcription, comprehension, and practice to be implemented primarily in applied saxophone instruction with undergraduate students. The purpose is the identify and mend the divide between jazz and classical that appears in academia. This divide is one that came about by necessity in the saxophone’s relative youth in the academic world as it found solid footing in conservatories around the world. A literature review establishes the current state of dialogue between both jazz and classical in the academic saxophone community, including the current state of crossover scholarship that discusses the interaction between multiple genres. This review investigates what serves as pedagogical material in an aural discipline like jazz. A thorough approach to transcription is crucial change to the standard practice of jazz transcription typically employed in applied saxophone studios. This approach takes the focus away from the product and places it on the process. This process is demonstrated through a transcription and deconstruction of Charlie Parker’s “Cheryl.” Though this approach is presented through the perspective of a saxophonist, this process can be applied to any number of instrumental disciplines seeking to understand jazz transcription and improvisation more fully.
ContributorsFeher, Patrick Francis (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Libman, Jeffrey (Committee member) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsMoio, Dom (Director) / Libman, Jeffrey (Director) / Latin Jazz Band (Performer) / Jazz Repertory Band (Performer) / ASU Library. Music Library (Publisher)
Created2014-12-03
Description
In this thesis, I will be discussing the similarities between Stoicism (as both an ancient Greek and Roman philosophy, as well as how it is interpreted in the modern age) and modern therapeutic methods; However, I will not be developing any type of novel theory as to how Stoicism can be used as one of those therapeutic methods by itself. That would require a degree of psychological and medical knowledge that I, as an undergraduate student, do not yet possess and do not have the authority to expand upon in a safe manner. What the goal of this thesis is, instead, is to draw and explore parallels between the ideals and principles of stoicism (such as eudaimonia, ethics, and relative asceticism) as compared to modern therapeutic techniques, like cognitive-behavioral and dialectical-behavioral therapies. I will draw direct parallels between Stoic philosophy and the therapeutic treatments commonly used to address the symptoms of two psychiatric issues (Bipolar Mood Disorder and Obsessive Compulsive Disorder). I will also be addressing a third psychiatric case study, as relating to Stoic philosophy - suicide, and how our view of it has changed and progressed,both through a Stoic lens as well as from a contemporary psychological viewpoint.
As a result of drawing these parallels, this thesis will also explore some of the more modern uses of Stoicism - for example, those discussed in A Guide To The Good Life by William B Irvine, and Stoic Warriors by Nancy Sherman. Irvine focuses primarily on the use of Stoicism to avoid the factors of“chronic dissatisfaction” that afflict much of our modern-day lives - an absence of control, unhappiness, and erroneous personal values, to name a few. Sherman takes a more targeted approach - the application of Stoic philosophy to the workings of the military mentality and instinct. Sherman explores how being “Stoic” is taught as a part of military bearing, specifically when serving in the American forces. Stoic values are used to create a culture of discipline and self-control in the military - as Sherman puts it, “The idea that one’s happiness could depend solely on one’s own virtue, and that one’s agency and control might be bulletproof, appealed to [them]” (Sherman, 11). These authors’ perspectives are just two examples of how Stoicism can be applied in the modern age, as will be shown in further detail in subsequent sections.
As a result of drawing these parallels, this thesis will also explore some of the more modern uses of Stoicism - for example, those discussed in A Guide To The Good Life by William B Irvine, and Stoic Warriors by Nancy Sherman. Irvine focuses primarily on the use of Stoicism to avoid the factors of“chronic dissatisfaction” that afflict much of our modern-day lives - an absence of control, unhappiness, and erroneous personal values, to name a few. Sherman takes a more targeted approach - the application of Stoic philosophy to the workings of the military mentality and instinct. Sherman explores how being “Stoic” is taught as a part of military bearing, specifically when serving in the American forces. Stoic values are used to create a culture of discipline and self-control in the military - as Sherman puts it, “The idea that one’s happiness could depend solely on one’s own virtue, and that one’s agency and control might be bulletproof, appealed to [them]” (Sherman, 11). These authors’ perspectives are just two examples of how Stoicism can be applied in the modern age, as will be shown in further detail in subsequent sections.
ContributorsSimpson, Naomi (Author) / Lynch, John (Thesis director) / O'Neill, Joseph (Committee member) / School of Music (Contributor) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
With this thesis, I have set out to answer two fundamental questions within music: does music mean anything, and should music mean anything? In answering those questions, I also set out to create a creative project that would implement these ideas: an original concept album of music that is programmatic in nature and incorporates motivic composition, jazz improvisation, lyrics, extra-musical audio and more all in the service of telling a narrative, a story, through music. I have done research into understanding music as a language, finding that this language is primarily communicative and recreational, rather than representational, of meaning. As well, I discuss the various different ways that music composers from Wagner to Williams have created narrative meaning in their works, using examples of leitmotif and other devices, as well as tracing the contextual associations of meaning that occurs when music is perceived in certain contexts. Furthermore, I discuss the dialogue between absolute and programmatic music, and also talk about the role of jazz improvisation in adding meaning to works.
For the second part of my thesis I talk about how I came to create the creative project aspect. I discuss how and why I designed the narrative that I did, and also analyzed the music I have created to illustrate how I implemented the various methods of musical storytelling that I detail in the first part of the paper. Lastly, I discuss my plans for publication and release of the creative project.
The third part of this thesis is a sample of the creative project. There is a version of the narrative that goes along with the creative project, as well as one of the eight pieces of original music on the creative project, entitled Journey.
Overall, I found that music does have meaning, it is just meaning that society ascribes to it based off of artistic intent and context, and as to whether music should mean anything, I believe that this is a question best left to be answered on an individual basis. Music can be whatever it wants to be.
For the second part of my thesis I talk about how I came to create the creative project aspect. I discuss how and why I designed the narrative that I did, and also analyzed the music I have created to illustrate how I implemented the various methods of musical storytelling that I detail in the first part of the paper. Lastly, I discuss my plans for publication and release of the creative project.
The third part of this thesis is a sample of the creative project. There is a version of the narrative that goes along with the creative project, as well as one of the eight pieces of original music on the creative project, entitled Journey.
Overall, I found that music does have meaning, it is just meaning that society ascribes to it based off of artistic intent and context, and as to whether music should mean anything, I believe that this is a question best left to be answered on an individual basis. Music can be whatever it wants to be.
ContributorsPrice, Alexander (Author) / Gilfillan, Daniel (Thesis director) / Kocour, Michael (Committee member) / Libman, Jeffrey (Committee member) / Department of English (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
ContributorsKocour, Mike (Director) / Libman, Jeffrey (Contributor) / Jazz Faculty Ensemble (Performer) / Jazz Repertory Band (Performer) / ASU Library. Music Library (Publisher)
Created2006-03-28
ContributorsVadala, Chris (Performer) / Libman, Jeffrey (Performer, Director) / Kocour, Mike (Director) / Jazz Repertory Band (Performer) / ASU Library. Music Library (Publisher)
Created2005-10-25