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Description
This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
ContributorsWilkinson, Michael Scott (Author) / Ericson, John (Thesis advisor) / Kocour, Michael (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Arizona has become infamous for its strong nativist and anti-immigrant climate, gaining national and international attention for legislation and policing practices that are in violation of civil and human rights. Despite the grave injustices perpetuated against migrants and communities of color, they exist in an environment of acceptance. Applying Critical Pedagogy, Critical Race Theory/ Latina(o) Critical Race Theory, and Chicana Feminist epistemologies, this study interrogates the polarized discourse that has intensified in Arizona, within the immigration movement and across its political spectrum, from 2006 to 2008. I present an auto-ethnographic account, including use of participant action research, narrative, and storytelling methods that explores ways in which resistance is manifested and the implications for creating sustainable social change. I argue that legislation, raids, and local immigration enforcement tactics reinforce the dominant group's fear of the "other," resulting in micro and macro aggressions that legitimize racial profiling and help safeguard and fortify White privilege through the fabrication of racialized identities. Simultaneously, organizing strategies and discourse of immigrant rights advocates reflect an entanglement of perceived identities and a struggle to negotiate, contest, and redefine boundaries of public space. The raids, coupled with protests and counter demonstrations, produced a public spectacle that reinforces anti-immigrant connections between race and crime. Lastly, I apply and introduce Border Crit, a new and emerging theory I propose to better address research in the borderlands.
ContributorsMaldonado, Angeles (Author) / Swadener, Elizabeth B. (Thesis advisor) / Scott, Kimberly (Committee member) / Mckinley Jones Brayboy, Bryan (Committee member) / Arizona State University (Publisher)
Created2013
Description
Jazz continues, into its second century, as one of the most important musics taught in public middle and high schools. Even so, research related to how students learn, especially in their earliest interactions with jazz culture, is limited. Weaving together interviews and observations of junior and senior high school jazz players and teachers, private studio instructors, current university students majoring in jazz, and university and college jazz faculty, I developed a composite sketch of a secondary school student learning to play jazz. Using arts-based educational research methods, including the use of narrative inquiry and literary non-fiction, the status of current jazz education and the experiences by novice jazz learners is explored. What emerges is a complex story of students and teachers negotiating the landscape of jazz in and out of early twenty-first century public schools. Suggestions for enhancing jazz experiences for all stakeholders follow, focusing on access and the preparation of future jazz teachers.
ContributorsKelly, Keith B (Author) / Stauffer, Sandra (Thesis advisor) / Tobias, Evan (Committee member) / Kocour, Michael (Committee member) / Sullivan, Jill (Committee member) / Schmidt, Margaret (Committee member) / Arizona State University (Publisher)
Created2013
Description
Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close.
ContributorsSneider, Elliot (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hackbarth, Glenn (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Using integrated threat theory as the theoretical framework, this study examines the impact of perceived realistic threats (threats to welfare) and symbolic threats (threats to worldview) on anti-immigrant sentiment among a nationally representative sample in the U.S. Analysis of the antecedents of prejudice is particularly relevant today as anti-immigrant sentiment and hostile policies toward the population have risen in the past two decades. Perceived discrimination has also become salient within immigrant communities, negatively impacting both mental and physical health. Using logistic ordinal regressions with realistic threat, symbolic threat, and immigrant sentiment scales, this study found that both realistic and symbolic threats increased participants' likelihood of selecting a higher level of anti-immigrant sentiment, suggesting both are predictive of prejudice. However, symbolic threats emerged as a greater predictor of anti-immigrant sentiment, with an effect size over twice that of realistic threats. Implications for social work policy, practice, and future research are made.
ContributorsKiehne, Elizabeth (Author) / Becerra, David (Thesis advisor) / Segal, Elizabeth (Committee member) / Androff, David K. (Committee member) / Arizona State University (Publisher)
Created2014
Description
The &ldquoMormon; Colonies” in Chihuahua, northern Mexico, boast a sizable population of women originally from the United States who have immigrated to these small Mexican towns. This ethnographic study of the immigrant women in the area focuses on questions of citizenship and belonging, and bolsters the scholarship on U.S. American immigrants in Mexico. Using data from 15 unstructured interviews, the women&rsquos; experiences of migration provide a portrait of U.S. American immigrants in a Mexican religious community. Analysis of this data using grounded theory has revealed that these U.S. American women have created a third social space for themselves, to a large degree retaining their original culture, language, and political loyalty. Their stories contribute to the literature on transnational migration, providing an account of the way migrants of privilege interact with their society of settlement.
ContributorsNielsen, Vanessa (Author) / Mean, Lindsey (Thesis advisor) / Téllez, Michelle (Committee member) / Gruber, Diane (Committee member) / Arizona State University (Publisher)
Created2013
Description
The study of non-U.S. citizens in criminal justice system outcomes has often been neglected in the sentencing literature. When citizenship is considered, there are generally no distinctions made within this group. The research fails to consider differences according to legal status, race/ethnicity, nationality and other distinctive markers that might play a role in sentencing outcomes. Using federal sentencing data collected by the United States Sentencing Commission for fiscal year 2006 through fiscal year 2008, this study examines the effect of offender citizenship status, legal status, and national origin on the likelihood of imprisonment and length of imprisonment for offenders convicted of drug offenses. The current study considers differences among foreign-born and Latino immigrant subgroups (e.g., Colombian, Cuban, Dominican, and Mexican nationals). The key findings in this dissertation include: (1) non-U.S. citizens have greater odds of imprisonment than U.S. citizens. However, non-U.S. citizen offenders receive significantly shorter prison terms relative to U.S. citizen offenders; (2) undocumented immigrants are more likely to be incarcerated compared to similarly situated authorized immigrants and U.S. citizens. However, legal status does not have an effect on sentence length; and (3) with respect to national origin, Mexican nationals are significantly more likely than Colombians to be incarcerated and are given significantly longer prison sentences than Dominican nationals. The implications of these findings and future research are addressed in the concluding chapter.
ContributorsValadez, Mercedes (Author) / Spohn, Cassia (Thesis advisor) / Wang, Xia (Committee member) / Wright, Kevin (Committee member) / Arizona State University (Publisher)
Created2013
Description
During the 1980s hundreds of thousands of Central American refugees streamed into the United States and Canada in the Central American Refugee Crisis (CARC). Fleeing homelands torn apart by civil war, millions of Guatemalans, Nicaraguans and Salvadorans fled northward seeking a safer and more secure life. This dissertation takes a "bottom-up" approach to policy history by focusing on the ways that "ground-level" actors transformed and were transformed by the CARC in Canada and the United States. At the Mexico-US and US-Canada borders Central American refugees encountered border patrol agents, immigration officials, and religious activists, all of whom had a powerful effect on the CARC and were deeply affected by their participation at the crisis. Using government archives, news media articles, legal filings and oral history this study examines a series of events during the CARC. Highlighting the role of "ground level" actors, this dissertation uses three specific case studies to look at how individuals, small groups, and a border town transformed and were transformed by the Central American Refugee Crisis. It argues that (#1) the CARC deeply affected the lives of those who participated in it, and (#2) the actors' interpretation and negotiation of, as well as resistance to, refugee policy changed the shape and outcomes of the Central American Refugee Crisis.
ContributorsRosinbum, John (Author) / Hoerder, Dirk (Thesis advisor) / Stoner, Lynn (Thesis advisor) / Menjivar, Ceclia (Committee member) / Arizona State University (Publisher)
Created2014
Description
This multiple-case study addresses the nature of the out-of-school musical engagements of four undergraduate students who were enrolled as jazz studies majors in a large school of music in the U.S. southwest. It concerns what they did musically when they were outside of school, why they did what they did, what experiences they said they learned from, and how their out-of-school engagements related to their in-school curriculum. Research on jazz education, informal learning practices in music, and the in-school and out-of-school experiences of students informed this study. Data were generated through observation, interviews, video blogs (vlogs), and SMS text messages.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
ContributorsLibman, Jeffrey B (Author) / Tobias, Evan (Thesis advisor) / Kocour, Michael (Committee member) / Schmidt, Margaret (Committee member) / Solis, Theodore (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2014
Description
The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of the artists' life and method. Innovators are often the subject of published studies of this kind, but transcriptions of plunger-mute master Al Grey have been overlooked. This document fills that void, combining historical context with thirteen transcriptions of Grey's trombone features and improvisations. Selection of transcribed materials was based on an examination of historically significant solos in Al Grey's fifty-five-year career. The results are a series of open-horn and plunger solos that showcase Grey's sound, technical brilliance, and wide range of dynamics and articulation. This collection includes performances from a mix of widely available and obscure recordings, the majority coming from engagements with the Count Basie Orchestra. Methods learned from the study of Al Grey's book Plunger Techniques were vital in the realization of his work. The digital transcription software Amazing Slow Downer by Roni Music aided in deciphering some of Grey's more complicated passages and, with octave displacement, helped bring previously inaudible moments to the foreground.
ContributorsHopkins, Charles E (Author) / Pilafian, Sam (Thesis advisor) / Stauffer, Sandra (Committee member) / Solís, Ted (Committee member) / Ericson, John (Committee member) / Kocour, Michael (Committee member) / Arizona State University (Publisher)
Created2011