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Description
The Nash, a jazz venue in Phoenix, Arizona, is an example of a decades-long process of the formalization of jazz—being codified as an art music relying on academic and philanthropic support. Formalization developed as jazz began to be taken seriously as art music worth of critical evaluation from critics, academics, and the hallowed establishments of American high art. Jazz became increasingly dependent on an infrastructure of institutional support, and a neoclassical ideology sought to define what styles of jazz were ‘real’ and worthy of preservation. In Phoenix, the origins of The Nash were laid in 1977 when Jazz in Arizona was formed, a non-profit organization that aimed to support jazz through information dissemination, music scholarships, festival organizing, and attending jazz events throughout Arizona. The Nash was conceived as a way to more fully engage young people in the community. Herb Ely, a prominent Phoenix attorney and philanthropist, pitched the idea to Joel Goldenthal, then Executive Director of Jazz in Arizona. The venue was built under the auspices of Jazz in Arizona, and operates as the organization’s headquarters. In keeping with the broader trend of formalization, The Nash presents jazz as a performance of artistic expression. Continued philanthropic support allows The Nash a degree of independence from economic concerns. The Nash is also committed to providing support for jazz education, by partnering with local educational institutions and presenting educational programming. The focus on providing opportunities for young musicians, as well as its location in the hip neighborhood of Roosevelt Row have contributed to The Nash becoming relatively popular among young people. However, the formalized approach to jazz espoused by The Nash has created some conflicts within the Phoenix jazz community, as some professional musicians feel that The Nash is underpaying musicians for their labor. The American Federation of Musicians Local 586 argues that musicians are workers, and The Nash ought to be paying union scale.
ContributorsBelliston, Lincoln Tyler (Author) / Davis, T. J. (Thesis director) / Hutchinson, Mary (Committee member) / Bridgewater, Devon (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
The percussion jazz ensemble is a long-established yet rare component of 21st century percussion studios in the United States. While many American collegiate programs have percussion ensembles that perform jazz-based pieces, none are identified as a “percussion jazz ensemble.” This may be for a variety of reasons. Professors may not have considered adding a percussion jazz ensemble to their program because of its scarcity in American universities. Including such a class would be challenging if the instructors did not feel comfortable or familiar enough with jazz idioms and vernacular. Additionally, very few compositions or arrangements are available for this group. While there are several method books on jazz vibraphone, there are no pedagogical resources designed specifically for the percussion jazz ensemble. The purpose of this document is to provide historical context, curricula, resource materials, and arrangements necessary for establishing a percussion jazz ensemble at the collegiate level. The end result will be to demonstrate the importance of an ensemble such as this for aspiring percussionists and motivate institutions focused on Western classical music to incorporate jazz elements into their percussion program. Research conducted for this project was limited to academic universities, pedagogical approaches, and ensembles found only in the United States and will not include a survey of those outside this country.
ContributorsMoreau, Danielle (Author) / Smith, Jeffrey (Thesis advisor) / Feisst, Sabine (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
The bonding and electrostatic properties of gold containing molecules are highly influenced by relativistic effects. To understand this facet on bonding, a series of simple diatomic AuX (X=F, Cl, O and S) molecules, where upon bond formation the Au atom donates or accepts electrons, was investigated and discussed in this thesis.
First, the optical field-free, Stark, and Zeeman spectroscopic studies have been performed on AuF and AuCl. The simple polar bonds between Au and typical halogens (i.e. F and Cl) can be well characterized by the electronic structure studies and the permanent electric dipole moments, el. The spectroscopic parameters have been precisely determined for the [17.7]1, [17.8]0+ and X1+ states of AuF, and the [17.07]1, [17.20]0+ and X1+ states of AuCl. The el have been determined for ground and excited states of AuF and AuCl. The results from the hyperfine analysis and Stark measurement support the assignments that the [17.7]1 and [17.8]0+ states of AuF are the components of a 3 state. Similarly, the analysis demonstrated the [19.07]1 and [19.20]0+ states are the components of the 3 state of AuCl.
Second, my study focused on AuO and AuS because the bonding between gold and sulfur/oxygen is a key component to numerous established and emerging technologies that have applications as far ranging as medical imaging, catalysis, electronics, and material science. The high-resolution spectra were record and analyzed to obtain the geometric and electronic structural data for the ground and excited states. The electric dipole moment, el, and the magnetic dipole moment, m, has been the precisely measured by applying external static electric and magnetic fields. el andm are used to give insight into the unusual complex bonding in these molecules.
In addition to direct studies on the gold-containing molecules, other studies of related molecules are included here as well. These works contain the pure rotation measurement of PtC, the hyperfine and Stark spectroscopic studies of PtF, and the Stark and Zeeman spectroscopic studies of MgH and MgD.
Finally, a perspective discussion and conclusion will summarize the results of AuF, AuCl, AuO, and AuS from this work (bond lengths, dipole moment, etc.). The highly quantitative information derived from this work is the foundation of a chemical description of matter and essential for kinetic energy manipulation via Stark and Zeeman interactions. This data set also establishes a synergism with computation chemists who are developing new methodologies for treating relativistic effects and electron correlation.
First, the optical field-free, Stark, and Zeeman spectroscopic studies have been performed on AuF and AuCl. The simple polar bonds between Au and typical halogens (i.e. F and Cl) can be well characterized by the electronic structure studies and the permanent electric dipole moments, el. The spectroscopic parameters have been precisely determined for the [17.7]1, [17.8]0+ and X1+ states of AuF, and the [17.07]1, [17.20]0+ and X1+ states of AuCl. The el have been determined for ground and excited states of AuF and AuCl. The results from the hyperfine analysis and Stark measurement support the assignments that the [17.7]1 and [17.8]0+ states of AuF are the components of a 3 state. Similarly, the analysis demonstrated the [19.07]1 and [19.20]0+ states are the components of the 3 state of AuCl.
Second, my study focused on AuO and AuS because the bonding between gold and sulfur/oxygen is a key component to numerous established and emerging technologies that have applications as far ranging as medical imaging, catalysis, electronics, and material science. The high-resolution spectra were record and analyzed to obtain the geometric and electronic structural data for the ground and excited states. The electric dipole moment, el, and the magnetic dipole moment, m, has been the precisely measured by applying external static electric and magnetic fields. el andm are used to give insight into the unusual complex bonding in these molecules.
In addition to direct studies on the gold-containing molecules, other studies of related molecules are included here as well. These works contain the pure rotation measurement of PtC, the hyperfine and Stark spectroscopic studies of PtF, and the Stark and Zeeman spectroscopic studies of MgH and MgD.
Finally, a perspective discussion and conclusion will summarize the results of AuF, AuCl, AuO, and AuS from this work (bond lengths, dipole moment, etc.). The highly quantitative information derived from this work is the foundation of a chemical description of matter and essential for kinetic energy manipulation via Stark and Zeeman interactions. This data set also establishes a synergism with computation chemists who are developing new methodologies for treating relativistic effects and electron correlation.
ContributorsZhang, Ruohan (Author) / Steimle, Timothy C. (Thesis advisor) / Williams, Peter (Committee member) / Richert, Ranko (Committee member) / Arizona State University (Publisher)
Created2017
Description
This dissertation describes the public sphere that coalesced in the Soviet jazz scene during Josef Stalin’s reign. Scholars debate the extent to which Soviet citizens, especially under Stalin, were coerced into cooperating with the regime through terror; willingly cooperated with the regime out of self-interest; or re-aligned their speech, behavior, and thoughts to conform to Bolshevik ideology and discourse. In all cases, citizens were generally unable to openly express their own opinions on what Soviet society should look like. In this dissertation, I attempt to bridge this gap by analyzing the diverse reactions to jazz music in Josef Stalin’s Soviet Union. I argue that audience engagement with jazz and discussions about the genre in the Soviet press and elsewhere were attempts to grapple with bigger questions of public concern about leisure, morality, ethnicity, cosmopolitanism and patriotism in a socialist society. This jazz public sphere was suppressed in the late 1940s and early 1950s because of Cold War paranoia and fears of foreign influences in Soviet life. In its place, a counterpublic sphere formed, in which jazz enthusiasts expressed views on socialism that were more open and contradictory to official norms. This counterpublic sphere foreshadowed aspects of post-Stalinist Soviet culture. To support my arguments, I employ archival documents such as fan mail and censorship records, periodicals, memoirs, and Stalin-era jazz recordings to determine the themes present in jazz music, how audiences reacted to them, and how these popular reactions overlapped with those of journalists, musicologists, bureaucrats, and composers. This project expands our understanding of when and where public spheres can form, challenges top-down interpretations of Soviet cultural policy, and illuminates the Soviet Union and Russia’s ambivalent relationship with the West and its culture.
ContributorsBeresford, Benjamin J. (Author) / Von Hagen, Mark (Thesis advisor) / Manchester, Laurie (Committee member) / Schmelz, Peter (Committee member) / Moore, Aaron (Committee member) / Arizona State University (Publisher)
Created2017
Description
The purpose of this project is to create a useful tool for musicians that utilizes the harmonic content of their playing to recommend new, relevant chords to play. This is done by training various Long Short-Term Memory (LSTM) Recurrent Neural Networks (RNNs) on the lead sheets of 100 different jazz standards. A total of 200 unique datasets were produced and tested, resulting in the prediction of nearly 51 million chords. A note-prediction accuracy of 82.1% and a chord-prediction accuracy of 34.5% were achieved across all datasets. Methods of data representation that were rooted in valid music theory frameworks were found to increase the efficacy of harmonic prediction by up to 6%. Optimal LSTM input sizes were also determined for each method of data representation.
ContributorsRangaswami, Sriram Madhav (Author) / Lalitha, Sankar (Thesis director) / Jayasuriya, Suren (Committee member) / Electrical Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
My proposed project is an educational application that will seek to simplify the<br/>process of internalizing the chord symbols most commonly seen by those learning<br/>musical improvisation. The application will operate like a game, encouraging the<br/>user to identify chord tones within time limits and award points for successfully<br/>doing so.
ContributorsOwens, Kevin Bradyn (Author) / Balasooriya, Janaka (Thesis director) / Nakamura, Mutsumi (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
ContributorsWhite, Glen (Performer) / Smith, Ken (Performer) / Walters, Brock (Performer) / Millhouse, Steve (Performer) / Mireau, Sean (Performer) / Jazz Fusion Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created1995-03-22