Matching Items (41)
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- All Subjects: Jazz
- Creators: Crotty, Mike, 1950-
Description
A model has been developed to modify Euler-Bernoulli beam theory for wooden beams, using visible properties of wood knot-defects. Treating knots in a beam as a system of two ellipses that change the local bending stiffness has been shown to improve the fit of a theoretical beam displacement function to edge-line deflection data extracted from digital imagery of experimentally loaded beams. In addition, an Ellipse Logistic Model (ELM) has been proposed, using L1-regularized logistic regression, to predict the impact of a knot on the displacement of a beam. By classifying a knot as severely positive or negative, vs. mildly positive or negative, ELM can classify knots that lead to large changes to beam deflection, while not over-emphasizing knots that may not be a problem. Using ELM with a regression-fit Young's Modulus on three-point bending of Douglass Fir, it is possible estimate the effects a knot will have on the shape of the resulting displacement curve.
ContributorsSexton, Thurston Bryant (Author) / Takahashi, Timothy (Thesis director) / Jones, Donald (Committee member) / Barrett, The Honors College (Contributor) / Mechanical and Aerospace Engineering Program (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Human Evolution and Social Change (Contributor)
Created2015-05
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
ContributorsCrotty, Mike, 1950- (Director) / Moio, Dom (Contributor) / Jazz Bones (Performer) / Latin Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2003-03-31
ContributorsCrotty, Mike, 1950- (Director) / New Music Jazz Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2005-04-20
ContributorsFoster, Gary (Performer) / Kelly, Keith (Performer) / Lloyd, Michael (Performer) / Marshall, Shea (Performer) / Crotty, Mike, 1950- (Performer) / Lennex, Matt (Performer) / Stephan, Garrett (Performer) / O'Neill, Deater (Performer) / Mottola, Anna Maria (Performer) / Schuster, Aaron (Performer) / Moore, Rob (Performer) / New Music Jazz Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2003-04-02
ContributorsCrotty, Mike, 1950- (Director) / Concert Jazz Band (Performer) / ASU Library. Music Library (Publisher)
Created2004-03-30
ContributorsCrotty, Mike, 1950- (Director) / Concert Jazz Band (Performer) / ASU Library. Music Library (Publisher)
Created2005-04-12
ContributorsCrotty, Mike, 1950- (Performer) / O'Neill, Deater (Performer) / Vadala, Chris (Performer) / Marohnic, Chuck (Performer) / Jones, Warren (Performer) / Moio, Dom (Performer) / ASU Library. Music Library (Publisher)
Created1999-03-11
ContributorsCrotty, Mike, 1950- (Director) / Stinnett, Jim (Performer) / Jazz Repertory Band (Performer) / ASU Library. Music Library (Publisher)
Created2002-03-20
ContributorsKocour, Mike (Performer) / O'Neill, Deater (Performer) / Crotty, Mike, 1950- (Performer) / Pilafian, Sam (Performer) / Friesen, David (Performer) / Spencer, Joel (Performer) / ASU Library. Music Library (Publisher)
Created2005-02-15