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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
While acceptance towards same-sex marriage is gradually increasing, same-sex marriage is banned in many states within the United States. Laws that prohibit same-sex couples from marrying have been shown to increase feelings of depression, exclusion, and stigma for same-sex attracted individuals. The intention of this study was to explore the effect both pro- and anti-same-sex marriage advertisements have on heterosexual individuals' implicit attitudes towards same-sex couples. It was predicted that exposure to anti-same-sex advertisements would lead to viewing same-sex couples as more unpleasant and heterosexual couples as being more pleasant. However, heterosexual participants who viewed anti-same-sex marriage ads were more likely to rate heterosexual couples as being unpleasant and same-sex couples as pleasant. It is theorized that viewing anti-same-sex marriage advertisements led heterosexual individuals to report heterosexual stimuli as being more unpleasant compared to same-sex stimuli as a form of defensive processing.
ContributorsWalsh, Theodora Michelle (Author) / Newman, Matt (Thesis advisor) / Hall, Deborah (Committee member) / Salerno, Jessica (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation addresses the tendency among some disability scholars to overlook the importance of congenital deformity and disability in the pre-modern West. It argues that congenital deformity and disability deviated so greatly from able-bodied norms that they have played a pivotal role in the history of Western Civilization. In particular, it explores the evolution of two seemingly separate, but ultimately related, ideas from classical antiquity through the First World War: (1) the idea that there was some type of significance, whether supernatural or natural, to the existence of congenital deformity and (2) the idea that the existence of disabled people has resulted in a disability problem for western societies because many disabilities can hinder labor productivity to such an extent that large numbers of the disabled cannot survive without taking precious resources from their more productive, able-bodied counterparts. It also looks at how certain categories of disabled people, including, monsters, hunchbacks, cripples, the blind, the deaf and dumb, and dwarfs, which signified aesthetic and functional deviations from able-bodied norms, often reinforced able-bodied prejudices against the disabled.
ContributorsParry, Matthew (Author) / Fuchs, Rachel (Thesis advisor) / Tirosh-Samuelson, Hava (Committee member) / Wright, Johnson K. (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
This study is based on 31 interviews conducted in 2012 with male, female, and transgender sex workers at the St. James Infirmary, a full-spectrum health clinic run by sex workers for sex workers, located in San Francisco, California. My primary goals were, first, to document the lived realities of a diverse range of sex workers who live and work in the San Francisco Bay Area, and, second, to understand the impact of sex work discourse on the facilitation of stigma toward the sex work community and, finally, how that stigma influences the sex worker group identity and individual identity constructions. My primary findings indicate that although sex work discourse has traditionally been constructed within the dominant public sphere and not by sex workers themselves, this discourse has a profound effect on creating and perpetuating the stigma associated with sex work. In turn, this stigma affects both how the group and how individuals construct their identities, often negatively. Alternatively, a benefit of stigma is that it can induce the production of counterpublics which facilitate the emergence of new discourse. However, for this new discourse to gain acceptance into the public sphere, activist organizations must utilize traditional (and sometimes unintentionally marginalizing) strategies that can impact both the identity construction of the group and of individuals within the group. Understanding these complex relationships is therefore essential to understanding how activist organizations, such as the St. James Infirmary, situate themselves within the larger dominant public sphere, their impact on sex work discourse, and their impact on individual sex worker identity construction.
ContributorsRead, Kathleen (Author) / Adams, Karen L (Thesis advisor) / Katsulis, Yasmina (Thesis advisor) / Adelman, Madelaine (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
Lung Cancer Alliance, a nonprofit organization, released the "No One Deserves to Die" advertising campaign in June 2012. The campaign visuals presented a clean, simple message to the public: the stigma associated with lung cancer drives marginalization of lung cancer patients. Lung Cancer Alliance (LCA) asserts that negative public attitude toward lung cancer stems from unacknowledged moral judgments that generate 'stigma.' The campaign materials are meant to expose and challenge these common public category-making processes that occur when subconsciously evaluating lung cancer patients. These processes involve comparison, perception of difference, and exclusion. The campaign implies that society sees suffering of lung cancer patients as indicative of moral failure, thus, not warranting assistance from society, which leads to marginalization of the diseased. Attributing to society a morally laden view of the disease, the campaign extends this view to its logical end and makes it explicit: lung cancer patients no longer deserve to live because they themselves caused the disease (by smoking). This judgment and resulting marginalization is, according to LCA, evident in the ways lung cancer patients are marginalized relative to other diseases via minimal research funding, high- mortality rates and low awareness of the disease. Therefore, society commits an injustice against those with lung cancer. This research analyzes the relationship between disease, identity-making, and responsibilities within society as represented by this stigma framework. LCA asserts that society understands lung cancer in terms of stigma, and advocates that society's understanding of lung cancer should be shifted from a stigma framework toward a medical framework. Analysis of identity-making and responsibility encoded in both frameworks contributes to evaluation of the significance of reframing this disease. One aim of this thesis is to explore the relationship between these frameworks in medical sociology. The results show a complex interaction that suggest trading one frame for another will not destigmatize the lung cancer patient. Those interactions cause tangible harms, such as high mortality rates, and there are important implications for other communities that experience a stigmatized disease.
ContributorsCalvelage, Victoria (Author) / Hurlbut, J. Benjamin (Thesis advisor) / Maienschein, Jane (Committee member) / Ellison, Karin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Some disabled users of assistive technologies (AT) have expressed concerns that their use of those AT devices brings particular attention to their disability and, in doing so, stigmatizes them in the eyes of their peers. This research studies how a wide range of design factors, influence how positively or negatively users of wearable technologies are perceived, by others. These factors are studied by asking survey respondents to estimate the degree to which they perceive disabilities in users of various products. The survey was given to 34 undergraduate Product Design students, and employed 40 pictures, each of which showed one person using a product. Some of these products were assistive technology devices, and some were not. Respondents used a five-bubble Likert scale to indicate the level of disability that they perceived in this person. Data analysis was done using SPSS software. The results showed that the gender of the respondent was not a significant factor in the respondent's estimation of the level of disability. However, the cultural background of the respondent was found to be significant in the respondent's estimates of disability for seven of the 40 pictures. The results also indicated that the size of AT, its familiarity to the mainstream population, its wearable location on the user's body, the perceived power of the user, the degree to which the AT device seemed to empower the user, the degree to which the AT device was seen as a vehicle for assertion of the user's individuality, and the successfulness of attempts to disguise the AT as some mainstream product reduced the perceived disability of the user. In contrast, symbols or stereotypes of disability, obstructing visibility of the face, an awkward complex design, a mismatch between the product's design and its context of use, and covering of the head were factors that focused attention on, and increased the perception of, the user's disability. These factors are summarized in a set of guidelines to help AT designers develop products that minimize the perceived disability and the resulting stigmatization of the user.
ContributorsValamanesh, Ronak (Author) / Velasquez, Joseph (Thesis advisor) / Black, John (Committee member) / Herring, Donald (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