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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
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (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
The jobless recovery of the Great Recession has led policymakers and citizens alike to ask what can be done to better protect regions from the cascading effects of an economic downturn. Economic growth strategies that aim to redevelop a waterfront for tourism or attract high growth companies to the area, for example, have left regions vulnerable by consolidating resources in just a few industry sectors or parts of town. A promising answer that coincided with growing interest in regional innovation policy has been to promote entrepreneurship for bottom-up, individual-led regional development. However, these policies have also failed to maximize the potential for bottom-up development by focusing on high skill entrepreneurs and high tech industry sectors, such as green energy and nanotechnology. This dissertation uses the extended case method to determine whether industry cluster theory can be usefully extended from networks of high skill innovators to entrepreneurs in traditional trades. It uses U.S. Census data and in-person interviews in cluster and non-cluster neighborhoods in Dayton, Ohio to assess whether traditional entrepreneurs cluster and whether social networks explain high rates of neighborhood self-employment. Entrepreneur interviews are also conducted in Raleigh, North Carolina to explore regional resilience by comparing the behavior of traditional entrepreneurs in the ascendant tech-hub region of Raleigh and stagnant Rustbelt region of Dayton. The quantitative analysis documents, for the first time, a minor degree of neighborhood-level entrepreneur clustering. In interviews, entrepreneurs offered clear examples of social networks that resemble those shown to make regional clusters successful, and they helped clarify that a slightly larger geography may reveal more clustering. Comparing Raleigh and Dayton entrepreneurs, the study found few differences in their behavior to explain the regions' differing long-term economic trends. However, charitable profit-seeking and trial and error learning are consistent behaviors that may distinguish traditional, small scale entrepreneurs from larger export-oriented business owners and contribute to a region's ability to withstand recessions and other shocks. The research informs growing policy interest in bottom-up urban development by offering qualitative evidence for how local mechanics, seamstresses, lawn care businesses and many others can be regional assets. Future research should use larger entrepreneur samples to systematically test the relationship between entrepreneur resilience behaviors to regional economic outcomes.
ContributorsAuer, Jennifer Claire (Author) / Chapman, Jeffrey (Thesis advisor) / Johnston, Erik W., 1977- (Committee member) / Jurik, Nancy (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
ContributorsMatthews, Eyona (Performer) / Yoo, Katie Jihye (Performer) / Roubison, Ryan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsHoeckley, Stephanie (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-24
Description
This dissertation focused on the links among micro-enterprise development (MD), social capital building, and the accompanying social lives of Chinese female entrepreneurs in two China's urban areas—Nanjing and Haikou. It engaged with a few important discussions concerning China’s liberal politics during the reform era, the global trend of neo-liberal capitalism, and the social construction of a new worker-subject—the Chinese urban female entrepreneur shaped by the hybrid marriage of state politics and global capital. The research findings from this research project contributed to the tradition of feminist theories, which endeavors to explore the relationship between neo-liberalism and gender. In particular, gender was found to concretize the ways in which neo-liberal ideological forces have attempted to capture and exploit the productivity of women’s labor
Drawing upon the data from in-depth interviews, participatory observations, and secondary data gathering, I examined the diffusion of the Western-centric concept and phenomena of social capital building in order to answer the question how Chinese women's life was inscribed in the larger context of China's relationship to global capitalism. My research findings manifested that the respondents considered affections (e.g., inter-dependence, obligation, and mutual trust) to be the foundation of establishing and maintaining their social networks regardless of the government's emphasis on market principles and the utility-based social capital conception. This opened up a new way of re-theorizing social capital. This dissertation also focused on how China’s integration with the global economy has affected women’s social identity construction. It emphasized the interaction between gender and class as one of the most salient sites where ideal citizens of China are imagined. Drawing from the perspectives of the respondents, I found that femininity has never been eliminated by the Chinese government. It has existed in China’s MD to challenge the government’s attempt of promoting the agendered (gender-neutral), universal model of women’s participation in self-employment. Moreover, I asserted that class was individualized while penetrating into other dimensions of identity (especially gender). The transformed dimensions of identity constituted a set of stratification schemes that constantly reshuffled social stratifications for maximizing the state’s profits from the control of citizens.
Drawing upon the data from in-depth interviews, participatory observations, and secondary data gathering, I examined the diffusion of the Western-centric concept and phenomena of social capital building in order to answer the question how Chinese women's life was inscribed in the larger context of China's relationship to global capitalism. My research findings manifested that the respondents considered affections (e.g., inter-dependence, obligation, and mutual trust) to be the foundation of establishing and maintaining their social networks regardless of the government's emphasis on market principles and the utility-based social capital conception. This opened up a new way of re-theorizing social capital. This dissertation also focused on how China’s integration with the global economy has affected women’s social identity construction. It emphasized the interaction between gender and class as one of the most salient sites where ideal citizens of China are imagined. Drawing from the perspectives of the respondents, I found that femininity has never been eliminated by the Chinese government. It has existed in China’s MD to challenge the government’s attempt of promoting the agendered (gender-neutral), universal model of women’s participation in self-employment. Moreover, I asserted that class was individualized while penetrating into other dimensions of identity (especially gender). The transformed dimensions of identity constituted a set of stratification schemes that constantly reshuffled social stratifications for maximizing the state’s profits from the control of citizens.
ContributorsZhang, Dongling (Author) / Jurik, Nancy (Thesis advisor) / Quan, H.L.T. (Thesis advisor) / Mackinnon, Stephen (Committee member) / Arizona State University (Publisher)
Created2015
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