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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
Two groups of cochlear implant (CI) listeners were tested for sound source localization and for speech recognition in complex listening environments. One group (n=11) wore bilateral CIs and, potentially, had access to interaural level difference (ILD) cues, but not interaural timing difference (ITD) cues. The second group (n=12) wore a single CI and had low-frequency, acoustic hearing in both the ear contralateral to the CI and in the implanted ear. These `hearing preservation' listeners, potentially, had access to ITD cues but not to ILD cues. At issue in this dissertation was the value of the two types of information about sound sources, ITDs and ILDs, for localization and for speech perception when speech and noise sources were separated in space. For Experiment 1, normal hearing (NH) listeners and the two groups of CI listeners were tested for sound source localization using a 13 loudspeaker array. For the NH listeners, the mean RMS error for localization was 7 degrees, for the bilateral CI listeners, 20 degrees, and for the hearing preservation listeners, 23 degrees. The scores for the two CI groups did not differ significantly. Thus, both CI groups showed equivalent, but poorer than normal, localization. This outcome using the filtered noise bands for the normal hearing listeners, suggests ILD and ITD cues can support equivalent levels of localization. For Experiment 2, the two groups of CI listeners were tested for speech recognition in noise when the noise sources and targets were spatially separated in a simulated `restaurant' environment and in two versions of a `cocktail party' environment. At issue was whether either CI group would show benefits from binaural hearing, i.e., better performance when the noise and targets were separated in space. Neither of the CI groups showed spatial release from masking. However, both groups showed a significant binaural advantage (a combination of squelch and summation), which also maintained separation of the target and noise, indicating the presence of some binaural processing or `unmasking' of speech in noise. Finally, localization ability in Experiment 1 was not correlated with binaural advantage in Experiment 2.
ContributorsLoiselle, Louise (Author) / Dorman, Michael F. (Thesis advisor) / Yost, William A. (Thesis advisor) / Azuma, Tamiko (Committee member) / Liss, Julie (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
The present study describes audiovisual sentence recognition in normal hearing listeners, bimodal cochlear implant (CI) listeners and bilateral CI listeners. This study explores a new set of sentences (the AzAV sentences) that were created to have equal auditory intelligibility and equal gain from visual information.
The aims of Experiment I were to (i) compare the lip reading difficulty of the AzAV sentences to that of other sentence materials, (ii) compare the speech-reading ability of CI listeners to that of normal-hearing listeners and (iii) assess the gain in speech understanding when listeners have both auditory and visual information from easy-to-lip-read and difficult-to-lip read sentences. In addition, the sentence lists were subjected to a multi-level text analysis to determine the factors that make sentences easy or difficult to speech read.
The results of Experiment I showed that (i) the AzAV sentences were relatively difficult to lip read, (ii) that CI listeners and normal-hearing listeners did not differ in lip reading ability and (iii) that sentences with low lip-reading intelligibility (10-15 % correct) provide about a 30 percentage point improvement in speech understanding when added to the acoustic stimulus, while sentences with high lip-reading intelligibility (30-60 % correct) provide about a 50 percentage point improvement in the same comparison. The multi-level text analyses showed that the familiarity of phrases in the sentences was the primary driving factor that affects the lip reading difficulty.
The aim of Experiment II was to investigate the value, when visual information is present, of bimodal hearing and bilateral cochlear implants. The results of Experiment II showed that when visual information is present, low-frequency acoustic hearing can be of value to speech understanding for patients fit with a single CI. However, when visual information was available no gain was seen from the provision of a second CI, i.e., bilateral CIs. As was the case in Experiment I, visual information provided about a 30 percentage point improvement in speech understanding.
The aims of Experiment I were to (i) compare the lip reading difficulty of the AzAV sentences to that of other sentence materials, (ii) compare the speech-reading ability of CI listeners to that of normal-hearing listeners and (iii) assess the gain in speech understanding when listeners have both auditory and visual information from easy-to-lip-read and difficult-to-lip read sentences. In addition, the sentence lists were subjected to a multi-level text analysis to determine the factors that make sentences easy or difficult to speech read.
The results of Experiment I showed that (i) the AzAV sentences were relatively difficult to lip read, (ii) that CI listeners and normal-hearing listeners did not differ in lip reading ability and (iii) that sentences with low lip-reading intelligibility (10-15 % correct) provide about a 30 percentage point improvement in speech understanding when added to the acoustic stimulus, while sentences with high lip-reading intelligibility (30-60 % correct) provide about a 50 percentage point improvement in the same comparison. The multi-level text analyses showed that the familiarity of phrases in the sentences was the primary driving factor that affects the lip reading difficulty.
The aim of Experiment II was to investigate the value, when visual information is present, of bimodal hearing and bilateral cochlear implants. The results of Experiment II showed that when visual information is present, low-frequency acoustic hearing can be of value to speech understanding for patients fit with a single CI. However, when visual information was available no gain was seen from the provision of a second CI, i.e., bilateral CIs. As was the case in Experiment I, visual information provided about a 30 percentage point improvement in speech understanding.
ContributorsWang, Shuai (Author) / Dorman, Michael (Thesis advisor) / Berisha, Visar (Committee member) / Liss, Julie (Committee member) / Arizona State University (Publisher)
Created2015
Description
A multitude of individuals across the globe suffer from hearing loss and that number continues to grow. Cochlear implants, while having limitations, provide electrical input for users enabling them to "hear" and more fully interact socially with their environment. There has been a clinical shift to the bilateral placement of implants in both ears and to bimodal placement of a hearing aid in the contralateral ear if residual hearing is present. However, there is potentially more to subsequent speech perception for bilateral and bimodal cochlear implant users than the electric and acoustic input being received via these modalities. For normal listeners vision plays a role and Rosenblum (2005) points out it is a key feature of an integrated perceptual process. Logically, cochlear implant users should also benefit from integrated visual input. The question is how exactly does vision provide benefit to bilateral and bimodal users. Eight (8) bilateral and 5 bimodal participants received randomized experimental phrases previously generated by Liss et al. (1998) in auditory and audiovisual conditions. The participants recorded their perception of the input. Data were consequently analyzed for percent words correct, consonant errors, and lexical boundary error types. Overall, vision was found to improve speech perception for bilateral and bimodal cochlear implant participants. Each group experienced a significant increase in percent words correct when visual input was added. With vision bilateral participants reduced consonant place errors and demonstrated increased use of syllabic stress cues used in lexical segmentation. Therefore, results suggest vision might provide perceptual benefits for bilateral cochlear implant users by granting access to place information and by augmenting cues for syllabic stress in the absence of acoustic input. On the other hand vision did not provide the bimodal participants significantly increased access to place and stress cues. Therefore the exact mechanism by which bimodal implant users improved speech perception with the addition of vision is unknown. These results point to the complexities of audiovisual integration during speech perception and the need for continued research regarding the benefit vision provides to bilateral and bimodal cochlear implant users.
ContributorsLudwig, Cimarron (Author) / Liss, Julie (Thesis advisor) / Dorman, Michael (Committee member) / Azuma, Tamiko (Committee member) / Arizona State University (Publisher)
Created2015
Description
In the noise and commotion of daily life, people achieve effective communication partly because spoken messages are replete with redundant information. Listeners exploit available contextual, linguistic, phonemic, and prosodic cues to decipher degraded speech. When other cues are absent or ambiguous, phonemic and prosodic cues are particularly important because they help identify word boundaries, a process known as lexical segmentation. Individuals vary in the degree to which they rely on phonemic or prosodic cues for lexical segmentation in degraded conditions.
Deafened individuals who use a cochlear implant have diminished access to fine frequency information in the speech signal, and show resulting difficulty perceiving phonemic and prosodic cues. Auditory training on phonemic elements improves word recognition for some listeners. Little is known, however, about the potential benefits of prosodic training, or the degree to which individual differences in cue use affect outcomes.
The present study used simulated cochlear implant stimulation to examine the effects of phonemic and prosodic training on lexical segmentation. Participants completed targeted training with either phonemic or prosodic cues, and received passive exposure to the non-targeted cue. Results show that acuity to the targeted cue improved after training. In addition, both targeted attention and passive exposure to prosodic features led to increased use of these cues for lexical segmentation. Individual differences in degree and source of benefit point to the importance of personalizing clinical intervention to increase flexible use of a range of perceptual strategies for understanding speech.
Deafened individuals who use a cochlear implant have diminished access to fine frequency information in the speech signal, and show resulting difficulty perceiving phonemic and prosodic cues. Auditory training on phonemic elements improves word recognition for some listeners. Little is known, however, about the potential benefits of prosodic training, or the degree to which individual differences in cue use affect outcomes.
The present study used simulated cochlear implant stimulation to examine the effects of phonemic and prosodic training on lexical segmentation. Participants completed targeted training with either phonemic or prosodic cues, and received passive exposure to the non-targeted cue. Results show that acuity to the targeted cue improved after training. In addition, both targeted attention and passive exposure to prosodic features led to increased use of these cues for lexical segmentation. Individual differences in degree and source of benefit point to the importance of personalizing clinical intervention to increase flexible use of a range of perceptual strategies for understanding speech.
ContributorsHelms Tillery, Augusta Katherine (Author) / Liss, Julie M. (Thesis advisor) / Azuma, Tamiko (Committee member) / Brown, Christopher A. (Committee member) / Dorman, Michael F. (Committee member) / Utianski, Rene L. (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
Description
This study examines the experiences of participants enrolled in an online community college jazz history course. I surveyed the participants before the course began and observed them in the online space through the duration of the course. Six students also participated in interviews during and after the course. Coded data from the interviews, surveys, and recorded discussion posts and journal entries provided evidence about the nature of interaction and engagement in learning in an online environment. I looked for evidence either supporting or detracting from a democratic online learning environment, concentrating on the categories of student engagement, freedom of expression, and accessibility. The data suggested that the participants' behaviors in and abilities to navigate the online class were influenced by their pre-existing native media habits. Participants' reasons for enrolling in the online course, which included convenience and schedule flexibility, informed their actions and behaviors in the class. Analysis revealed that perceived positive student engagement did not contribute to a democratic learning environment but rather to an easy, convenient experience in the online class. Finally, the data indicated that participants' behaviors in their future lives would not be affected by the online class in that their learning experiences were not potent enough to alter or inform their behavior in society. As online classes gain popularity, the ability of these classes to provide meaningful learning experiences must be questioned. Students in this online jazz history class presented, at times, a façade of participation and community building but demonstrated a lack of sincerity and interest in the course. The learning environment supported accessibility and freedom of expression to an extent, but students' engagement with their peers was limited. Overall, this study found a need for more research into the quality of online classes as learning platforms that support democracy, student-to-student interaction, and community building.
ContributorsHunter, Robert W. (Author) / Stauffer, Sandra L (Thesis advisor) / Tobias, Evan (Thesis advisor) / Bush, Jeffrey (Committee member) / Kocour, Michael (Committee member) / Pilafian, Sam (Committee member) / Arizona State University (Publisher)
Created2011