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Description
"Chronos" is a composition by the great jazz pianist, Aaron Parks. Originally arranged for a quartet consisting of piano, upright bass, drums and tenor saxophone, I sought to arrange the piece for a sextet consisting of trombone, alto saxophone, tenor saxophone, guitar, upright, bass, and drums. This thesis outlines my process as I transcribed "Chronos" from the original recording and then arranged it for a new ensemble. It also discusses the difficulties faced in all the phases of the project from transcribing to rehearsing and performing the work. My arrangement is included with the thesis for those who wish to analyze the music as well as a recording of a live performance of my arrangement at The Nash in downtown Phoenix on April 7th, 2015.
ContributorsMcdaniel, Sean Wesley (Author) / Kocour, Michael (Thesis director) / Haines, Ryan (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05
Description
News outlets frequently portray people with disabilities as either helpless victims or objects of motivation. Portrayal of people with disabilities has improved over the years, but there is still room to grow. News outlets tend to make disability the center of the story. A story about a disabled person is primarily about their disability, with their other accomplishments framed by it.
As one example of the victimhood narrative, ABC News used to run a special called My Extreme Affliction as part of 20/20 until 2012. As the name implies, the specials covered people with disabilities, specifically extreme versions. One 2008 episode on Tourette’s syndrome described Tourette’s like it was some sort of demonic possession. The narrator talked about children who were “prisoners in their own bodies” and a family that was at risk of being “torn apart by Tourette’s.” I have Tourette’s syndrome myself, which made ABC’s special especially uncomfortable to watch. When not wringing their metaphorical hands over the “victims” of disability, many news outlets fall into the “supercrip” narrative. They refer to people as “heroes” who “overcome” their disabilities to achieve something that ranges from impressive to utterly mundane. The main emphasis is on the disability rather than the person who has it. These articles then exploit that disability to make readers feel good. As a person with a disability, I am aware that it impacts my life, but it is not the center of my life. The tics from my Tourette’s syndrome made it difficult to speak to people when I was younger, but even then they did not rule me.
Disability coverage, however, is still incredibly important for promoting acceptance and giving people with disabilities a voice. A little over a fifth of adults in the United States have a disability (CDC: 53 million adults in the US live with a disability), so poor coverage means marginalizing or even excluding a large amount of people. Journalists should try to reach their entire audience. The news helps shape public opinion with the stories it features. Therefore, it should provide visibility for people with disabilities in order to increase acceptance. This is a matter of civil rights. People with disabilities deserve fair and accurate representation.
My personal experience with ABC’s Tourette’s special leads me to believe that the media, especially the news, needs to be more responsible in their reporting. Even the name “My Extreme Affliction” paints a poor picture of what to expect. A show that focuses on sensationalist portrayals in pursuit of views further ostracizes people with disabilities. The emphasis should be on a person and not their condition. The National Center for Disability Journalism tells reporters to “Focus on the person you are interviewing, not the disability” (Tips for interviewing people with disabilities). This people-first approach is the way to improve disability coverage: Treat people with disabilities with the same respect as any other minority group.
As one example of the victimhood narrative, ABC News used to run a special called My Extreme Affliction as part of 20/20 until 2012. As the name implies, the specials covered people with disabilities, specifically extreme versions. One 2008 episode on Tourette’s syndrome described Tourette’s like it was some sort of demonic possession. The narrator talked about children who were “prisoners in their own bodies” and a family that was at risk of being “torn apart by Tourette’s.” I have Tourette’s syndrome myself, which made ABC’s special especially uncomfortable to watch. When not wringing their metaphorical hands over the “victims” of disability, many news outlets fall into the “supercrip” narrative. They refer to people as “heroes” who “overcome” their disabilities to achieve something that ranges from impressive to utterly mundane. The main emphasis is on the disability rather than the person who has it. These articles then exploit that disability to make readers feel good. As a person with a disability, I am aware that it impacts my life, but it is not the center of my life. The tics from my Tourette’s syndrome made it difficult to speak to people when I was younger, but even then they did not rule me.
Disability coverage, however, is still incredibly important for promoting acceptance and giving people with disabilities a voice. A little over a fifth of adults in the United States have a disability (CDC: 53 million adults in the US live with a disability), so poor coverage means marginalizing or even excluding a large amount of people. Journalists should try to reach their entire audience. The news helps shape public opinion with the stories it features. Therefore, it should provide visibility for people with disabilities in order to increase acceptance. This is a matter of civil rights. People with disabilities deserve fair and accurate representation.
My personal experience with ABC’s Tourette’s special leads me to believe that the media, especially the news, needs to be more responsible in their reporting. Even the name “My Extreme Affliction” paints a poor picture of what to expect. A show that focuses on sensationalist portrayals in pursuit of views further ostracizes people with disabilities. The emphasis should be on a person and not their condition. The National Center for Disability Journalism tells reporters to “Focus on the person you are interviewing, not the disability” (Tips for interviewing people with disabilities). This people-first approach is the way to improve disability coverage: Treat people with disabilities with the same respect as any other minority group.
ContributorsMackrell, Marguerite (Author) / Gilger, Kristin (Thesis director) / Doig, Steve (Committee member) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
ContributorsASU Library. Music Library (Publisher)
Description
Witching Hours is the debut studio album of Chicago-born, Phoenix-residing trumpet player John Michael Sherman. It is a consummation of his work in the Arizona State University jazz studies program both as a performer and composer. Featured on the album are several other musicians who John Michael played alongside throughout his tenure at ASU, including Chaz Martineau on tenor saxophone, Evan Rees on piano, Reid Riddiough on guitar, Vince Thiefain on bass, Matt McClintock on drums, and Dan Meadows on baritone saxophone. The album features seven pieces, all original compositions or arrangements. The first track, "Workin' My Nerves", is a blues shuffle in the key of F. This is followed by "Scarborough Fair", an arrangement of the classic English folk tune in a rock style. The title track, "Witching Hours", is an cadaverous linear composition in 7/4 which is followed by "Goliath", a pseudo-tone poem about the biblical giant. "I Should Have Known" is a pensive ballad featuring an a capella intro and cadenza, followed by the most recent composition, a minor blues-esque piece entitled "Who Said That?" The final track, "Don't Change A Thing", is an upbeat samba which was written in John Michael's first year of college. These pieces demonstrate an understanding of the jazz tradition and exhibit influences from such musicians as Clifford Brown, Freddie Hubbard, Wayne Shorter, and Snarky Puppy. The album was recorded at Tempest Recording in Tempe and produced by Clarke Rigsby. Clarke is a veteran recording engineer and is the first choice of many of Phoenix's finest jazz musicians, including thesis director and head of the ASU jazz department Michael Kocour. The pieces were composed and recorded under the guidance of Mike Kocour and Jeff Libman. Witching Hours represents a culmination of John Michael's course in the Arizona State University jazz department and his endeavors as a trumpet player and composer.
ContributorsSherman, John Michael (Author) / Kocour, Michael (Thesis director) / Libman, Jeffrey (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05