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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
ContributorsASU Library. Music Library (Publisher)
Description
Highly publicized cases involving citizen fatalities due to police use of force raise questions about perceptions of danger. Arrest-related deaths due to weapons, accidental injuries, and natural causes remain high year after year. Communities are greatly affected, and mistrust with the police continues to increase when these situations happen. There seem to be inaccurate perceptions that may stem from implicit associations, stereotypes, and social learning. These psychological concepts may provide theoretical explanations of how decisions are made when police officers are faced with danger. Some elements of this decision-making process may include suspect characteristics, officer experience, and police sub-culture. In this review, race/ethnicity and socio-economic status are examined as factors that contribute to police use of force. Disparities in use of force data often involve young, Black males living in low-income neighborhoods. The stereotype that this group is more dangerous than others stems from underlying prejudices and previous situations where Black people are targeted more in certain areas. Training, education, and community outreach programs can assist in mending relations between police and affected communities. Acknowledging these inaccurate perceptions, making the adjustments to police training and community relations, and being open to exploration in future research of other minority groups will assist in eliminating prejudices and creating better connections between law enforcement and the community.
ContributorsGarcia-Johnson, Anastacia Maria (Author) / Szeli, Eva (Thesis director) / Pizarro, Jesenia (Committee member) / School of Criminology and Criminal Justice (Contributor, Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
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