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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
This thesis documentary film takes a look at the dysfunctional but ongoing relationship between Twitter and sports journalism. The foundation of this relationship's dysfunction is what I have coined as the Twitter Outrage Cycle. In this cycle a sports broadcasting personality comments on a matter while on-air. Next, the program's audience where the comments were spoken becomes offended by the statement. After that, the offended audience members express their outrage on social media, most namely Twitter. Finally the cycle culminates with the public outrage pressuring networks and its executives to either suspended or fire the individual that said the controversial statements. This cycle began to occur on a more consistent basis starting in 2012. It became such a regular occurrence that many on-air talent figures have noticed and taken precautionary measures to either avoid or confront the Outrage Cycles. This documentary uses the voice of seven figures within the sports media and online interaction forum. Notable using the voices of three notable individuals that currently have a prominent voice in sports journalism. As well as a neutral social media curator who clearly explains the psyche behind these outraged viewer's mindsets. Through these four main voices their ideals and opinions on the matter weave together, disagree with each other at times but ultimately help the viewer come to an understanding of why these Outrage Cycles occur and what needs to be done in order for them to cease. We Should Talk: The Relationship Between Twitter and Sports Journalism is a documentary film that looks to illustrate a seemingly minimal part of many people's lives that when taken into perspective many people look at in a very serious light.
ContributorsNeely, Cammeron Allen Douglas (Author) / Kurland, Brett (Thesis director) / Fergus, Tom (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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