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- Creators: Barrett, The Honors College
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
The focus of education in the classroom traditionally is one of fact memorization and recall. The teaching process of linear knowledge progression is not always in tune with the way that the human brain actually processes, conceptualizes, and comprehends concepts and information. In an introductory engineering class, focused on materials engineering and its related concepts, a system of lecture interventions has been put in place to increase concept comprehension by supplementing lecture units with various activities, from additional worksheets, explicit concept discussions, and most recently, YouTube videos showcasing specific concepts and situations. In an attempt to correct the lack of actual concept comprehension, these interventions seek to interact with the human mind in a way that capitalizes on its ability to process and interpret non-linear knowledge and information.
Using a concept test given prior to the lecture unit, and after, the difference in scores is used to recognize if the concepts presented have actually been comprehended. Used specifically in a lecture unit on solubility and solutions, the concept test tested student’s knowledge of supersaturated, saturated, and unsaturated solutions. With a visual identification and a written explanation, the student’s ability to identify and explain the three solutions was tested.
In order to determine the cause of the change in score from pre- to post-test, an analysis of the change in scores and the effects of question type and solution type was conducted. The significant results are as follows:
The change in score from pre- to post-test was found to be significant, with the only difference between the two tests being the lecture unit and intervention
From pre- to post-test, solution type had a significant effect on the score, with the unsaturated solution being the most easily recognized and explained solution type
Students that felt that the YouTube videos greatly increased their concept comprehension, on average, performed better than their counterparts and also saw a greater increase their score from pre- to post-test
Using a concept test given prior to the lecture unit, and after, the difference in scores is used to recognize if the concepts presented have actually been comprehended. Used specifically in a lecture unit on solubility and solutions, the concept test tested student’s knowledge of supersaturated, saturated, and unsaturated solutions. With a visual identification and a written explanation, the student’s ability to identify and explain the three solutions was tested.
In order to determine the cause of the change in score from pre- to post-test, an analysis of the change in scores and the effects of question type and solution type was conducted. The significant results are as follows:
The change in score from pre- to post-test was found to be significant, with the only difference between the two tests being the lecture unit and intervention
From pre- to post-test, solution type had a significant effect on the score, with the unsaturated solution being the most easily recognized and explained solution type
Students that felt that the YouTube videos greatly increased their concept comprehension, on average, performed better than their counterparts and also saw a greater increase their score from pre- to post-test
ContributorsLinich, Christopher Graham (Author) / Krause, Stephen (Thesis director) / Middleton, James (Committee member) / Barrett, The Honors College (Contributor) / Mechanical and Aerospace Engineering Program (Contributor)
Created2014-05
Description
This study looked at college-age students' ability to comprehend and retain information learned from news articles depending on what platform they read from. Fifteen participants read three local New York Times articles on each of the platforms provided: iPad, laptop, and paper. They took one test immediately after to test comprehension and another two weeks later to test their retention. Participants were also asked if they found the articles interesting, enjoyable, clear, etc. Results showed that participants' views on each format had little, if any, affect on their number of correct responses. The most consistent results on the participants' perceptions of the formats came from the laptop and paper, whereas the iPad received a bimodal pattern of responses. Participants were also asked to share their news habits while taking the test by selecting how frequently they gain news from various sources such as social media or television. These habits also seemed to have very little effect on their scores.
ContributorsKillin, Jamie Faye (Author) / Gilpin, Dawn (Thesis director) / Russomanno, Joseph (Committee member) / Dodge, Nancie (Committee member) / Barrett, The Honors College (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Art (Contributor)
Created2014-05
Description
This study looked at college-age students' ability to comprehend and retain information learned from news articles depending on what platform they read from. Fifteen participants read three local New York Times articles on each of the platforms provided: iPad, laptop, and paper. They took one test immediately after to test comprehension and another two weeks later to test their retention. Participants were also asked if they found the articles interesting, enjoyable, clear, etc. Results showed that participants' views on each format had little, if any, affect on their number of correct responses. The most consistent results on the participants' perceptions of the formats came from the laptop and paper, whereas the iPad received a bimodal pattern of responses. Participants were also asked to share their news habits while taking the test by selecting how frequently they gain news from various sources such as social media or television. These habits also seemed to have very little effect on their scores.
ContributorsKillin, Jamie Faye (Author) / Gilpin, Dawn (Thesis director) / Russomanno, Joseph (Committee member) / Dodge, Nancie (Committee member) / Barrett, The Honors College (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Art (Contributor)
Created2014-05
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
Description
The Nash, a jazz venue in Phoenix, Arizona, is an example of a decades-long process of the formalization of jazz—being codified as an art music relying on academic and philanthropic support. Formalization developed as jazz began to be taken seriously as art music worth of critical evaluation from critics, academics, and the hallowed establishments of American high art. Jazz became increasingly dependent on an infrastructure of institutional support, and a neoclassical ideology sought to define what styles of jazz were ‘real’ and worthy of preservation. In Phoenix, the origins of The Nash were laid in 1977 when Jazz in Arizona was formed, a non-profit organization that aimed to support jazz through information dissemination, music scholarships, festival organizing, and attending jazz events throughout Arizona. The Nash was conceived as a way to more fully engage young people in the community. Herb Ely, a prominent Phoenix attorney and philanthropist, pitched the idea to Joel Goldenthal, then Executive Director of Jazz in Arizona. The venue was built under the auspices of Jazz in Arizona, and operates as the organization’s headquarters. In keeping with the broader trend of formalization, The Nash presents jazz as a performance of artistic expression. Continued philanthropic support allows The Nash a degree of independence from economic concerns. The Nash is also committed to providing support for jazz education, by partnering with local educational institutions and presenting educational programming. The focus on providing opportunities for young musicians, as well as its location in the hip neighborhood of Roosevelt Row have contributed to The Nash becoming relatively popular among young people. However, the formalized approach to jazz espoused by The Nash has created some conflicts within the Phoenix jazz community, as some professional musicians feel that The Nash is underpaying musicians for their labor. The American Federation of Musicians Local 586 argues that musicians are workers, and The Nash ought to be paying union scale.
ContributorsBelliston, Lincoln Tyler (Author) / Davis, T. J. (Thesis director) / Hutchinson, Mary (Committee member) / Bridgewater, Devon (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
The premise of the embodied cognition hypothesis is that cognitive processes require emotion, sensory, and motor systems in the brain, rather than using arbitrary symbols divorced from sensorimotor systems. The hypothesis explains many of the mechanisms of mental simulation or imagination and how they facilitate comprehension of concepts. Some forms of embodied processing can be measured using electroencephalography (EEG), in a particular waveform known as the mu rhythm (8-13 Hz) in the sensorimotor cortex of the brain. Power in the mu band is suppressed (or de-synchronized) when an individual performs an action, as well as when the individual imagines performing the action, thus mu suppression measures embodied imagination. An important question however is whether the sensorimotor cortex involvement while reading, as measured by mu suppression, is part of the comprehension of what is read or if it is arises after comprehension has taken place. To answer this question, participants first took the Gates-MacGinitie reading comprehension test. Then, mu-suppression was measured while participants read experimental materials. The degree of mu-suppression while reading verbs correlated .45 with their score on the Gates-MacGinitie test. This correlation strongly suggests that the sensorimotor system involvement while reading action sentences is part of the comprehension process rather than being an aftereffect.
ContributorsMarino, Annette Webb (Author) / Glenberg, Arthur (Thesis director) / Presson, Clark (Committee member) / Blais, Chris (Committee member) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The purpose of this project is to create a useful tool for musicians that utilizes the harmonic content of their playing to recommend new, relevant chords to play. This is done by training various Long Short-Term Memory (LSTM) Recurrent Neural Networks (RNNs) on the lead sheets of 100 different jazz standards. A total of 200 unique datasets were produced and tested, resulting in the prediction of nearly 51 million chords. A note-prediction accuracy of 82.1% and a chord-prediction accuracy of 34.5% were achieved across all datasets. Methods of data representation that were rooted in valid music theory frameworks were found to increase the efficacy of harmonic prediction by up to 6%. Optimal LSTM input sizes were also determined for each method of data representation.
ContributorsRangaswami, Sriram Madhav (Author) / Lalitha, Sankar (Thesis director) / Jayasuriya, Suren (Committee member) / Electrical Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
My proposed project is an educational application that will seek to simplify the<br/>process of internalizing the chord symbols most commonly seen by those learning<br/>musical improvisation. The application will operate like a game, encouraging the<br/>user to identify chord tones within time limits and award points for successfully<br/>doing so.
ContributorsOwens, Kevin Bradyn (Author) / Balasooriya, Janaka (Thesis director) / Nakamura, Mutsumi (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
Using two interviews with local Phoenix professional chamber musicians, this document aims to compare their experiences across musical styles to find common ground and understand the value of chamber music as a professional and educational tool.
ContributorsGrahmann, Robert (Author) / Libman, Jeffrey (Thesis director) / Compitello, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05