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ContributorsWard, Geoffrey Harris (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
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
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
Air pollution is a serious problem in most urban areas around the world, which has a number of negative ecological and human health impacts. As a result, it's vitally important to detect and characterize air pollutants to protect the health of the urban environment and our citizens. An important early step in this process is ensuring that the air pollution monitoring network is properly designed to capture the patterns of pollution and that all social demographics in the urban population are represented. An important aspect in characterizing air pollution patterns is scale in space and time which, along with pattern and process relationships, is a key subject in the field of landscape ecology. Thus, using multiple landscape ecological methods, this dissertation research begins by characterizing and quantifying the multi-scalar patterns of ozone (O3) and particulate matter (PM10) in the Phoenix, Arizona, metropolitan region. Results showed that pollution patterns are scale-dependent, O3 is a regionally-scaled pollutant at longer temporal scales, and PM10 is a locally-scaled pollutant with patterns sensitive to season. Next, this dissertation examines the monitoring network within Maricopa County. Using a novel multiscale indicator-based approach, the adequacy of the network was quantified by integrating inputs from various academic and government stakeholders. Furthermore, deficiencies were spatially defined and recommendations were made on how to strengthen the design of the network. A sustainability ranking system also provided new insight into the strengths and weaknesses of the network. Lastly, the study addresses the question of whether distinct social groups were experiencing inequitable exposure to pollutants - a key issue of distributive environmental injustice. A novel interdisciplinary method using multi-scalar ambient pollution data and hierarchical multiple regression models revealed environmental inequities between air pollutants and race, ethnicity, age, and socioeconomic classes. The results indicate that changing the scale of the analysis can change the equitable relationship between pollution and demographics. The scientific findings of the scale-dependent relationships among air pollution patterns, network design, and population demographics, brought to light through this study, can help policymakers make informed decisions for protecting the human health and the urban environment in the Phoenix metropolitan region and beyond.
ContributorsPope, Ronald L (Author) / Wu, Jianguo (Thesis advisor) / Boone, Christopher G. (Committee member) / Brazel, Anthony J. (Committee member) / Forzani, Erica S. (Committee member) / Fraser, Matthew P. (Committee member) / Arizona State University (Publisher)
Created2014
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
Chloroform (CHCl3) is an important atmospheric pollutant by its direct health effects as well as by its contribution to photochemical smog formation. Chloroform outgassing from swimming pools is not typically considered a source of atmospheric CHCl3 because swimming pools are scarce compared to other sources. However, large urban areas in hot climates such as Phoenix, AZ contain a substantial amount of swimming pools, potentially resulting in significant atmospheric fluxes. In this study, CHCl3 formation potential (FP) from disinfection of swimming pools in Phoenix was investigated through laboratory experiments and annual CHCl3 emission fluxes from swimming pools were estimated based on the experimental data.
Swimming pool water (collected in June 2014 in Phoenix) and model contaminants (Pharmaceuticals and Personal Care Products (PPCPs), Endocrine Disrupting Compounds (EDCs), artificial sweeteners, and artificial human waste products) were chlorinated in controlled laboratory experiments. The CHCl3 production during chlorination was determined using Gas Chromatography-Mass Spectrometry (GC-MS) following solid-phase microextraction (SPME). Upon chlorination, all swimming pool water samples and contaminants produced measureable amounts of chloroform. Chlorination of swimming pool water produced 0.005-0.134 mol CHCl3/mol C and 0.004-0.062 mol CHCl3/mol Cl2 consumed. Chlorination of model contaminants produced 0.004-0.323 mol CHCl3/mol C and 0.001-0.247 mol CHCl3/mol Cl2 consumed. These numbers are comparable and indicate that the model contaminants react similarly to swimming pool water during chlorination. The CHCl3 flux from swimming pools in Phoenix was estimated at approximately 3.9-4.3 Gg/yr and was found to be largely dependent on water temperature and wind speed while air temperature had little effect. This preliminary estimate is orders of magnitude larger than previous estimates of anthropogenic emissions in Phoenix suggesting that swimming pools might be a significant source of atmospheric CHCl3 locally.
Swimming pool water (collected in June 2014 in Phoenix) and model contaminants (Pharmaceuticals and Personal Care Products (PPCPs), Endocrine Disrupting Compounds (EDCs), artificial sweeteners, and artificial human waste products) were chlorinated in controlled laboratory experiments. The CHCl3 production during chlorination was determined using Gas Chromatography-Mass Spectrometry (GC-MS) following solid-phase microextraction (SPME). Upon chlorination, all swimming pool water samples and contaminants produced measureable amounts of chloroform. Chlorination of swimming pool water produced 0.005-0.134 mol CHCl3/mol C and 0.004-0.062 mol CHCl3/mol Cl2 consumed. Chlorination of model contaminants produced 0.004-0.323 mol CHCl3/mol C and 0.001-0.247 mol CHCl3/mol Cl2 consumed. These numbers are comparable and indicate that the model contaminants react similarly to swimming pool water during chlorination. The CHCl3 flux from swimming pools in Phoenix was estimated at approximately 3.9-4.3 Gg/yr and was found to be largely dependent on water temperature and wind speed while air temperature had little effect. This preliminary estimate is orders of magnitude larger than previous estimates of anthropogenic emissions in Phoenix suggesting that swimming pools might be a significant source of atmospheric CHCl3 locally.
ContributorsRose, Christy J (Author) / Herckes, Pierre (Thesis advisor) / Fraser, Matthew (Committee member) / Hayes, Mark (Committee member) / Westerhoff, Paul (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
Description
The following research is a regulatory and emissions analysis of collocated sources of air pollution as they relate to the definition of "major, stationary, sources", if their emissions were amalgamated. The emitting sources chosen for this study are seven facilities located in a single, aggregate mining pit, along the Aqua Fria riverbed in Sun City, Arizona. The sources in question consist of Rock Crushing and Screening plants, Hot Mix Asphalt plants, and Concrete Batch plants. Generally, individual facilities with emissions of a criteria air pollutant over 100 tons per year or 70 tons per year for PM10 in the Maricopa County non-attainment area would be required to operate under a different permitting regime than those with emissions less than stated above. In addition, facility's that emit over 25 tons per year or 150 pounds per hour of NOx would trigger Maricopa County Best Available Control Technology (BACT) and would be required to install more stringent pollution controls. However, in order to circumvent the more stringent permitting requirements, some facilities have "collocated" in order to escape having their emissions calculated as single source, while operating as a single, production entity. The results of this study indicate that the sources analyzed do not collectively emit major source levels of emissions; however, they do trigger year and daily BACT for NOx. It was also discovered that lack of grid power contributes to the use of generators, which is the main source of emissions. Therefore, if grid electricity was introduced in outlying areas of Maricopa County, facilities could significantly reduce the use of generator power; thereby, reducing pollutants associated with generator use.
ContributorsFranquist, Timothy S (Author) / Olson, Larry (Thesis advisor) / Hild, Nicholas (Committee member) / Brown, Albert (Committee member) / Arizona State University (Publisher)
Created2011