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"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 study examines the social construction of the border by researching how frequently select issues are written about by the media of both countries, and in what light two different groups of actors (Mexico and the US) are portrayed. The Dallas-based The Dallas Morning News, and the Monterrey-based, El Norte are the two newspapers chosen to perform the content analysis. Furthermore, this study seeks to examine differences in the way both newspapers portray the US-Mexico border in 1994, or the year NAFTA began, and 2012, the most recent year for which data is available. A major find of this study is the discovery of how even though the frequency that select issues are brought up in the border vary drastically by year and newspaper, portrayals of the actors around the border stay fairly consistent. More specifically, with the exception of NAFTA in 1994, border issues outside of crime, illegal immigration, drug violence, and the economy, are rarely mentioned by the two selected newspapers a significant amount of the time. Also, issues at the border such as crime, drug violence, and national security are often portrayed as the fault of Mexico and Mexican actors, while immigration issues at the border are often blamed exclusively on each newspaper's host countries.
ContributorsCelis-Aguirre, Ignacio (Author) / Lara-Valencia, Francisco (Thesis director) / Diaz McConnell, Eileen (Committee member) / Barrett, The Honors College (Contributor) / School of Politics and Global Studies (Contributor) / Sandra Day O'Connor College of Law (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