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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
The characteristics of the wintertime 500hPa height surface, the level of non-divergence and used for identifying/observing synoptic-scale features (ridges and troughs), and their impact on precipitation are of significance to forecasters, natural resource managers and planners across the southwestern United States. For this study, I evaluated the location of the 500hPa mean Pacific ridge axis over the winter for the period of 1948/49 to 2011/12 and derived the mean ridge axis in terms of location (longitude) and intensity (geopotential meters) from the NCEP/NCAR Reanalysis dataset. After deriving a mean ridge axis climatology and analyzing its behavior over time, I correlated mean location and intensity values to observed wintertime precipitation in select U.S. Climate Divisions in Arizona, Colorado, Nevada, Utah and New Mexico. This resulted in two findings. First specific to the 500hPa ridge behavior, the ridge has been moving eastward and also has been intensifying through time. Second, results involving correlation tests between mean ridge location and intensity indicate precipitation across the selected Southwest Climate Divisions are strongly related to mean ridge intensity slightly more than ridge location. The relationships between mean ridge axis and observed precipitation also are negative, indicating an increase of one of the ridge parameters (i.e. continued eastward movement or intensification) lead to drier winter seasons across the Southwest. Increased understanding of relationships between upper-level ridging and observed wintertime precipitation aids in natural resource planning for an already arid region that relies heavily on winter precipitation.
ContributorsNolte, Jessica Marie (Author) / Cerveny, Randall S. (Thesis advisor) / Selover, Nancy J. (Committee member) / Brazel, Anthony J. (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
The numerical climate models have provided scientists, policy makers and the general public, crucial information for climate projections since mid-20th century. An international effort to compare and validate the simulations of all major climate models is organized by the Coupled Model Intercomparison Project (CMIP), which has gone through several phases since 1995 with CMIP5 being the state of the art. In parallel, an organized effort to consolidate all observational data in the past century culminates in the creation of several "reanalysis" datasets that are considered the closest representation of the true observation. This study compared the climate variability and trend in the climate model simulations and observations on the timescales ranging from interannual to centennial. The analysis focused on the dynamic climate quantity of zonal-mean zonal wind and global atmospheric angular momentum (AAM), and incorporated multiple datasets from reanalysis and the most recent CMIP3 and CMIP5 archives. For the observation, the validation of AAM by the length-of-day (LOD) and the intercomparison of AAM revealed a good agreement among reanalyses on the interannual and the decadal-to-interdecadal timescales, respectively. But the most significant discrepancies among them are in the long-term mean and long-term trend. For the simulations, the CMIP5 models produced a significantly smaller bias and a narrower ensemble spread of the climatology and trend in the 20th century for AAM compared to CMIP3, while CMIP3 and CMIP5 simulations consistently produced a positive trend for the 20th and 21st century. Both CMIP3 and CMIP5 models produced a wide range of the magnitudes of decadal and interdecadal variability of wind component of AAM (MR) compared to observation. The ensemble means of CMIP3 and CMIP5 are not statistically distinguishable for either the 20th- or 21st-century runs. The in-house atmospheric general circulation model (AGCM) simulations forced by the sea surface temperature (SST) taken from the CMIP5 simulations as lower boundary conditions were carried out. The zonal wind and MR in the CMIP5 simulations are well simulated in the AGCM simulations. This confirmed SST as an important mediator in regulating the global atmospheric changes due to GHG effect.
ContributorsPaek, Houk (Author) / Huang, Huei-Ping (Thesis advisor) / Adrian, Ronald (Committee member) / Wang, Zhihua (Committee member) / Anderson, James (Committee member) / Herrmann, Marcus (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
Climate and its influence on hydrology and weathering is a key driver of surface processes on Earth. Despite its clear importance to hazard generation, fluvial sediment transport and erosion, the drawdown of atmospheric CO2 via the rock cycle, and feedbacks between climate and tectonics, quantifying climatic controls on long-term erosion rates has proven to be one of the grand problems in geomorphology. In fact, recent attempts addressing this problem using cosmogenic radionuclide (CRN) derived erosion rates suggest very weak climatic controls on millennial-scale erosion rates contrary to expectations. In this work, two challenges are addressed that may be impeding progress on this problem.
The first challenge is choosing appropriate climate metrics that are closely tied to erosional processes. For example, in fluvial landscapes, most runoff events do little to no geomorphic work due to erosion thresholds, and event-scale variability dictates how frequently these thresholds are exceeded. By analyzing dense hydroclimatic datasets in the contiguous U.S. and Puerto Rico, we show that event-scale runoff variability is only loosely related to event-scale rainfall variability. Instead, aridity and fractional evapotranspiration (ET) losses are much better predictors of runoff variability. Importantly, simple hillslope-scale soil water balance models capture major aspects of the observed relation between runoff variability and fractional ET losses. Together, these results point to the role of vegetation water use as a potential key to relating mean hydrologic partitioning with runoff variability.
The second challenge is that long-term erosion rates are expected to balance rock uplift rates as landscapes approach topographic steady state, regardless of hydroclimatic setting. This is illustrated with new data along the Main Gulf Escarpment, Baja, Mexico. Under this conceptual framework, climate is not expected to set the erosion rate, but rather the erosional efficiency of the system, or the steady-state relief required for erosion to keep up with tectonically driven uplift rates. To assess differences in erosional efficiency across landscapes experiencing different climatic regimes, we contrast new CRN data from tectonically active landscapes in Baja, Mexico and southern California (arid) with northern Honduras (very humid) alongside other published global data from similar hydroclimatic settings. This analysis shows how climate does, in fact, set functional relationships between topographic metrics like channel steepness and long-term erosion rates. However, we also show that relatively small differences in rock erodibility and incision thresholds can easily overprint hydroclimatic controls on erosional efficiency motivating the need for more field based constraints on these important variables.
The first challenge is choosing appropriate climate metrics that are closely tied to erosional processes. For example, in fluvial landscapes, most runoff events do little to no geomorphic work due to erosion thresholds, and event-scale variability dictates how frequently these thresholds are exceeded. By analyzing dense hydroclimatic datasets in the contiguous U.S. and Puerto Rico, we show that event-scale runoff variability is only loosely related to event-scale rainfall variability. Instead, aridity and fractional evapotranspiration (ET) losses are much better predictors of runoff variability. Importantly, simple hillslope-scale soil water balance models capture major aspects of the observed relation between runoff variability and fractional ET losses. Together, these results point to the role of vegetation water use as a potential key to relating mean hydrologic partitioning with runoff variability.
The second challenge is that long-term erosion rates are expected to balance rock uplift rates as landscapes approach topographic steady state, regardless of hydroclimatic setting. This is illustrated with new data along the Main Gulf Escarpment, Baja, Mexico. Under this conceptual framework, climate is not expected to set the erosion rate, but rather the erosional efficiency of the system, or the steady-state relief required for erosion to keep up with tectonically driven uplift rates. To assess differences in erosional efficiency across landscapes experiencing different climatic regimes, we contrast new CRN data from tectonically active landscapes in Baja, Mexico and southern California (arid) with northern Honduras (very humid) alongside other published global data from similar hydroclimatic settings. This analysis shows how climate does, in fact, set functional relationships between topographic metrics like channel steepness and long-term erosion rates. However, we also show that relatively small differences in rock erodibility and incision thresholds can easily overprint hydroclimatic controls on erosional efficiency motivating the need for more field based constraints on these important variables.
ContributorsRossi, Matthew (Author) / Whipple, Kelin X (Thesis advisor) / DeVecchio, Duane E (Committee member) / Vivoni, Enrique R (Committee member) / Arrowsmith, J Ramon (Committee member) / Heimsath, Arjun M (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
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 solo repertoire from the Light Music Era serves as an important link between the Classical and Jazz soloist traditions. These characteristics are best highlighted through an analysis of three solo transcriptions: Felix Arndt's Nola as performed by Al Gallodoro, Rudy Wiedoeft's Valse Vanité, as performed by Freddy Gardener, and Jimmy Dorsey's Oodles of Noodles, as performed by Al Gallodoro. The transcriptions, done by the author, are taken from primary source recordings, and the ensuing analysis serves to show the saxophone soloists of the Light Music Era as an amalgamation of classical and jazz saxophone. Many of the works performed during the Light Music Era are extant only in recorded form. Even so, these performances possess great historical significance within the context of the state of the saxophone as an important solo instrument in the wider musical landscape. The saxophone solos from the Light Music Era distinguish themselves through the use of formal development and embellishment of standard "song forms" (such as ABA, and AABA), and the use of improvisational techniques that are common to early Jazz; however, the analysis shows that the improvisational techniques were distinctly different than a Jazz solo improvisation in nature. Although it has many characteristics in common with both "Classical Music" (this is used as a generic term to refer to the music of the Western European common practice period that is not Pop music or Jazz) and Jazz, the original research shows that the saxophone solo music from the Light Music Era is a distinctly original genre due to the amalgamation of seemingly disparate elements.
ContributorsPuccio, Dan (Author) / Mcallister, Timothy P (Thesis advisor) / Feisst, Sabine (Committee member) / Kocour, Michael (Committee member) / Pilafian, J. Samuel (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2012