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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 construction industry in India suffers from major time and cost overruns. Data from government and industry reports suggest that projects suffer from 20 to 25 percent time and cost overruns. Waste of resources has been identified as a major source of inefficiency. Despite a substantial increase in the past few years, demand for professionals and contractors still exceeds supply by a large margin. The traditional methods adopted in the Indian construction industry may not suffice the needs of this dynamic environment, as they have produced large inefficiencies. Innovative ways of procurement and project management can satisfy the needs aspired to as well as bring added value. The problems faced by the Indian construction industry are very similar to those faced by other developing countries. The objective of this paper is to discuss and analyze the economic concerns, inefficiencies and investigate a model that both explains the Indian construction industry structure and provides a framework to improve efficiencies. The Best Value (BV) model is examined as an approach to be adopted in lieu of the traditional approach. This could result in efficient construction projects by minimizing cost overruns and delays, which until now have been a rarity.
ContributorsNihas, Syed (Author) / Kashiwagi, Dean (Thesis advisor) / Sullivan, Kenneth (Committee member) / Kashiwagi, Jacob (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study compares some sites, structures, theories and praxis of transnational feminisms in India and the U.S., simultaneously guided by and interrogating contemporary academic feminist theoretical and methodological trends. The goal is twofold: to understand similarities and differences in feminist praxis of two geo-epistemological spaces; and to interrogate the notion and currency of the "transnational" within feminist knowledge-creation. The phenomenon of transnational feminist knowledge-making is interrogated from a philosophical/theoretical and phenomenological/experiential standpoint. The philosophical inquiry is concentrated on the theoretical texts produced on transnational/global/postcolonial feminisms. This inquiry also focuses on some unpublished, uncirculated archival materials that trace the history of academic feminisms and their transnationalization. The phenomenological side focuses on interview and survey data on transnational feminism, gathered from feminist practitioners working in the U.S. and India, as well as being "transmigrant," or "traveling scholars." Digital/institutional ethnography is used to ground the findings in operational spaces of knowledge-making, including cyberspace. This research shows that the global logic of circulation and visibility organize the flow of knowledge as data, narratives and reports from the global south, which are analyzed, clarified and theorized in the global north. Perhaps responding to many critiques on "speaking of" and "speaking for" the "other," the trend to represent third world women as perpetual victims has given way to newer representations and accounts of resistance, collaboration, and activism. However, this creates a fresh "theory-here-activism-there" model of transnational feminism that preserves unequal feminist division of labor. This comparative and critical study focuses not just on feminist discourses in two countries but also their relationships, suggests some viable models of transnational feminism that can preserve epistemic justice, and aims to contribute to the theoretical corpus of transnational feminism.
ContributorsChakravarty, Debjani (Author) / Kitch, Sally L (Thesis advisor) / Fonow, Mary M (Committee member) / Koblitz, Ann H (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
The Himalayan orogenic system is one of the youngest and most spectacular examples of a continent-continent collision on earth. Although the collision zone has been the subject of extensive research, fundamental questions remain concerning the architecture and evolution of the orogen. Of particular interest are the structures surrounding the 5 km high Tibetan Plateau, as these features record both the collisional and post-collisional evolution of the orogen. In this study we examine structures along the southwestern margin of the Tibetan Plateau, including the Karakoram (KFS) and Longmu Co (LCF) faults, and the Ladakh, Pangong and Karakoram Ranges. New low-temperature thermochronology data collected from across the Ladakh, Pangong and Karakoram Ranges improved the spatial resolution of exhumation patterns adjacent to the edge of the plateau. These data show a southwest to northeast decrease in cooling ages, which is the trailing end of a wave of decreased exhumation related to changes in the overall amount of north-south shortening accommodated across the region. We also posit that north-south shortening is responsible for the orientation of the LCF in India. Previously, the southern end of the LCF was unmapped. We used ASTER remotely sensed images to create a comprehensive lithologic map of the region, which allowed us to map the LCF into India. This mapping shows that this fault has been rotated into parallelism with the Karakoram fault system as a result of N-S shortening and dextral shear on the KFS. Additionally, the orientation and sense of motion along these two systems implies that they are acting as a conjugate fault pair, allowing the eastward extrusion of the Tibet. Finally, we identify and quantify late Quaternary slip on the Tangtse strand of the KFS, which was previously believed to be inactive. Our study found that this fault strand accommodated ca. 6 mm/yr of slip over the last ca. 33-6 ka. Additionally, we speculate that slip is temporally partitioned between the two fault strands, implying that this part of the fault system is more complex than previously believed.
ContributorsBohon, Wendy (Author) / Arrowsmith, Ramon (Thesis advisor) / Hodges, Kip V (Thesis advisor) / Whipple, Kelin X (Committee member) / Heimsath, Arjun (Committee member) / Reynolds, Steven (Committee member) / Arizona State University (Publisher)
Created2014
Description
Beneficiary participation has become popular in international development generally, and it is an essential feature of sustainable development. But there are diverse definitions of and motivations for using beneficiary participation, and empirical literature on its effects is underdeveloped. This dissertation aims to clarify what beneficiary participation is and whether there is empirical support for claims about its benefits.
I review historical trends in international development that led to the popularity of both sustainable development and beneficiary participation. This review identifies central themes in defining beneficiary participation and motivations for using it.
I also developed a new typology of beneficiary participation based on a literature review of how scholars define beneficiary participation. I found that the main dimensions of beneficiary participation are (1) participants, (2) channels, (3) types of inputs, (4) timing, and (5) goals. By making these dimensions explicit, this work helps researchers and development practitioners more clearly describe the types of beneficiary participation they study, employ, and advocate for.
To contribute to empirical literature about beneficiary participation, I conducted a case-study of two urban development projects in Bhopal, India. I collected data with a structured survey of project beneficiaries in four slums (two slums from each project) and semi-structured interviews with each project's organizers. And project documents provided secondary data on both projects. The results indicate that local elites did not capture a disproportionate share of either project's benefits, at least with respect to individual household toilets. Because project organizers rather than beneficiaries selected households that would receive toilets, both cases serve as counterexamples to the claim that beneficiaries must intensely participate for projects' benefits to be distributed equitably.
Finally, I review academic literature for empirical evidence that supports claims about the advantages of beneficiary participation. There is relatively strong empirical support for the claim that beneficiary participation improves project outcomes, but empirical support for most other claims (i.e., that it helps make projects more efficient, distribute benefits equitably, and sustain project benefits) is weak. And empirical research suggests that one claimed benefit, empowerment, rarely materializes. In general, more empirical research about beneficiary participation is needed.
I review historical trends in international development that led to the popularity of both sustainable development and beneficiary participation. This review identifies central themes in defining beneficiary participation and motivations for using it.
I also developed a new typology of beneficiary participation based on a literature review of how scholars define beneficiary participation. I found that the main dimensions of beneficiary participation are (1) participants, (2) channels, (3) types of inputs, (4) timing, and (5) goals. By making these dimensions explicit, this work helps researchers and development practitioners more clearly describe the types of beneficiary participation they study, employ, and advocate for.
To contribute to empirical literature about beneficiary participation, I conducted a case-study of two urban development projects in Bhopal, India. I collected data with a structured survey of project beneficiaries in four slums (two slums from each project) and semi-structured interviews with each project's organizers. And project documents provided secondary data on both projects. The results indicate that local elites did not capture a disproportionate share of either project's benefits, at least with respect to individual household toilets. Because project organizers rather than beneficiaries selected households that would receive toilets, both cases serve as counterexamples to the claim that beneficiaries must intensely participate for projects' benefits to be distributed equitably.
Finally, I review academic literature for empirical evidence that supports claims about the advantages of beneficiary participation. There is relatively strong empirical support for the claim that beneficiary participation improves project outcomes, but empirical support for most other claims (i.e., that it helps make projects more efficient, distribute benefits equitably, and sustain project benefits) is weak. And empirical research suggests that one claimed benefit, empowerment, rarely materializes. In general, more empirical research about beneficiary participation is needed.
ContributorsKutter, Robert W (Author) / Aggarwal, Rimjhim (Thesis advisor) / Golub, Aaron (Committee member) / Wiek, Arnim (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
Kiran Nagarkar, who won the Sahitya Akedemi Award in India for his English language writing, is a man who attracts controversy. Despite the consistent strength of his literary works, his English novels have become a lightning rod - not because they are written in English, but because Nagarkar was a well-respected Marathi writer before he began writing in English. Although there are other writers who have become embroiled in the debate over the politics of discourse, the response to Nagarkar's move from Marathi and his subsequent reactions perfectly illustrate the repercussions that accompany such dialectical decisions. Nagarkar has been accused of myriad crimes against his heritage, from abandoning a dedicated readership to targeting more profitable Western markets. Careful analysis of his writing, however, reveals that his novels are clearly written for a diverse Indian audience and offer few points of accessibility for Western readers. Beyond his English language usage, which is actually intended to provide readability to the most possible Indian nationals, Nagarkar also courts a variegated Indian audience by developing upon traditional Indian literary conceits and allusions. By composing works for a broad Indian audience, which reference cultural elements from an array of Indian ethnic groups, Nagarkar's writing seems to push toward the development of the seemingly impossible: a novel that might unify India, and present such a cohesive cultural face to the world at large.
ContributorsRochester, Rachel (Author) / Bivona, Daniel (Thesis advisor) / Mallot, J. Edward (Thesis advisor) / Horan, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2011
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