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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
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
Solution methods for certain linear and nonlinear evolution equations are presented in this dissertation. Emphasis is placed mainly on the analytical treatment of nonautonomous differential equations, which are challenging to solve despite the existent numerical and symbolic computational software programs available. Ideas from the transformation theory are adopted allowing one to solve the problems under consideration from a non-traditional perspective. First, the Cauchy initial value problem is considered for a class of nonautonomous and inhomogeneous linear diffusion-type equation on the entire real line. Explicit transformations are used to reduce the equations under study to their corresponding standard forms emphasizing on natural relations with certain Riccati(and/or Ermakov)-type systems. These relations give solvability results for the Cauchy problem of the parabolic equation considered. The superposition principle allows to solve formally this problem from an unconventional point of view. An eigenfunction expansion approach is also considered for this general evolution equation. Examples considered to corroborate the efficacy of the proposed solution methods include the Fokker-Planck equation, the Black-Scholes model and the one-factor Gaussian Hull-White model. The results obtained in the first part are used to solve the Cauchy initial value problem for certain inhomogeneous Burgers-type equation. The connection between linear (the Diffusion-type) and nonlinear (Burgers-type) parabolic equations is stress in order to establish a strong commutative relation. Traveling wave solutions of a nonautonomous Burgers equation are also investigated. Finally, it is constructed explicitly the minimum-uncertainty squeezed states for quantum harmonic oscillators. They are derived by the action of corresponding maximal kinematical invariance group on the standard ground state solution. It is shown that the product of the variances attains the required minimum value only at the instances that one variance is a minimum and the other is a maximum, when the squeezing of one of the variances occurs. Such explicit construction is possible due to the relation between the diffusion-type equation studied in the first part and the time-dependent Schrodinger equation. A modication of the radiation field operators for squeezed photons in a perfect cavity is also suggested with the help of a nonstandard solution of Heisenberg's equation of motion.
ContributorsVega-Guzmán, José Manuel, 1982- (Author) / Sulov, Sergei K (Thesis advisor) / Castillo-Chavez, Carlos (Thesis advisor) / Platte, Rodrigo (Committee member) / Chowell-Puente, Gerardo (Committee member) / Arizona State University (Publisher)
Created2013
Description
Photodetectors in the 1.7 to 4.0 μm range are being commercially developed on InP substrates to meet the needs of longer wavelength applications such as thermal and medical sensing. Currently, these devices utilize high indium content metamorphic Ga1-xInxAs (x > 0.53) layers to extend the wavelength range beyond the 1.7 μm achievable using lattice matched GaInAs. The large lattice mismatch required to reach the extended wavelengths results in photodetector materials that contain a large number of misfit dislocations. The low quality of these materials results in a large nonradiative Shockley Read Hall generation/recombination rate that is manifested as an undesirable large thermal noise level in these photodetectors. This work focuses on utilizing the different band structure engineering methods to design more efficient devices on InP substrates. One prospective way to improve photodetector performance at the extended wavelengths is to utilize lattice matched GaInAs/GaAsSb structures that have a type-II band alignment, where the ground state transition energy of the superlattice is smaller than the bandgap of either constituent material. Over the extended wavelength range of 2 to 3 μm this superlattice structure has an optimal period thickness of 3.4 to 5.2 nm and a wavefunction overlap of 0.8 to 0.4, respectively. In using a type-II superlattice to extend the cutoff wavelength there is a tradeoff between the wavelength reached and the electron-hole wavefunction overlap realized, and hence absorption coefficient achieved. This tradeoff and the subsequent reduction in performance can be overcome by two methods: adding bismuth to this type-II material system; applying strain on both layers in the system to attain strain-balanced condition. These allow the valance band alignment and hence the wavefunction overlap to be tuned independently of the wavelength cutoff. Adding 3% bismuth to the GaInAs constituent material, the resulting lattice matched Ga0.516In0.484As0.970Bi0.030/GaAs0.511Sb0.489superlattice realizes a 50% larger absorption coefficient. While as, similar results can be achieved with strain-balanced condition with strain limited to 1.9% on either layer. The optimal design rules derived from the different possibilities make it feasible to extract superlattice period thickness with the best absorption coefficient for any cutoff wavelength in the range.
ContributorsSharma, Ankur R (Author) / Johnson, Shane (Thesis advisor) / Goryll, Michael (Committee member) / Roedel, Ronald (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
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
Dual-wavelength laser sources have various existing and potential applications in wavelength division multiplexing, differential techniques in spectroscopy for chemical sensing, multiple-wavelength interferometry, terahertz-wave generation, microelectromechanical systems, and microfluidic lab-on-chip systems. In the drive for ever smaller and increasingly mobile electronic devices, dual-wavelength coherent light output from a single semiconductor laser diode would enable further advances and deployment of these technologies. The output of conventional laser diodes is however limited to a single wavelength band with a few subsequent lasing modes depending on the device design. This thesis investigates a novel semiconductor laser device design with a single cavity waveguide capable of dual-wavelength laser output with large spectral separation. The novel dual-wavelength semiconductor laser diode uses two shorter- and longer-wavelength active regions that have separate electron and hole quasi-Fermi energy levels and carrier distributions. The shorter-wavelength active region is based on electrical injection as in conventional laser diodes, and the longer-wavelength active region is then pumped optically by the internal optical field of the shorter-wavelength laser mode, resulting in stable dual-wavelength laser emission at two different wavelengths quite far apart. Different designs of the device are studied using a theoretical model developed in this work to describe the internal optical pumping scheme. The carrier transport and separation of the quasi-Fermi distributions are then modeled using a software package that solves Poisson's equation and the continuity equations to simulate semiconductor devices. Three different designs are grown using molecular beam epitaxy, and broad-area-contact laser diodes are processed using conventional methods. The modeling and experimental results of the first generation design indicate that the optical confinement factor of the longer-wavelength active region is a critical element in realizing dual-wavelength laser output. The modeling predicts lower laser thresholds for the second and third generation designs; however, the experimental results of the second and third generation devices confirm challenges related to the epitaxial growth of the structures in eventually demonstrating dual-wavelength laser output.
ContributorsGreen, Benjamin C (Author) / Zhang, Yong-Hang (Thesis advisor) / Ning, Cun-Zheng (Committee member) / Tao, Nongjian (Committee member) / Roedel, Ronald J (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 theory of geometric quantum mechanics describes a quantum system as a Hamiltonian dynamical system, with a projective Hilbert space regarded as the phase space. This thesis extends the theory by including some aspects of the symplectic topology of the quantum phase space. It is shown that the quantum mechanical uncertainty principle is a special case of an inequality from J-holomorphic map theory, that is, J-holomorphic curves minimize the difference between the quantum covariance matrix determinant and a symplectic area. An immediate consequence is that a minimal determinant is a topological invariant, within a fixed homology class of the curve. Various choices of quantum operators are studied with reference to the implications of the J-holomorphic condition. The mean curvature vector field and Maslov class are calculated for a lagrangian torus of an integrable quantum system. The mean curvature one-form is simply related to the canonical connection which determines the geometric phases and polarization linear response. Adiabatic deformations of a quantum system are analyzed in terms of vector bundle classifying maps and related to the mean curvature flow of quantum states. The dielectric response function for a periodic solid is calculated to be the curvature of a connection on a vector bundle.
ContributorsSanborn, Barbara (Author) / Suslov, Sergei K (Thesis advisor) / Suslov, Sergei (Committee member) / Spielberg, John (Committee member) / Quigg, John (Committee member) / Menéndez, Jose (Committee member) / Jones, Donald (Committee member) / Arizona State University (Publisher)
Created2011