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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

"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
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

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
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Description
The Nash, a jazz venue in Phoenix, Arizona, is an example of a decades-long process of the formalization of jazz—being codified as an art music relying on academic and philanthropic support. Formalization developed as jazz began to be taken seriously as art music worth of critical evaluation from critics, academics,

The Nash, a jazz venue in Phoenix, Arizona, is an example of a decades-long process of the formalization of jazz—being codified as an art music relying on academic and philanthropic support. Formalization developed as jazz began to be taken seriously as art music worth of critical evaluation from critics, academics, and the hallowed establishments of American high art. Jazz became increasingly dependent on an infrastructure of institutional support, and a neoclassical ideology sought to define what styles of jazz were ‘real’ and worthy of preservation. In Phoenix, the origins of The Nash were laid in 1977 when Jazz in Arizona was formed, a non-profit organization that aimed to support jazz through information dissemination, music scholarships, festival organizing, and attending jazz events throughout Arizona. The Nash was conceived as a way to more fully engage young people in the community. Herb Ely, a prominent Phoenix attorney and philanthropist, pitched the idea to Joel Goldenthal, then Executive Director of Jazz in Arizona. The venue was built under the auspices of Jazz in Arizona, and operates as the organization’s headquarters. In keeping with the broader trend of formalization, The Nash presents jazz as a performance of artistic expression. Continued philanthropic support allows The Nash a degree of independence from economic concerns. The Nash is also committed to providing support for jazz education, by partnering with local educational institutions and presenting educational programming. The focus on providing opportunities for young musicians, as well as its location in the hip neighborhood of Roosevelt Row have contributed to The Nash becoming relatively popular among young people. However, the formalized approach to jazz espoused by The Nash has created some conflicts within the Phoenix jazz community, as some professional musicians feel that The Nash is underpaying musicians for their labor. The American Federation of Musicians Local 586 argues that musicians are workers, and The Nash ought to be paying union scale.
Created2016-12
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Description

The purpose of this project is to create a useful tool for musicians that utilizes the harmonic content of their playing to recommend new, relevant chords to play. This is done by training various Long Short-Term Memory (LSTM) Recurrent Neural Networks (RNNs) on the lead sheets of 100 different jazz

The purpose of this project is to create a useful tool for musicians that utilizes the harmonic content of their playing to recommend new, relevant chords to play. This is done by training various Long Short-Term Memory (LSTM) Recurrent Neural Networks (RNNs) on the lead sheets of 100 different jazz standards. A total of 200 unique datasets were produced and tested, resulting in the prediction of nearly 51 million chords. A note-prediction accuracy of 82.1% and a chord-prediction accuracy of 34.5% were achieved across all datasets. Methods of data representation that were rooted in valid music theory frameworks were found to increase the efficacy of harmonic prediction by up to 6%. Optimal LSTM input sizes were also determined for each method of data representation.

ContributorsRangaswami, Sriram Madhav (Author) / Lalitha, Sankar (Thesis director) / Jayasuriya, Suren (Committee member) / Electrical Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

My proposed project is an educational application that will seek to simplify the<br/>process of internalizing the chord symbols most commonly seen by those learning<br/>musical improvisation. The application will operate like a game, encouraging the<br/>user to identify chord tones within time limits and award points for successfully<br/>doing so.

ContributorsOwens, Kevin Bradyn (Author) / Balasooriya, Janaka (Thesis director) / Nakamura, Mutsumi (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

The application of Toni Morrison’s Beloved as a lens through which one can analyze intergenerational trauma on an individual and communal level results in a blueprint towards a remedial process. The characters and their experiences in her novel are representative of a myriad of ways in which trauma is manifested.

The application of Toni Morrison’s Beloved as a lens through which one can analyze intergenerational trauma on an individual and communal level results in a blueprint towards a remedial process. The characters and their experiences in her novel are representative of a myriad of ways in which trauma is manifested. I have broken down the concept of intergenerational trauma into the idea that it can be seen as the state where one is both simultaneously “falling” and “fallen” at the same time. Used here, the term “falling” refers to the consistent, individual trauma that one is experiencing. On the other hand, the term “fallen” refers to the trauma that a community as a whole has experienced and internalized. This framework that I establish based off of Beloved is a launching point for the conversation surrounding the topic of remedial actions in relation to intergenerational trauma that resulted from slavery. Using it as a basis of knowledge allows one to truly gather the weight of the situation regarding trauma postbellum. Considering the current climate surrounding any meaningful dialogue, knowledge is one of the most important aspects. Along with the concepts of “falling”/”fallen,” I also coined the term productive memory, which refers to the act of confrontation as well as the remembering of intergenerational trauma. The use of productive memory is imperative in addressing the prior ideas presented regarding intergenerational trauma and the possible pathways to move forward.

ContributorsCampbell, Hugh Fitz (Author) / Soares, Rebecca (Thesis director) / Agruss, David (Committee member) / School of Politics and Global Studies (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description

Using two interviews with local Phoenix professional chamber musicians, this document aims to compare their experiences across musical styles to find common ground and understand the value of chamber music as a professional and educational tool.

ContributorsGrahmann, Robert (Author) / Libman, Jeffrey (Thesis director) / Compitello, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
Description

This project includes an outline of a prospective fantasy novel whose story is described through chapter summaries, a bit of sample writing, and an accompanying explanatory essay that acts as the novel's afterword. It follows the story of Hikari Hinata, a princess of a fictional nation in which gods and

This project includes an outline of a prospective fantasy novel whose story is described through chapter summaries, a bit of sample writing, and an accompanying explanatory essay that acts as the novel's afterword. It follows the story of Hikari Hinata, a princess of a fictional nation in which gods and fate rule the lives of mortals. Her tale is a representative one--it seeks to call to mind the experiences of second-generation Asian Americans through its characterization, plot, and background inspirations. Two key concepts it focuses on are intergenerational trauma and combining that with ancient world mythologies, in a way that breathes new life into past narratives and explores modern-age experiences.

ContributorsChangcoco, Shinyi (Author) / Bolmarcich, Sarah (Thesis director) / Kuo, Karen (Committee member) / Barrett, The Honors College (Contributor) / College of Integrative Sciences and Arts (Contributor)
Created2023-05
Description

Descendants of Vietnamese, Laotian, and Cambodian refugees have been impacted by intergenerational trauma as a result of their parent’s trauma from being refugees from the Vietnam War, Secret War, and the Khmer Rouge in the 1970s and 1980s. There are limited studies evaluating the impacts of intergenerational trauma on adult

Descendants of Vietnamese, Laotian, and Cambodian refugees have been impacted by intergenerational trauma as a result of their parent’s trauma from being refugees from the Vietnam War, Secret War, and the Khmer Rouge in the 1970s and 1980s. There are limited studies evaluating the impacts of intergenerational trauma on adult descendants in Southeast Asian (SEA) refugee families. To address this research gap, a quantitative survey was conducted with adult descendants who are 18 years old or older to examine if intergenerational trauma is associated with depressive symptoms among adult Vietnamese, Laotian, and Cambodian Americans whose parents came to the United States as refugees. To recruit participants, both purposive and snowball sampling was used. A total of 66 participants responded to the online survey. The survey consisted of multiple measures that analyzed the relationship between intergenerational trauma and depressive symptoms, including perceived parental trauma, intergenerational/intercultural conflict, acculturation, social support, and demographic characteristics. Statistical analysis was conducted through descriptive statistics and bivariate correlation analysis. Results indicated that intergenerational trauma was not associated with depressive symptoms. However, depressive symptoms were associated with intergenerational/intercultural conflict (r = 0.421, p < .01) and social support (r = -0.383, p < .01). It is possible that acculturation differences between descendants and parents are connected to intergenerational/intercultural conflict and depressive symptoms while social support allows the descendants to feel connected with others, which can reduce depressive symptoms. Culturally adapted family interventions, education, culturally sensitive therapy, and community spaces are possible solutions to addressing depressive symptoms among SEA adult descendants.

ContributorsNguyen, Michael (Author) / Um, Mee Young (Thesis director) / Oh, Hyunsung (Committee member) / Barrett, The Honors College (Contributor) / College of Health Solutions (Contributor) / Watts College of Public Service & Community Solut (Contributor) / School of Public Affairs (Contributor)
Created2023-05
Description

Many people are familiar with the practice of parents, step-parents, or other caregivers continuing the abuse they experienced as a child unto children they are taking care of, but are unable to name this experience or explain how it continues. To those who are victims to this phenomenon, it is

Many people are familiar with the practice of parents, step-parents, or other caregivers continuing the abuse they experienced as a child unto children they are taking care of, but are unable to name this experience or explain how it continues. To those who are victims to this phenomenon, it is a struggle to comprehend what is occurring without a basic understanding. Through a comprehensive literature review compiling empirical and non-empirical resources, the phenomenon labeled as “intergenerational transmission of abuse” is defined and risk factors are explained for victims coming to terms with this experience.

ContributorsEnciso, Lourdes (Author) / Sturgess, Jessica (Thesis director) / Blais, Rebecca (Committee member) / Barrett, The Honors College (Contributor) / School of Criminology and Criminal Justice (Contributor) / School of Social and Behavioral Sciences (Contributor)
Created2023-05