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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
Trenchless technology is a group of techniques whose utilization allows for the installation, rehabilitation, and repair of underground infrastructure with minimal excavation from the ground surface. As the built environment becomes more congested, projects are trending towards using trenchless technologies for their ability to quickly produce a quality product with minimal environmental and social costs. Pilot tube microtunneling (PTMT) is a trenchless technology where new pipelines may be installed at accurate and precise line and grade over manhole to manhole distances. The PTMT process can vary to a certain degree, but typically involves the following three phases: jacking of the pilot tube string to achieve line and grade, jacking of casing along the pilot bore and rotation of augers to excavate the borehole to a diameter slightly larger than the product pipe, and jacking of product pipe directly behind the last casing. Knowledge of the expected productivity rates and jacking forces during a PTMT installation are valuable tools that can be used for properly weighing its usefulness versus competing technologies and minimizing risks associated with PTMT. This thesis outlines the instrumentation and monitoring process used to record jacking frame hydraulic pressures from seven PTMT installations. Cyclic patterns in the data can be detected, indicating the installation of a single pipe segment, and enabling productivity rates for each PTMT phase to be determined. Furthermore, specific operations within a cycle, such as pushing a pipe or retracting the machine, can be observed, allowing for identification of the critical tasks associated with each phase. By identifying the critical tasks and developing more efficient means for their completion, PTMT productivity can be increased and costs can be reduced. Additionally, variations in depth of cover, drive length, pipe diameter, and localized ground conditions allowed for trends in jacking forces to be identified. To date, jacking force predictive models for PTMT are non-existent. Thus, jacking force data was compared to existing predictive models developed for the closely related pipe jacking and microtunneling methodologies, and the applicability of their adoption for PTMT jacking force prediction was explored.
ContributorsOlson, Matthew P (Author) / Ariaratnam, Samuel T (Thesis advisor) / Lueke, Jason S (Committee member) / Zapata, Claudia E (Committee member) / Tang, Pingbo (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
As a developing nation, China is currently faced with the challenge of providing
safe, reliable and adequate energy resources to the county's growing urban areas as well as to its expanding rural populations. To meet this demand, the country has initiated massive construction projects to expand its national energy infrastructure, particularly in the form of natural gas pipeline. The most notable of these projects is the ongoing West-East Gas Pipeline Project. This project is currently in its third phase, which will supply clean and efficient natural gas to nearly sixty million users located in the densely populated Yangtze River Delta.
Trenchless Technologies, in particular the construction method of Horizontal
Directional Drilling (HDD), have played a critical role in executing this project by
providing economical, practical and environmentally responsible ways to install buried pipeline systems. HDD has proven to be the most popular method selected to overcome challenges along the path of the pipeline, which include mountainous terrain, extensive farmland and numerous bodies of water. The Yangtze River, among other large-scale water bodies, have proven to be the most difficult obstacle for the pipeline installation as it widens and changes course numerous times along its path to the East China Sea. The purpose of this study is to examine those practices being used in China in order to compare those to those long used practices in the North American in order to understand the advantages of Chinese advancements.
Developing countries would benefit from the Chinese advancements for large-scale HDD installation. In developed areas, such as North America, studying Chinese execution may allow for new ideas to help to improve long established methods. These factors combined further solidify China's role as the global leader in trenchless technology methods and provide the opportunity for Chinese HDD contractors to contribute to the world's knowledge for best practices of the Horizontal Directional Drilling method.
safe, reliable and adequate energy resources to the county's growing urban areas as well as to its expanding rural populations. To meet this demand, the country has initiated massive construction projects to expand its national energy infrastructure, particularly in the form of natural gas pipeline. The most notable of these projects is the ongoing West-East Gas Pipeline Project. This project is currently in its third phase, which will supply clean and efficient natural gas to nearly sixty million users located in the densely populated Yangtze River Delta.
Trenchless Technologies, in particular the construction method of Horizontal
Directional Drilling (HDD), have played a critical role in executing this project by
providing economical, practical and environmentally responsible ways to install buried pipeline systems. HDD has proven to be the most popular method selected to overcome challenges along the path of the pipeline, which include mountainous terrain, extensive farmland and numerous bodies of water. The Yangtze River, among other large-scale water bodies, have proven to be the most difficult obstacle for the pipeline installation as it widens and changes course numerous times along its path to the East China Sea. The purpose of this study is to examine those practices being used in China in order to compare those to those long used practices in the North American in order to understand the advantages of Chinese advancements.
Developing countries would benefit from the Chinese advancements for large-scale HDD installation. In developed areas, such as North America, studying Chinese execution may allow for new ideas to help to improve long established methods. These factors combined further solidify China's role as the global leader in trenchless technology methods and provide the opportunity for Chinese HDD contractors to contribute to the world's knowledge for best practices of the Horizontal Directional Drilling method.
ContributorsCarlin, Maureen Cassin (Author) / Ariaratnam, Samuel T (Thesis advisor) / Chong, Oswald (Committee member) / Bearup, Wylie (Committee member) / Arizona State University (Publisher)
Created2014
Description
Trenchless technologies have emerged as a viable alternative to traditional open trench methods for installing underground pipelines and conduits. Pilot Tube Microtunneling, also referred to as the pilot tube system of microtunneling, guided auger boring, or guided boring method, is a recent addition to the family of trenchless installation methods. Pilot tube microtunneling originated in Japan and Europe, and was introduced to the United States in the year 1995 (Boschert 2007). Since then this methodology has seen increased utilization across North America particularity in municipal markets for the installation of gravity sewers. The primary reason contributing to the growth of pilot tube microtunneling is the technology's capability of installing pipes at high precision in terms of line and grade, in a wide range of ground conditions using relatively inexpensive equipment. The means and methods, applicability, capabilities and limitations of pilot tube microtunneling are well documented in published literature through many project specific case studies. However, there is little information on the macroscopic level regarding the technology and industry as a whole. With the increasing popularity of pilot tube microtunneling, there is an emerging need to address the above issues. This research effort surveyed 22 pilot tube microtunneling contractors across North America to determine the current industry state of practice with the technology. The survey examined various topics including contractor profile and experience; equipment, methods, and pipe materials utilized; and issues pertaining to project planning and construction risks associated with the pilot tube method. The findings of this research are based on a total of 450 projects completed with pilot tube microtunneling between 2006 and 2010. The respondents were diverse in terms of their experience with PTMT, ranging from two to 11 years. A majority of the respondents have traditionally provided services with other trenchless technologies. As revealed by the survey responses, PTMT projects grew by 110% between the years 2006 and 2010. It was found that almost 72% of the 450 PTMT projects completed between 2006 and 2010 by the respondents were for sanitary sewers. Installation in cobbles and boulders was rated as the highest risk by the contractors.
ContributorsGottipati, Vamseedhar (Author) / Lueke, Jason S (Thesis advisor) / Ariaratnam, Samuel T (Committee member) / Chasey, Allan (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
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