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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, 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.
ContributorsBelliston, Lincoln Tyler (Author) / Davis, T. J. (Thesis director) / Hutchinson, Mary (Committee member) / Bridgewater, Devon (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
The percussion jazz ensemble is a long-established yet rare component of 21st century percussion studios in the United States. While many American collegiate programs have percussion ensembles that perform jazz-based pieces, none are identified as a “percussion jazz ensemble.” This may be for a variety of reasons. Professors may not have considered adding a percussion jazz ensemble to their program because of its scarcity in American universities. Including such a class would be challenging if the instructors did not feel comfortable or familiar enough with jazz idioms and vernacular. Additionally, very few compositions or arrangements are available for this group. While there are several method books on jazz vibraphone, there are no pedagogical resources designed specifically for the percussion jazz ensemble. The purpose of this document is to provide historical context, curricula, resource materials, and arrangements necessary for establishing a percussion jazz ensemble at the collegiate level. The end result will be to demonstrate the importance of an ensemble such as this for aspiring percussionists and motivate institutions focused on Western classical music to incorporate jazz elements into their percussion program. Research conducted for this project was limited to academic universities, pedagogical approaches, and ensembles found only in the United States and will not include a survey of those outside this country.
ContributorsMoreau, Danielle (Author) / Smith, Jeffrey (Thesis advisor) / Feisst, Sabine (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
This study employs a finite element method based modeling of cementitious composite microstructure to study the effect of presence of inclusions on the stress distribution and the constitutive response of the composite. A randomized periodic microstructure combined with periodic boundary conditions forms the base of the finite element models. Inclusion properties of quartz and light weight aggregates of size 600μm obtained from literature were made use of to study the effect of their material (including inclusion stiffness, stiffness of interfacial transition zone and matrix stiffening) and geometric properties (volume fraction of inclusion, particle size distribution of inclusion and thickness of the interfacial transition zone) on the composite. Traction-separation relationship was used to incorporate the effect of debonding at the interface of the matrix and the inclusion to study the effect on stress distribution in the microstructure. The stress distributions observed upon conducting a finite element analysis are caused due to the stiffness mismatch in both the quartz and the light weight aggregates as expected. The constitutive response of the composite microstructure is found to be in good conformance with semi-analytical models as well as experimental values. The effect of debonding throws up certain important observations on the stress distributions in the microstructure based on the stress concentrations and relaxations caused by the stiffness of the individual components of the microstructure. The study presented discusses the different micromechanical models employed, their applicability and suitability to correctly predict the composite constitutive response.
ContributorsMaroli, Amit (Author) / Neithalath, Narayanan (Thesis advisor) / Rajan, Subramanium (Committee member) / Mobasher, Barzin (Committee member) / Arizona State University (Publisher)
Created2016
Description
This dissertation describes the public sphere that coalesced in the Soviet jazz scene during Josef Stalin’s reign. Scholars debate the extent to which Soviet citizens, especially under Stalin, were coerced into cooperating with the regime through terror; willingly cooperated with the regime out of self-interest; or re-aligned their speech, behavior, and thoughts to conform to Bolshevik ideology and discourse. In all cases, citizens were generally unable to openly express their own opinions on what Soviet society should look like. In this dissertation, I attempt to bridge this gap by analyzing the diverse reactions to jazz music in Josef Stalin’s Soviet Union. I argue that audience engagement with jazz and discussions about the genre in the Soviet press and elsewhere were attempts to grapple with bigger questions of public concern about leisure, morality, ethnicity, cosmopolitanism and patriotism in a socialist society. This jazz public sphere was suppressed in the late 1940s and early 1950s because of Cold War paranoia and fears of foreign influences in Soviet life. In its place, a counterpublic sphere formed, in which jazz enthusiasts expressed views on socialism that were more open and contradictory to official norms. This counterpublic sphere foreshadowed aspects of post-Stalinist Soviet culture. To support my arguments, I employ archival documents such as fan mail and censorship records, periodicals, memoirs, and Stalin-era jazz recordings to determine the themes present in jazz music, how audiences reacted to them, and how these popular reactions overlapped with those of journalists, musicologists, bureaucrats, and composers. This project expands our understanding of when and where public spheres can form, challenges top-down interpretations of Soviet cultural policy, and illuminates the Soviet Union and Russia’s ambivalent relationship with the West and its culture.
ContributorsBeresford, Benjamin J. (Author) / Von Hagen, Mark (Thesis advisor) / Manchester, Laurie (Committee member) / Schmelz, Peter (Committee member) / Moore, Aaron (Committee member) / Arizona State University (Publisher)
Created2017
Description
This study explores the possibility of two matrices containing metallic particulates to act as smart materials by sensing of strain due to the presence of the conducting particles in the matrix. The first matrix is a regular Portland cement-based one while the second is a novel iron-based, carbonated binder developed at ASU. Four different iron replacement percentages by volume (10%, 20%, 30% and 40%) in a Portland cement matrix were selected, whereas the best performing iron carbonate matrix developed was used. Electrical impedance spectroscopy was used to obtain the characteristic Nyquist plot before and after application of flexural load. Electrical circuit models were used to extract the changes in electrical properties under application of load. Strain sensing behavior was evaluated with respect to application of different stress levels and varying replacement levels of the inclusion. A similar approach was used to study the strain sensing capabilities of novel iron carbonate binder. It was observed that the strain sensing efficiency increased with increasing iron percentage and the resistivity increased with increase in load (or applied stress) for both the matrices. It is also found that the iron carbonate binder is more efficient in strain sensing as it had a higher gage factor when compared to the OPC matrix containing metallic inclusions.
Analytical equations (Maxwell) were used to extract frequency dependent electrical conductivity and permittivity of the cement paste (or the host matrix), interface, inclusion (iron) and voids to develop a generic electro-mechanical coupling model to for the strain sensing behavior. COMSOL Multiphysics 5.2a was used as finite element analysis software to develop the model. A MATLAB formulation was used to generate the microstructure with different volume fractions of inclusions. Material properties were assigned (the frequency dependent electrical parameters) and the coupled structural and electrical physics interface in COMSOL was used to model the strain sensing response. The experimental change in resistance matched well with the simulated values, indicating the applicability of the model to predict the strain sensing response of particulate composite systems.
Analytical equations (Maxwell) were used to extract frequency dependent electrical conductivity and permittivity of the cement paste (or the host matrix), interface, inclusion (iron) and voids to develop a generic electro-mechanical coupling model to for the strain sensing behavior. COMSOL Multiphysics 5.2a was used as finite element analysis software to develop the model. A MATLAB formulation was used to generate the microstructure with different volume fractions of inclusions. Material properties were assigned (the frequency dependent electrical parameters) and the coupled structural and electrical physics interface in COMSOL was used to model the strain sensing response. The experimental change in resistance matched well with the simulated values, indicating the applicability of the model to predict the strain sensing response of particulate composite systems.
ContributorsChowdhury, Swaptik (Author) / Neithalath, Narayanan (Thesis advisor) / Rajan, Subramaniam D. (Committee member) / Hoover, Christian G (Committee member) / Arizona State University (Publisher)
Created2017
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 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
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