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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
With increasing transistor volume and reducing feature size, it has become a major design constraint to reduce power consumption also. This has given rise to aggressive architectural changes for on-chip power management and rapid development to energy efficient hardware accelerators. Accordingly, the objective of this research work is to facilitate software developers to leverage these hardware techniques and improve energy efficiency of the system. To achieve this, I propose two solutions for Linux kernel: Optimal use of these architectural enhancements to achieve greater energy efficiency requires accurate modeling of processor power consumption. Though there are many models available in literature to model processor power consumption, there is a lack of such models to capture power consumption at the task-level. Task-level energy models are a requirement for an operating system (OS) to perform real-time power management as OS time multiplexes tasks to enable sharing of hardware resources. I propose a detailed design methodology for constructing an architecture agnostic task-level power model and incorporating it into a modern operating system to build an online task-level power profiler. The profiler is implemented inside the latest Linux kernel and validated for Intel Sandy Bridge processor. It has a negligible overhead of less than 1\% hardware resource consumption. The profiler power prediction was demonstrated for various application benchmarks from SPEC to PARSEC with less than 4\% error. I also demonstrate the importance of the proposed profiler for emerging architectural techniques through use case scenarios, which include heterogeneous computing and fine grained per-core DVFS. Along with architectural enhancement in general purpose processors to improve energy efficiency, hardware accelerators like Coarse Grain reconfigurable architecture (CGRA) are gaining popularity. Unlike vector processors, which rely on data parallelism, CGRA can provide greater flexibility and compiler level control making it more suitable for present SoC environment. To provide streamline development environment for CGRA, I propose a flexible framework in Linux to do design space exploration for CGRA. With accurate and flexible hardware models, fine grained integration with accurate architectural simulator, and Linux memory management and DMA support, a user can carry out limitless experiments on CGRA in full system environment.
ContributorsDesai, Digant Pareshkumar (Author) / Vrudhula, Sarma (Thesis advisor) / Chakrabarti, Chaitali (Committee member) / Wu, Carole-Jean (Committee member) / Arizona State University (Publisher)
Created2013
Description
Multicore processors have proliferated in nearly all forms of computing, from servers, desktop, to smartphones. The primary reason for this large adoption of multicore processors is due to its ability to overcome the power-wall by providing higher performance at a lower power consumption rate. With multi-cores, there is increased need for dynamic energy management (DEM), much more than for single-core processors, as DEM for multi-cores is no more a mechanism just to ensure that a processor is kept under specified temperature limits, but also a set of techniques that manage various processor controls like dynamic voltage and frequency scaling (DVFS), task migration, fan speed, etc. to achieve a stated objective. The objectives span a wide range from maximizing throughput, minimizing power consumption, reducing peak temperature, maximizing energy efficiency, maximizing processor reliability, and so on, along with much more wider constraints of temperature, power, timing, and reliability constraints. Thus DEM can be very complex and challenging to achieve. Since often times many DEMs operate together on a single processor, there is a need to unify various DEM techniques. This dissertation address such a need. In this work, a framework for DEM is proposed that provides a unifying processor model that includes processor power, thermal, timing, and reliability models, supports various DEM control mechanisms, many different objective functions along with equally diverse constraint specifications. Using the framework, a range of novel solutions is derived for instances of DEM problems, that include maximizing processor performance, energy efficiency, or minimizing power consumption, peak temperature under constraints of maximum temperature, memory reliability and task deadlines. Finally, a robust closed-loop controller to implement the above solutions on a real processor platform with a very low operational overhead is proposed. Along with the controller design, a model identification methodology for obtaining the required power and thermal models for the controller is also discussed. The controller is architecture independent and hence easily portable across many platforms. The controller has been successfully deployed on Intel Sandy Bridge processor and the use of the controller has increased the energy efficiency of the processor by over 30%
ContributorsHanumaiah, Vinay (Author) / Vrudhula, Sarma (Thesis advisor) / Chatha, Karamvir (Committee member) / Chakrabarti, Chaitali (Committee member) / Rodriguez, Armando (Committee member) / Askin, Ronald (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
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
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
Power supply management is important for MEMS (Micro-Electro-Mechanical-Systems) bio-sensing and chemical sensing applications. The dissertation focuses on discussion of accessibility to different power sources and supply tuning in sensing applications. First, the dissertation presents a high efficiency DC-DC converter for a miniaturized Microbial Fuel Cell (MFC). The miniaturized MFC produces up to approximately 10µW with an output voltage of 0.4-0.7V. Such a low voltage, which is also load dependent, prevents the MFC to directly drive low power electronics. A PFM (Pulse Frequency Modulation) type DC-DC converter in DCM (Discontinuous Conduction Mode) is developed to address the challenges and provides a load independent output voltage with high conversion efficiency. The DC-DC converter, implemented in UMC 0.18µm technology, has been thoroughly characterized, coupled with the MFC. At 0.9V output, the converter has a peak efficiency of 85% with 9µW load, highest efficiency over prior publication. Energy could be harvested wirelessly and often has profound impacts on system performance. The dissertation reports a side-by-side comparison of two wireless and passive sensing systems: inductive and electromagnetic (EM) couplings for an application of in-situ and real-time monitoring of wafer cleanliness in semiconductor facilities. The wireless system, containing the MEMS sensor works with battery-free operations. Two wireless systems based on inductive and EM couplings have been implemented. The working distance of the inductive coupling system is limited by signal-to-noise-ratio (SNR) while that of the EM coupling is limited by the coupled power. The implemented on-wafer transponders achieve a working distance of 6 cm and 25 cm with a concentration resolution of less than 2% (4 ppb for a 200 ppb solution) for inductive and EM couplings, respectively. Finally, the supply tuning is presented in bio-sensing application to mitigate temperature sensitivity. The FBAR (film bulk acoustic resonator) based oscillator is an attractive method in label-free sensing application. Molecular interactions on FBAR surface induce mass change, which results in resonant frequency shift of FBAR. While FBAR has a high-Q to be sensitive to the molecular interactions, FBAR has finite temperature sensitivity. A temperature compensation technique is presented that improves the temperature coefficient of a 1.625 GHz FBAR-based oscillator from -118 ppm/K to less than 1 ppm/K by tuning the supply voltage of the oscillator. The tuning technique adds no additional component and has a large frequency tunability of -4305 ppm/V.
ContributorsZhang, Xu (Author) / Chae, Junseok (Thesis advisor) / Kiaei, Sayfe (Committee member) / Bakkaloglu, Bertan (Committee member) / Kozicki, Michael (Committee member) / Phillips, Stephen (Committee member) / Arizona State University (Publisher)
Created2012
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