Matching Items (838)
Filtering by
- All Subjects: Jazz
Description
This project uses fourteen transcriptions of Pete Fountain’s solos as examples to
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
ContributorsWu, Shengwen (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Carpenter, Ellon (Committee member) / Kocour, Michael (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2019
Description
Research and theory in social psychology and related fields indicates that people simultaneously hold many cultural identities. And it is well evidenced across relevant fields (e.g., sociology, marketing, economics) that salient identities are instrumental in a variety of cognitive and behavioral processes, including decision-making. It is not, however, well understood how the relative salience of various cultural identities factors into the process of making identity-relevant choices, particularly ones that require an actor to choose between conflicting sets of cultural values or beliefs. It is also unclear whether the source of that salience (e.g., chronic or situational) is meaningful in this regard. The current research makes novel predictions concerning the roles of cultural identity centrality and cultural identity situational salience in three distinct aspects of the decision-making process: Direction of decision, speed of decision, and emotion related to decision. In doing so, the research highlights two under-researched forms of culture (i.e., political and religious) and uses as the focal dependent variable a decision-making scenario that forces participants to choose between the values of their religious and political cultures and, to some degree, behave in an identity-inconsistent manner. Results indicate main effects of Christian identity centrality and democrat identity centrality on preference for traditional versus gender-neutral (i.e., non-traditional/progressive) restrooms after statistically controlling for covariates. Additionally, results show a significant main effect of democrat identity centrality and a significant interaction effect of Christian and democrat identity centrality on positive emotion linked to the decision. Post hoc analyses further reveal a significant quadratic relationship between Christian identity centrality and emotion related to the decision. There was no effect of situational strength of democrat identity salience on the decision. Neither centrality or situational strength had any effect on the speed with which participants made their decisions. This research theoretically and empirically advances the study of cultural psychology and carries important implications for identity research and judgment and decision-making across a variety of fields, including management, behavioral economics, and marketing.
ContributorsBarbour, Joseph Eugene (Author) / Cohen, Adam B. (Thesis advisor) / Kenrick, Douglas T. (Committee member) / Mackinnon, David P (Committee member) / Mandel, Naomi (Committee member) / Arizona State University (Publisher)
Created2019
Description
"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
ContributorsASU Library. Music Library (Publisher)
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 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