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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
Polymer matrix composites (PMCs) are attractive structural materials due to their high stiffness to low weight ratio. However, unidirectional PMCs have low shear strength and failure can occur along kink bands that develop on compression due to plastic microbuckling that carry strains large enough to induce nonlinear matrix deformation. Reviewing the literature, a large fraction of the existing work is for uniaxial compression, and the effects of stress gradients, such as those present during bending, have not been as well explored, and these effects are bound to make difference in terms of kink band nucleation and growth. Furthermore, reports on experimental measurements of strain fields leading to and developing inside these bands in the presence of stress gradients are also scarce and need to be addressed to gain a full understanding of their behavior when UDCs are used under bending and other spatially complex stress states.
In a light to bridge the aforementioned gaps, the primary focus of this work is to understand mechanisms for kink band evolution under an influence of stress-gradients induced during bending. Digital image correlation (DIC) is used to measure strains inside and around the kink bands during 3-point bending of samples with 0°/90° stacking made of Ultra-High Molecular Weight Polyethylene Fibers. Measurements indicate bands nucleate at the compression side and propagate into the sample carrying a mixture of large shear and normal strains (~33%), while also decreasing its bending stiffness. Failure was produced by a combination of plastic microbuckling and axial splitting. The microstructure of the kink bands was studied and used in a microstructurally explicit finite element model (FEM) to analyze stresses and strains at ply level in the samples during kink band evolution, using cohesive zone elements to represent the interfaces between plies. Cohesive element properties were deduced by a combination of delamination, fracture and three-point bending tests used to calibrate the FEMs. Modeling results show that the band morphology is sensitive to the shear and opening properties of the interfaces between the plies.
In a light to bridge the aforementioned gaps, the primary focus of this work is to understand mechanisms for kink band evolution under an influence of stress-gradients induced during bending. Digital image correlation (DIC) is used to measure strains inside and around the kink bands during 3-point bending of samples with 0°/90° stacking made of Ultra-High Molecular Weight Polyethylene Fibers. Measurements indicate bands nucleate at the compression side and propagate into the sample carrying a mixture of large shear and normal strains (~33%), while also decreasing its bending stiffness. Failure was produced by a combination of plastic microbuckling and axial splitting. The microstructure of the kink bands was studied and used in a microstructurally explicit finite element model (FEM) to analyze stresses and strains at ply level in the samples during kink band evolution, using cohesive zone elements to represent the interfaces between plies. Cohesive element properties were deduced by a combination of delamination, fracture and three-point bending tests used to calibrate the FEMs. Modeling results show that the band morphology is sensitive to the shear and opening properties of the interfaces between the plies.
ContributorsPatel, Jay K (Author) / Peralta, Pedro D (Thesis advisor) / Oswald, Jay (Committee member) / Jiang, Hanqing (Committee member) / Solanki, Kiran (Committee member) / Ayyar, Adarsh (Committee member) / Arizona State University (Publisher)
Created2016
Description
The motivation of this work is based on development of new construction products with strain hardening cementitious composites (SHCC) geared towards sustainable residential applications. The proposed research has three main objectives: automation of existing manufacturing systems for SHCC laminates; multi-level characterization of mechanical properties of fiber, matrix, interface and composites phases using servo-hydraulic and digital image correlation techniques. Structural behavior of these systems were predicted using ductility based design procedures using classical laminate theory and structural mechanics. SHCC sections are made up of thin sections of matrix with Portland cement based binder and fine aggregates impregnating continuous one-dimensional fibers in individual or bundle form or two/three dimensional woven, bonded or knitted textiles. Traditional fiber reinforced concrete (FRC) use random dispersed chopped fibers in the matrix at a low volume fractions, typically 1-2% to avoid to avoid fiber agglomeration and balling. In conventional FRC, fracture localization occurs immediately after the first crack, resulting in only minor improvement in toughness and tensile strength. However in SHCC systems, distribution of cracking throughout the specimen is facilitated by the fiber bridging mechanism. Influence of material properties of yarn, composition, geometry and weave patterns of textile in the behavior of laminated SHCC skin composites were investigated. Contribution of the cementitious matrix in the early age and long-term performance of laminated composites was studied with supplementary cementitious materials such as fly ash, silica fume, and wollastonite. A closed form model with classical laminate theory and ply discount method, coupled with a damage evolution model was utilized to simulate the non-linear tensile response of these composite materials. A constitutive material model developed earlier in the group was utilized to characterize and correlate the behavior of these structural composites under uniaxial tension and flexural loading responses. Development and use of analytical models enables optimal design for application of these materials in structural applications. Another area of immediate focus is the development of new construction products from SHCC laminates such as angles, channels, hat sections, closed sections with optimized cross sections. Sandwich composites with stress skin-cellular core concept were also developed to utilize strength and ductility of fabric reinforced skin in addition to thickness, ductility, and thermal benefits of cellular core materials. The proposed structurally efficient and durable sections promise to compete with wood and light gage steel based sections for lightweight construction and panel application
ContributorsDey, Vikram (Author) / Mobasher, Barzin (Thesis advisor) / Rajan, Subramaniam D. (Committee member) / Neithalath, Narayanan (Committee member) / Underwood, Benjamin (Committee member) / Liu, Yongming (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
Laboratory testing was conducted to quantify strain concentrations adjacent to seams and scratches in high density polyethylene (HDPE) geomembranes. The tensile strain profile of remnants meeting the ASTM criteria for wide-width tensile testing from samples of field seams recovered for construction quality assurance testing was evaluated using digital image correlation (DIC). Strains adjacent to scratches on laboratory prepared samples loaded in tension were also measured using DIC. The tensile strain in the zone adjacent to a seam and the tensile strain adjacent to a scratch were compared to the tensile strains calculated using theoretical strain concentration factors. The relationship between the maximum tensile strain adjacent to a seam and the global nominal strain in the sample was quantified for textured and smooth geomembranes of common thicknesses. Using statistical analysis of the data, bounds were developed for the allowable nominal tensile strain expected to induce maximum tensile strains adjacent to the seam less than or equal to the typical yield strain of HDPE geomembranes, at several confidence levels. Where nominal strain is the global or average strain applied to the sample and maximum strain is the largest tensile strain induced in the sample.
The reduction in the nominal yield strain due to a scratch in a HDPE geomembrane was also quantified. The yield strain was approximately the same as predicted using theoretical strain concentration factors. The difference in the average measured maximum strains adjacent to the seams of textured and smooth HDPE geomembranes was found to be statistically insignificant. However, maximum strains adjacent to extrusion welded seams were somewhat greater than adjacent to fusion welded seams for nominal strains on the order of 3% to 4%. The results of the testing program suggest that the nominal tensile strain should be limited to 4% around dual hot wedge seams and 3% around extrusion fillet seams to avoid maximum strains equal to 11%, a typical yield strain for HDPE geomembranes.
The reduction in the nominal yield strain due to a scratch in a HDPE geomembrane was also quantified. The yield strain was approximately the same as predicted using theoretical strain concentration factors. The difference in the average measured maximum strains adjacent to the seams of textured and smooth HDPE geomembranes was found to be statistically insignificant. However, maximum strains adjacent to extrusion welded seams were somewhat greater than adjacent to fusion welded seams for nominal strains on the order of 3% to 4%. The results of the testing program suggest that the nominal tensile strain should be limited to 4% around dual hot wedge seams and 3% around extrusion fillet seams to avoid maximum strains equal to 11%, a typical yield strain for HDPE geomembranes.
ContributorsAndresen, Jake (Author) / Kavazanjian, Edward (Thesis advisor) / Houston, Sandra (Committee member) / Zapata, Claudia (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