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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
The basal ganglia are four sub-cortical nuclei associated with motor control and reward learning. They are part of numerous larger mostly segregated loops where the basal ganglia receive inputs from specific regions of cortex. Converging on these inputs are dopaminergic neurons that alter their firing based on received and/or predicted rewarding outcomes of a behavior. The basal ganglia's output feeds through the thalamus back to the areas of the cortex where the loop originated. Understanding the dynamic interactions between the various parts of these loops is critical to understanding the basal ganglia's role in motor control and reward based learning. This work developed several experimental techniques that can be applied to further study basal ganglia function. The first technique used micro-volume injections of low concentration muscimol to decrease the firing rates of recorded neurons in a limited area of cortex in rats. Afterwards, an artificial cerebrospinal fluid flush was injected to rapidly eliminate the muscimol's effects. This technique was able to contain the effects of muscimol to approximately a 1 mm radius volume and limited the duration of the drug effect to less than one hour. This technique could be used to temporarily perturb a small portion of the loops involving the basal ganglia and then observe how these effects propagate in other connected regions. The second part applied self-organizing maps (SOM) to find temporal patterns in neural firing rate that are independent of behavior. The distribution of detected patterns frequency on these maps can then be used to determine if changes in neural activity are occurring over time. The final technique focused on the role of the basal ganglia in reward learning. A new conditioning technique was created to increase the occurrence of selected patterns of neural activity without utilizing any external reward or behavior. A pattern of neural activity in the cortex of rats was selected using an SOM. The pattern was then reinforced by being paired with electrical stimulation of the medial forebrain bundle triggering dopamine release in the basal ganglia. Ultimately, this technique proved unsuccessful possibly due to poor selection of the patterns being reinforced.
ContributorsBaldwin, Nathan Aaron (Author) / Helms Tillery, Stephen I (Thesis advisor) / Castaneda, Edward (Committee member) / Buneo, Christopher A (Committee member) / Muthuswamy, Jitendran (Committee member) / Si, Jennie (Committee member) / Arizona State University (Publisher)
Created2014
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
Animals learn to choose a proper action among alternatives according to the circumstance. Through trial-and-error, animals improve their odds by making correct association between their behavioral choices and external stimuli. While there has been an extensive literature on the theory of learning, it is still unclear how individual neurons and a neural network adapt as learning progresses. In this dissertation, single units in the medial and lateral agranular (AGm and AGl) cortices were recorded as rats learned a directional choice task. The task required the rat to make a left/right side lever press if a light cue appeared on the left/right side of the interface panel. Behavior analysis showed that rat's movement parameters during performance of directional choices became stereotyped very quickly (2-3 days) while learning to solve the directional choice problem took weeks to occur. The entire learning process was further broken down to 3 stages, each having similar number of recording sessions (days). Single unit based firing rate analysis revealed that 1) directional rate modulation was observed in both cortices; 2) the averaged mean rate between left and right trials in the neural ensemble each day did not change significantly among the three learning stages; 3) the rate difference between left and right trials of the ensemble did not change significantly either. Besides, for either left or right trials, the trial-to-trial firing variability of single neurons did not change significantly over the three stages. To explore the spatiotemporal neural pattern of the recorded ensemble, support vector machines (SVMs) were constructed each day to decode the direction of choice in single trials. Improved classification accuracy indicated enhanced discriminability between neural patterns of left and right choices as learning progressed. When using a restricted Boltzmann machine (RBM) model to extract features from neural activity patterns, results further supported the idea that neural firing patterns adapted during the three learning stages to facilitate the neural codes of directional choices. Put together, these findings suggest a spatiotemporal neural coding scheme in a rat AGl and AGm neural ensemble that may be responsible for and contributing to learning the directional choice task.
ContributorsMao, Hongwei (Author) / Si, Jennie (Thesis advisor) / Buneo, Christopher (Committee member) / Cao, Yu (Committee member) / Santello, Marco (Committee member) / Arizona State University (Publisher)
Created2014
Description
To uncover the neural correlates to go-directed behavior, single unit action potentials are considered fundamental computing units and have been examined by different analytical methodologies under a broad set of hypotheses. Using a behaving rat performing a directional choice learning task, we aim to study changes in rat's cortical neural patterns while he improved his task performance accuracy from chance to 80% or higher. Specifically, simultaneous multi-channel single unit neural recordings from the rat's agranular medial (AGm) and Agranular lateral (AGl) cortices were analyzed using joint peristimulus time histogram (JPSTHs), which effectively unveils firing coincidences in neural action potentials. My results based on data from six rats revealed that coincidences of pair-wise neural action potentials are higher when rats were performing the task than they were not at the learning stage, and this trend abated after the rats learned the task. Another finding is that the coincidences at the learning stage are stronger than that when the rats learned the task especially when they were performing the task. Therefore, this coincidence measure is the highest when the rats were performing the task at the learning stage. This may suggest that neural coincidences play a role in the coordination and communication among populations of neurons engaged in a purposeful act. Additionally, attention and working memory may have contributed to the modulation of neural coincidences during the designed task.
ContributorsCheng, Bing (Author) / Si, Jennie (Thesis advisor) / Chae, Junseok (Committee member) / Seo, Jae-Sun (Committee member) / Arizona State University (Publisher)
Created2014
Description
Following a traumatic brain injury (TBI) 5-50% of patients will develop post traumatic epilepsy (PTE). Pediatric patients are most susceptible with the highest incidence of PTE. Currently, we cannot prevent the development of PTE and knowledge of basic mechanisms are unknown. This has led to several shortcomings to the treatment of PTE, one of which is the use of anticonvulsant medication to the population of TBI patients that are not likely to develop PTE. The complication of identifying the two populations has been hindered by the ability to find a marker to the pathogenesis of PTE. The central hypothesis of this dissertation is that following TBI, the cortex undergoes distinct cellular and synaptic reorganization that facilitates cortical excitability and promotes seizure development. Chapter 2 of this dissertation details excitatory and inhibitory changes in the rat cortex after severe TBI. This dissertation aims to identify cortical changes to a single cell level after severe TBI using whole cell patch clamp and electroencephalogram electrophysiology. The work of this dissertation concluded that excitatory and inhibitory synaptic activity in cortical controlled impact (CCI) animals showed the development of distinct burst discharges that were not present in control animals. The results suggest that CCI induces early "silent" seizures that are detectable on EEG and correlate with changes to the synaptic excitability in the cortex. The synaptic changes and development of burst discharges may play an important role in synchronizing the network and promoting the development of PTE.
ContributorsNichols, Joshua (Author) / Anderson, Trent (Thesis advisor) / Neisewander, Janet (Thesis advisor) / Newbern, Jason (Committee member) / Arizona State University (Publisher)
Created2014
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