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Description
Knowing that disorder is related to crime, it has become essential for criminologists to understand how and why certain individuals perceive disorder. Using data from the Perceptions of Neighborhood Disorder and Interpersonal Conflict Project, this study uses a fixed photograph of a neighborhood, to assess whether individuals "see" disorder cues.

Knowing that disorder is related to crime, it has become essential for criminologists to understand how and why certain individuals perceive disorder. Using data from the Perceptions of Neighborhood Disorder and Interpersonal Conflict Project, this study uses a fixed photograph of a neighborhood, to assess whether individuals "see" disorder cues. A final sample size of n=815 respondents were asked to indicate if they saw particular disorder cues in the photograph. The results show that certain personal characteristics do predict whether an individual sees disorder. Because of the experimental design, results are a product of the individual's personal characteristics, not of the respondent's neighborhood. These findings suggest that the perception of disorder is not as clear cut as once thought. Future research should explore what about these personal characteristics foster the perception of disorder when it is not present, as well as, how to fight disorder in neighborhoods when perception plays such a substantial role.
ContributorsScott, Christopher (Author) / Wallace, Danielle (Thesis advisor) / Katz, Charles (Committee member) / Ready, Justin (Committee member) / Arizona State University (Publisher)
Created2013
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Description
There has been a tremendous amount of innovation in policing over the last 40 years, from community and problem-oriented policing to hot spots and intelligence-led policing. Many of these innovations have been subjected to empirical testing, with mixed results on effectiveness. The latest innovation in policing is the Bureau of

There has been a tremendous amount of innovation in policing over the last 40 years, from community and problem-oriented policing to hot spots and intelligence-led policing. Many of these innovations have been subjected to empirical testing, with mixed results on effectiveness. The latest innovation in policing is the Bureau of Justice Assistance's Smart Policing Initiative (2009). Created in 2009, the SPI provides funding to law enforcement agencies to develop and test evidence-based practices to address crime and disorder. Researchers have not yet tested the impact of the SPI on the funded agencies, particularly with regard to core principles of the Initiative. The most notable of these is the collaboration between law enforcement agencies and their research partners. The current study surveyed SPI agencies and their research partners on key aspects of their Initiative. The current study uses mean score comparisons and qualitative responses to evaluate this partnership to determine the extent of its value and effect. It also seeks to determine the areas of police agency crime analysis and research units that are most in need of enhancement. Findings indicate that the research partners are actively involved in a range of aspects involved in problem solving under the Smart Policing Initiative, and that they have positively influenced police agencies' research and crime analysis functions, and to a lesser extent, have positively impacted police agencies' tactical operations. Additionally, personnel, technology, and training were found to be the main areas of the crime analysis and research units that still need to be enhanced. The thesis concludes with a discussion of the implications of these findings for police policy and practice.
ContributorsMartin-Roethele, Chelsie (Author) / White, Michael D. (Thesis advisor) / Ready, Justin (Committee member) / D'Anna, Matthew (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsDaval, Charles (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26
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Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many

In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
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DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014
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Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute

American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
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Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.

The annotated bibliography focuses

This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.

The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.

Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.

In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsKotronakis, Dimitris (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-01
ContributorsPagano, Caio, 1940- (Performer) / Mechetti, Fabio (Conductor) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Rodrigues, Christiano (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Avanti Festival Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02