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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

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
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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
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Description
Throughout history, African-Americans have had to fight for their civil rights. There were many ways used to voice their opinions and advance the civil rights movement, including protests and marches. One very effective method was through music and the creation of jazz. Louis Armstrong was an innovator and major influence

Throughout history, African-Americans have had to fight for their civil rights. There were many ways used to voice their opinions and advance the civil rights movement, including protests and marches. One very effective method was through music and the creation of jazz. Louis Armstrong was an innovator and major influence of jazz. His abilities as an artist were recognized by society, above his political position or class status.
The topic of my thesis is Louis Armstrong and his influence on society and the Civil Rights Movement. The intent is to demonstrate how Louis Armstrong aided the Civil Rights Movement by using his music to promote social justice and racial equality. The focus will be on the context of African-Americans, their social status, and rights from the early 1900s to the mid-1900s. I will connect this to important events in that time such as the fight against Jim Crow Laws and how Louis Armstrong played a role in ending segregation. He accomplished this by pushing the movement forward through speeches, fund-raising events, and his innovation of jazz. Armstrong’s gift was a form of swing jazz that advanced improvisation and emotion of music.
He was criticized for playing to segregated audiences and was thought to keep offensive stereotypes alive. However, Louis Armstrong battled against these conspiracies by performing fund-raising events and through public political stances against the oppression of African-Americans. As an example, he was outspoken about his disapproval of government and the public for their treatment of the nine African-American students enrolled at Little Rock. This resulted in the first time the school would be unsegregated between whites and blacks. Louis Armstrong worked hard in the fight against segregation and used his mastery of jazz to advance the civil rights movement. Finally, I will make a proposal as to how society can learn from Louis Armstrong and how to inspire new innovative forms of positively influencing society to help the less fortunate.
ContributorsSchmerler, Cameron (Author) / Wells, Christopher (Thesis director) / Feisst, Sabine (Committee member) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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A growing number of stylists \u2014 cosmetologists \u2014 are finding it harder to afford the basic necessities such as rent. However, the ever-increasing presence of smartphones and the increasing need for on-demand services like Uber and Uber Eats creates a unique opportunity for stylists \u2014 Clippr. Clippr is an application

A growing number of stylists \u2014 cosmetologists \u2014 are finding it harder to afford the basic necessities such as rent. However, the ever-increasing presence of smartphones and the increasing need for on-demand services like Uber and Uber Eats creates a unique opportunity for stylists \u2014 Clippr. Clippr is an application that aims to connect individual stylists directly to their customers. The application gives stylists a platform to create and display their own prices, services, and portfolio. Customers get the benefit of finding a stylist that suits them and booking instantly. This project outlines the backend for the Clippr application. It goes over the framework, REST API, and various functionalities of the application. Additionally, the project also covers the work that is still needed to successfully launch the application.
ContributorsKamath, Sanketh (Author) / Olsen, Christopher (Thesis director) / Sebold, Brent (Committee member) / Chemical Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
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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,

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.
Created2016-12
Description

Using two interviews with local Phoenix professional chamber musicians, this document aims to compare their experiences across musical styles to find common ground and understand the value of chamber music as a professional and educational tool.

ContributorsGrahmann, Robert (Author) / Libman, Jeffrey (Thesis director) / Compitello, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
Description

In the early history of jazz, many of the songs that were popularized by jazz musicians became known as jazz standards, and these songs remain a central component of the jazz repertoire today. Many of these jazz standards were adapted from early Broadway musicals and revues. Rodgers and Hammerstein's Oklahoma!

In the early history of jazz, many of the songs that were popularized by jazz musicians became known as jazz standards, and these songs remain a central component of the jazz repertoire today. Many of these jazz standards were adapted from early Broadway musicals and revues. Rodgers and Hammerstein's Oklahoma! is widely considered to be the most significant musical in the history of Broadway theater. Its innovative blending of song, dance, and a cohesive dramatic story has profoundly influenced the structure of Broadway musicals to this day. However, none of the songs from this show have risen to the status of a jazz standard, and many appear to have not been adapted to the jazz idiom at all. In my Barrett Honors creative project, I have reimagined and arranged nine songs from the original Rodgers and Hammerstein production. I then led a jazz quintet through two months of rehearsals, culminating in a performance of the work for my senior jazz performance recital. A link to the performance at the ASU School of Music Recital Hall is included here: https://www.youtube.com/watch?v=jeOs4muj12M

ContributorsKarnick, Ian (Author) / Ruth, Bryon (Thesis director) / Kocour, Michael (Committee member) / Barrett, The Honors College (Contributor) / Electrical Engineering Program (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2024-05