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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
Growth of the Phoenix metropolitan area led to exposures of the internal bedrock structure of surrounding semi-arid mountain ranges as housing platforms or road cuts. Such exposures in the Sonoran and Mojave deserts reveal the presence of sedimentary calcium carbonate infilling the pre-existing fracture matrix of the bedrock. Field surveys of bedrock fractures filled with carbonate (BFFC) reveal an average of 0.079 +/- 0.024 mT C/m2 stored in the upper 2 m of analyzed bedrock exposures. Back-scattered electron microscopy images indicate the presence of carbonate at the micron scale, not included in this estimation. Analysis of the spatial extent of bedrock landforms in arid and semi-arid regions worldwide suggests that ~1485 GtC could potentially be stored in the upper 2 m horizon of BFFCs. Radiocarbon dating obtained at one of the sites indicates it is likely that some of the carbonate was flushed into the bedrock system during glacial wet pulses, and is stored on Pleistocene timescales or longer. Strontium isotope analysis at the same site suggest the potential for a substantial cation contribution from weathering of the local bedrock, indicating the potential exists for sequestration of atmospheric carbon in BFFCs. Rates of carbon release from BFFCs are tied to rates of erosion of bedrock ranges in desert climates.
ContributorsHarrison, Emma (Author) / Dorn, Ronald (Thesis advisor) / Reynolds, Stephen (Committee member) / Schmeeckle, Mark (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
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
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
Conceptual change has been a large part of science education research for several decades due to the fact that it allows teachers to think about what students' preconceptions are and how to change these to the correct scientific conceptions. To have students change their preconceptions teachers need to allow students to confront what they think they know in the presence of the phenomena. Students then collect and analyze evidence pertaining to the phenomena. The goal in the end is for students to reorganize their concepts and change or correct their preconceptions, so that they hold more accurate scientific conceptions. The purpose of this study was to investigate how students' conceptions of the Earth's surface, specifically weathering and erosion, change using the conceptual change framework to guide the instructional decisions. The subjects of the study were a class of 25 seventh grade students. This class received a three-week unit on weathering and erosion that was structured using the conceptual change framework set by Posner, Strike, Hewson, and Gertzog (1982). This framework starts by looking at students' misconceptions, then uses scientific data that students collect to confront their misconceptions. The changes in students' conceptions were measured by a pre concept sketch and post concept sketch. The results of this study showed that the conceptual change framework can modify students' preconceptions of weathering and erosion to correct scientific conceptions. There was statistical significant difference between students' pre concept sketches and post concept sketches scores. After examining the concept sketches, differences were found in how students' concepts had changed from pre to post concept sketch. Further research needs to be done with conceptual change and the geosciences to see if conceptual change is an effective method to use to teach students about the geosciences.
ContributorsTillman, Ashley (Author) / Luft, Julie (Thesis advisor) / Middleton, James (Committee member) / Semken, Steven (Committee member) / Arizona State University (Publisher)
Created2011
Description
The occurrence of exogenic, meteoritic materials on the surface of any world presents opportunities to explore a variety of significant problems in the planetary sciences. In the case of Mars, meteorites found on its surface may help to 1) constrain atmospheric conditions during their time of arrival; 2) provide insights into possible variabilities in meteoroid type sampling between Mars and Earth space environments; 3) aid in our understanding of soil, dust, and sedimentary rock chemistry; 4) assist with the calibration of crater-age dating techniques; and 5) provide witness samples for chemical and mechanical weathering processes. The presence of reduced metallic iron in approximately 88 percent of meteorite falls renders the majority of meteorites particularly sensitive to oxidation by H2O interaction. This makes them excellent markers for H2O occurrence. Several large meteorites have been discovered at Gusev Crater and Meridiani Planum by the Mars Exploration Rovers (MERs). Significant morphologic characteristics interpretable as weathering features in the Meridiani suite of iron meteorites include a 1) large pit lined with delicate iron protrusions suggestive of inclusion removal by corrosive interaction; 2) differentially eroded kamacite and taenite lamellae on three of the meteorites, providing relative timing through cross-cutting relationships with deposition of 3) an iron oxide-rich dark coating; and 4) regmaglypted surfaces testifying to regions of minimal surface modification; with other regions in the same meteorites exhibiting 5) large-scale, cavernous weathering. Iron meteorites found by Mini-TES at both Meridiani Planum and Gusev Crater have prompted laboratory experiments designed to explore elements of reflectivity, dust cover, and potential oxide coatings on their surfaces in the thermal infrared using analog samples. Results show that dust thickness on an iron substrate need be only one tenth as great as that on a silicate rock to obscure its infrared signal. In addition, a database of thermal emission spectra for 46 meteorites was prepared to aid in the on-going detection and interpretation of these valuable rocks on Mars using Mini-TES instruments on both MER spacecraft. Applications to the asteroidal sciences are also relevant and intended for this database.
ContributorsAshley, James Warren (Author) / Christensen, Philip R. (Thesis advisor) / Sharp, Thomas G (Committee member) / Shock, Everett L (Committee member) / Hervig, Richard L (Committee member) / Zolotov, Mikhail Y (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
Description
The solo repertoire from the Light Music Era serves as an important link between the Classical and Jazz soloist traditions. These characteristics are best highlighted through an analysis of three solo transcriptions: Felix Arndt's Nola as performed by Al Gallodoro, Rudy Wiedoeft's Valse Vanité, as performed by Freddy Gardener, and Jimmy Dorsey's Oodles of Noodles, as performed by Al Gallodoro. The transcriptions, done by the author, are taken from primary source recordings, and the ensuing analysis serves to show the saxophone soloists of the Light Music Era as an amalgamation of classical and jazz saxophone. Many of the works performed during the Light Music Era are extant only in recorded form. Even so, these performances possess great historical significance within the context of the state of the saxophone as an important solo instrument in the wider musical landscape. The saxophone solos from the Light Music Era distinguish themselves through the use of formal development and embellishment of standard "song forms" (such as ABA, and AABA), and the use of improvisational techniques that are common to early Jazz; however, the analysis shows that the improvisational techniques were distinctly different than a Jazz solo improvisation in nature. Although it has many characteristics in common with both "Classical Music" (this is used as a generic term to refer to the music of the Western European common practice period that is not Pop music or Jazz) and Jazz, the original research shows that the saxophone solo music from the Light Music Era is a distinctly original genre due to the amalgamation of seemingly disparate elements.
ContributorsPuccio, Dan (Author) / Mcallister, Timothy P (Thesis advisor) / Feisst, Sabine (Committee member) / Kocour, Michael (Committee member) / Pilafian, J. Samuel (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2012