DOCSLIB.ORG

Creativity in Jazz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creativity in Jazz Creativity in Jazz Norman Lawrence Meehan A thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy New Zealand School of Music 2014 1 Creativity in Jazz ................................................................................................................ 1 Acknowledgements .......................................................................................................... 7 Part One: Creativity and Jazz ......................................................................................... 8 Introduction ........................................................................................................................ 9 Why are these questions important? .................................................................................. 9 The central idea ....................................................................................................................... 17 Thesis Plan ................................................................................................................................ 19 Chapter One: Creativity, and its importance ......................................................... 24 Why is creativity important? ............................................................................................... 24 Creativity in Music? ................................................................................................................ 27 Defining creativity .................................................................................................................. 32 What does creativity look like? .......................................................................................... 35 Flow ............................................................................................................................................................ 36 Divergent Thinking .............................................................................................................................. 37 Problem solving and problem finding ......................................................................................... 38 Metacognition ........................................................................................................................................ 38 Models of Creativity ................................................................................................................ 39 The Systems Model of Creativity ........................................................................................ 43 Fidelity to the values of the field ................................................................................................... 46 Maximally and minimally structured domains ....................................................................... 48 The Radius of Creativity ........................................................................................................ 51 Creativity as the communication of experience ........................................................... 53 Combine, Explore, Transform ............................................................................................. 57 Group Creativity ...................................................................................................................... 59 Intrinsic motivation and the centrality of process ................................................................ 60 Improvisation, unpredictability and complex communication ........................................ 61 Intersubjectivity and emergence ................................................................................................... 63 Group flow ............................................................................................................................................... 67 Summary of Group Creativity ......................................................................................................... 68 Motivation ................................................................................................................................. 70 Expertise .................................................................................................................................... 73 Environment ............................................................................................................................. 75 Groups ......................................................................................................................................... 76 Summary .................................................................................................................................... 77 2 Chapter Two: Jazz ........................................................................................................... 84 A lens through which to view Jazz ..................................................................................... 84 Jazz as Process .......................................................................................................................... 88 The development and expression of individual voices .............................................. 93 Improvised interactivity in group settings .................................................................... 99 The place of the individual in the collective ............................................................................. 99 Improvisation ..................................................................................................................................... 103 Appropriation and transformation ................................................................................ 111 Summary ................................................................................................................................. 115 Part Two: Case Studies ............................................................................................... 117 Introduction to Part Two ........................................................................................... 118 Chapter Three: Ornette Coleman – Play Your Own Thing .............................. 120 Ornette Coleman and the field of jazz ...................................................................................... 121 Self-belief and intrinsic motivation ........................................................................................... 124 Having the chance to perform ..................................................................................................... 125 Divergent Thinking ........................................................................................................................... 134 Coleman’s compositional techniques ....................................................................................... 136 Coleman’s performance techniques .......................................................................................... 138 No Copycats ......................................................................................................................................... 142 Chapter Four: Miles Davis – Alchemist ................................................................. 147 Appropriation and Transformation .......................................................................................... 149 Being ‘In the moment’ ..................................................................................................................... 158 Davis’s group practice ..................................................................................................................... 161 Davis’s leadership styles ................................................................................................................ 163 Where great art and music happens ......................................................................................... 173 Summary ............................................................................................................................................... 175 A comparison ...................................................................................................................................... 179 Chapter Five: Duke Ellington – Playing The Band ............................................. 184 Ellington/Auteur? ............................................................................................................................. 185 Ellington’s Sidemen: Saying Something .................................................................................. 190 Conclusion ............................................................................................................................................ 202 Postlude: Charles Mingus .............................................................................................................. 205 Chapter Six: Jan Garbarek – Future Jazz ............................................................... 211 3 Appropriation and transformation in Garbarek’s practice ............................................. 211 Individual Voice ................................................................................................................................. 222 Improvised interactivity ................................................................................................................ 225 Jan Garbarek and Future Jazz ......................................................................................................
Load more

Recommended publications
  • The Carroll News
    John Carroll University Carroll Collected The aC rroll News Student 10-6-1982 The aC rroll News- Vol. 67, No. 3 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 67, No. 3" (1982). The Carroll News. 670. http://collected.jcu.edu/carrollnews/670 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. Vol. OINo. 3 October 6. 1982 tlrbe <!Carroll _jf}etus John Carroll University University Heights, Ohio 44118 Student Union proposes renewal of Stunt Night Will Stunt Night return? This Stunt Night was considered recent. Student Union meeting. tion. laborating data of the past is one of the more popular ques· one of the best sources of class JCU alumni have suggested Student Union President stunt nights, and devising tions pervading the halls of unity, and received significant that Stunt Night be brought Chris Miller says that he is wiU· ground rules which will im· Carroll as of late. yearbook coverage. back, according to senior class ing to lli1ten to any ideas prove future stunt nights. "What is Stunt Night?" you Unfortunately, some of the representative Jim Garvey. students have regarding the Stunt Night was once a main might ask. Actually, it was one material in the skits, which was Presently, the newly-formed return of this much-missed at· event on campus to bring of the bigger events here until intended for the coUege·level Investigative Committee, com· traction.
    [Show full text]
  • Mike Mangini
    /.%/&4(2%% 02):%3&2/- -".#0'(0%4$)3*4"%-&34&55*/(4*()54 7). 9!-!(!$25-3 VALUED ATOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 0/5)& '0$64)*)"5 "$)*&7&5)&$-"44*$ 48*/(406/% "35#-",&: 5)&.&/503 50%%46$)&3."/ 45:-&"/%"/"-:4*4 $2%!-4(%!4%23 Ê / Ê" Ê," Ê/"Ê"6 , /Ê-1 -- (3&(03:)65$)*/40/ 8)&3&+";;41"45"/%'6563&.&&5 #6*-%:06308/ .6-5*1&%"-4&561 -ODERN$RUMMERCOM 3&7*&8&% 5"."4*-7&345"33&.0108&34530,&130-6%8*("5-"4130)"3%8"3&3*.4)05-0$."55/0-"/$:.#"-4 Volume 36, Number 3 • Cover photo by Paul La Raia CONTENTS Paul La Raia Courtesy of Mapex 40 SETTING SIGHTS: CHRIS ADLER Lamb of God’s tireless sticksman embraces his natural lefty tendencies. by Ken Micallef Timothy Saccenti 54 MIKE MANGINI By creating layers of complex rhythms that complement Dream Theater’s epic arrangements, “the new guy” is ushering in a bold and exciting era for the band, its fans, and progressive rock music itself. by Mike Haid 44 GREGORY HUTCHINSON Hutch might just be the jazz drummer’s jazz drummer— historically astute and futuristically minded, with the kind 12 UPDATE of technique, soul, and sophistication that today’s most important artists treasure. • Manraze’s PAUL COOK by Ken Micallef • Jazz Vet JOEL TAYLOR • NRBQ’s CONRAD CHOUCROUN • Rebel Rocker HANK WILLIAMS III Chuck Parker 32 SHOP TALK Create a Stable Multi-Pedal Setup 36 PORTRAITS NYC Pocket Master TONY MASON 98 WHAT DO YOU KNOW ABOUT...? Faust’s WERNER “ZAPPI” DIERMAIER One of Three Incredible 70 INFLUENCES: ART BLAKEY Prizes From Yamaha Drums Enter to Win We all know those iconic black-and-white images: Blakey at the Valued $ kit, sweat beads on his forehead, a flash in the eyes, and that at Over 5,700 pg 85 mouth agape—sometimes with the tongue flat out—in pure elation.
    [Show full text]
  • Wavelength (February 1983)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido­ scope of the gaud y, raucous, erotic and exotic­ Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost.
    [Show full text]
  • Discourses of Decay and Purity in a Globalised Jazz World
    1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp.
    [Show full text]
  • EARLY MUSIC NOW with SARA SCHNEIDER Broadcast Schedule — Winter 2019
    EARLY MUSIC NOW WITH SARA SCHNEIDER Broadcast Schedule — Winter 2019 PROGRAM #: EMN 18-27 RELEASE: December 24, 2018 Gaudete! Music for Christmas This week's program features Christmas music from several centuries to help get you in the holiday spirit, with hymns and carols by Michael Praetorius and Johannes Brassart, a Christmas concerto by Francesco Manfredini, and a traditional German carol sung by Emma Kirkby. Other performers include La Morra and the Gabrieli Consort and Players. PROGRAM #: EMN 18-28 RELEASE: December 31, 2018 To Drive the Cold Winter Away This week, Early Music Now presents songs to usher out the old year, and welcome the new; plus ditties and dances to bring some cheer to the cold winter days! Our performers include Pomerium, Ensemble Gilles Binchois, and The Dufay Collective. PROGRAM #: EMN 18-29 RELEASE: January 7, 2019 La Serenissima The 16th century Venetian School influenced composers all over Europe- from the polychoral masterpieces of Gabrieli to the innovative keyboard music of Merulo. We'll also hear selections from the Odhecaton: the earliest music collection printed using movable type, published by Petrucci in Venice in 1501. PROGRAM #: EMN 18-30 RELEASE: January 14, 2019 Music at the court of Emperor Maximilian I Maximilian I of Austria employed some of the finest artists and musicians of his time to glorify his reign and create a permanent legacy. He was known for wanting music in his environment constantly, even when he was alone. We'll hear from the composers who served him, like Isaac and Senfl, plus some of the music that shaped his young adulthood at the Burgundian court.
    [Show full text]
  • Singing the Middle Ages: Between Scholars and Trotskyists Livio Giuliano (Università Degli Studi Di Milano)
    TRANS 18 (2014) DOSSIER: VOCAL PERFORMANCE AND TECHNOLOGICAL PRACTICES: NEW PERSPECTIVES IN THE STUDY OF VOCAL MUSIC TRADITION Singing the Middle Ages: Between Scholars and Trotskyists Livio Giuliano (Università degli Studi di Milano) Resumen Abstract A partire dalla rilettura di Notre Dame proposta da Davide Daolmi, In connection with the interpretation of Notre Dame proposed by si indagano le ragioni che hanno permesso l’invenzione moderna Davide Daolmi in this journal, the article analyzes the reasons that dell’esecuzione polifonica del XII-XIII secolo, ripercorrendo gli allowed the modern invention of polyphonic performance of 12th esperimenti promossi nel corso del primo Novecento e and 13th centuries, tracing experiments promoted during the early consolidatisi, in pieno early music revival, verso la fine degli anni 20th century and strengthened in the early music revival in the late Settanta. Le scelte musicali compiute appaiono espressione del Seventies. The musical choices appear as expressions of a cultural mainstream culturale più che dell’evidenza documentaria e mainstream more than documentary evidence: at the beginning the tuttavia, se all’inizio le ragioni musicologiche, pur provvisorie e musicological reasons are references for the first performances (with pregiudiziali sul Medioevo, rimangono riferimento per le prime preconceptions about Middle Age), then the vocal interpretation of esecuzioni, in seguito le proposte vocali del Dopoguerra hanno the second Postwar became extraneous to the historical research preferito una strada slegata dalla ricerca storica (in realtà priva di (moreover lacking of any new contribution) and found aesthetic nuovi apporti) per trovare ragioni e alibi estetici in ambiti alibis in different environment (social, politic, market).
    [Show full text]
  • Bright Moments!
    Volume 46 • Issue 6 JUNE 2018 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. On stage at NJPAC performing Rahsaan Roland Kirk’s “Bright Moments” to close the tribute to Dorthaan Kirk on April 28 are (from left) Steve Turre, Mark Gross, musical director Don Braden, Antoinette Montague and Freddy Cole. Photo by Tony Graves. SNEAKING INTO SAN DIEGO BRIGHT MOMENTS! Pianist Donald Vega’s long, sometimes “Dorthaan At 80” Celebrating Newark’s “First harrowing journey from war-torn Nicaragua Lady of Jazz” Dorthaan Kirk with a star-filled gala to a spot in Ron Carter’s Quintet. Schaen concert and tribute at the New Jersey Performing Arts Fox’s interview begins on page 14. Center. Story and Tony Graves’s photos on page 24. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Prez sez Editor’s Pick/Deadlines/NJJS Info . 6 Change of Address/Support NJJS/ By Cydney Halpin President, NJJS Volunteer/Join NJJs . 43 Crow’s Nest . 44 t is with great delight that I announce Don commitment to jazz, and for keeping the music New/Renewed Members . 45 IBraden has joined the NJJS Board of Directors playing. (Information: www.arborsrecords.com) in an advisory capacity. As well as being a jazz storIes n The April Social at Shanghai Jazz showcased musician of the highest caliber on saxophone and Dorthaan at 80 . cover three generations of musicians, jazz guitar Big Band in the Sky . 8 flute, Don is an award-winning recording artist, virtuosi Gene Bertoncini and Roni Ben-Hur and Memories of Bob Dorough .
    [Show full text]
  • Jack Dejohnette's Drum Solo On
    NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • PÉROTIN and the ARS ANTIQUA the Hilliard Ensemble
    CORO hilliard live CORO hilliard live 1 The Hilliard Ensemble For more than three decades now The Hilliard Ensemble has been active in the realms of both early and contemporary music. As well as recording and performing music by composers such as Pérotin, Dufay, Josquin and Bach the ensemble has been involved in the creation of a large number of new works. James PÉROTIN MacMillan, Heinz Holliger, Arvo Pärt, Steven Hartke and many other composers have written both large and the and small-scale pieces for them. The ensemble’s performances ARS frequently include collaborations with other musicians such as the saxophonist Jan Garbarek, violinist ANTIQUA Christoph Poppen, violist Kim Kashkashian and orchestras including the New York Philharmonic, the BBC Symphony Orchestra and the Philadelphia Orchestra. John Potter’s contribution was crucial to getting the Hilliard Live project under way. John has since left to take up a post in the Music Department of York University. His place in the group has been filled by Steven Harrold. www.hilliardensemble.demon.co.uk the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16046 The hilliard live series of recordings came about for various reasons. 1 Vetus abit littera Anon. (C13th) 3:47 At the time self-published recordings were a fairly new and increasingly David James Rogers Covey-Crump John Potter Gordon Jones common phenomenon in popular music and we were keen to see if 2 Deus misertus hominis Anon. (C13th) 5:00 we could make the process work for us in the context of a series of David James Rogers Covey-Crump John Potter Gordon Jones public concerts.
    [Show full text]
  • Norway's Jazz Identity by © 2019 Ashley Hirt MA
    Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization.
    [Show full text]
  • Ted Heath (Bandleader) from Wikipedia, the Free Encyclopedia
    Ted Heath (bandleader) From Wikipedia, the free encyclopedia Background information Birth name George Edward Heath Also known as Ted Born 30 March 1902 Wandsworth, South London, England Died 18 November 1969 (aged 67) Virginia Water, Surrey, England Genres Big Band, jazz Occupation(s) Bandleader, composer Instruments Trombone Years active 1916–1969 Labels Decca, London George Edward "Ted" Heath (30 March 1902 – 18 November 1969) was a British musician and big band leader. He led Britain's greatest post-war big band recording more than 100 albums which sold over 20 million copies. Considered the most successful band in Britain during the 1950s, it remained in existence as a ghost band long after Heath died, surviving in such a form until 2000. Musical beginnings After playing tenor horn at the age of six, encouraged by his father, the leader of the Wandsworth Town Brass Band, Heath later switched to trombone. Earning a living for his family in the post-war years he, and his brother Harold with three other musicians, formed a band that played to commuters outside London Bridge Station before winding their way along the streets in London to a location outside the Queen’s Hall Gardens venue. It was here that Heath’s professional career began as he was spotted on the street and asked to play with the Jack Hylton Band who had a residence there. He did not last long, not having the experience required, but it gave him the ambition to pursue a career as a professional musician. 1920s His first real band gig was with an American band on tour in Europe – the Southern Syncopation Orchestra – which had an engagement in Vienna, Austria and needed a trombone player.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]