ASU Electronic Theses and Dissertations
This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media.
In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the ASU Library Catalog.
Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository ETD Library Guide or contact the ASU Graduate College at gradformat@asu.edu.
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- Creators: Shen, Wei
- Creators: Feisst, Sabine
- Creators: Sugar, Thomas
Description
In the 1930s, with the rise of Nazism, many artists in Europe had to flee their homelands and sought refuge in the United States. Austrian composer Hanns Eisler who had risen to prominence as a significant composer during the Weimar era was among them. A Jew, an ardent Marxist and composer devoted to musical modernism, he had established himself as a writer of film music and Kampflieder, fighting songs, for the European workers' movement. After two visits of the United States in the mid-1930s, Eisler settled in America where he spent a decade (1938-1948), composed a considerable number of musical works, including important film scores, instrumental music and songs, and, in collaboration with Theodor W. Adorno, penned the influential treatise Composing for the Films. Yet despite his substantial contributions to American culture American scholarship on Eisler has remained sparse, perhaps due to his reputation as the "Karl Marx in Music." In this study I examine Eisler's American exile and argue that Eisler, through his roles as a musician and a teacher, actively sought to enrich American culture. I will present background for his exile years, a detailed overview of his American career as well as analyses and close readings of several of his American works, including three of his American film scores, Pete Roleum and His Cousins (1939), Hangmen Also Die (1943), and None But the Lonely Heart (1944), and the String Quartet (1940), Third Piano Sonata (1943), Woodbury Liederbüchlein (1941), and Hollywood Songbook (1942-7). This thesis builds upon unpublished correspondence and documents available only in special collections at the University of Southern California (USC), as well as film scores in archives at USC and the University of California, Los Angeles. It also draws on Eisler studies by such European scholars as Albrecht Betz, Jürgen Schebera, and Horst Weber, as well as on research of film music scholars Sally Bick and Claudia Gorbman. As there is little written on the particulars of Eisler's American years, this thesis presents new facts and new perspectives and aims at a better understanding of the artistic achievements of this composer.
ContributorsBoyd, Caleb (Author) / Feisst, Sabine (Thesis advisor) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
CYOA is a prototype of an iPhone application that produces a single, generative, musical work. This document details some of the thoughts and practices that informed its design, and specifically addresses the overlap between application structure and musical form. The concept of composed instruments is introduced and briefly discussed, some features of video game design that relate to this project are considered, and some specifics of hardware implementation are addressed.
ContributorsPeterson, Julian (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Levy, Benjamin (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2013
Description
Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.
ContributorsFelice, Joseph Philip (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2013
Description
The development of advanced, anthropomorphic artificial hands aims to provide upper extremity amputees with improved functionality for activities of daily living. However, many state-of-the-art hands have a large number of degrees of freedom that can be challenging to control in an intuitive manner. Automated grip responses could be built into artificial hands in order to enhance grasp stability and reduce the cognitive burden on the user. To this end, three studies were conducted to understand how human hands respond, passively and actively, to unexpected perturbations of a grasped object along and about different axes relative to the hand. The first study investigated the effect of magnitude, direction, and axis of rotation on precision grip responses to unexpected rotational perturbations of a grasped object. A robust "catch-up response" (a rapid, pulse-like increase in grip force rate previously reported only for translational perturbations) was observed whose strength scaled with the axis of rotation. Using two haptic robots, we then investigated the effects of grip surface friction, axis, and direction of perturbation on precision grip responses for unexpected translational and rotational perturbations for three different hand-centric axes. A robust catch-up response was observed for all axes and directions for both translational and rotational perturbations. Grip surface friction had no effect on the stereotypical catch-up response. Finally, we characterized the passive properties of the precision grip-object system via robot-imposed impulse perturbations. The hand-centric axis associated with the greatest translational stiffness was different than that for rotational stiffness. This work expands our understanding of the passive and active features of precision grip, a hallmark of human dexterous manipulation. Biological insights such as these could be used to enhance the functionality of artificial hands and the quality of life for upper extremity amputees.
ContributorsDe Gregorio, Michael (Author) / Santos, Veronica J. (Thesis advisor) / Artemiadis, Panagiotis K. (Committee member) / Santello, Marco (Committee member) / Sugar, Thomas (Committee member) / Helms Tillery, Stephen I. (Committee member) / Arizona State University (Publisher)
Created2013
Description
This research is focused on two separate but related topics. The first uses an electroencephalographic (EEG) brain-computer interface (BCI) to explore the phenomenon of motor learning transfer. The second takes a closer look at the EEG-BCI itself and tests an alternate way of mapping EEG signals into machine commands. We test whether motor learning transfer is more related to use of shared neural structures between imagery and motor execution or to more generalized cognitive factors. Using an EEG-BCI, we train one group of participants to control the movements of a cursor using embodied motor imagery. A second group is trained to control the cursor using abstract motor imagery. A third control group practices moving the cursor using an arm and finger on a touch screen. We hypothesized that if motor learning transfer is related to the use of shared neural structures then the embodied motor imagery group would show more learning transfer than the abstract imaging group. If, on the other hand, motor learning transfer results from more general cognitive processes, then the abstract motor imagery group should also demonstrate motor learning transfer to the manual performance of the same task. Our findings support that motor learning transfer is due to the use of shared neural structures between imaging and motor execution of a task. The abstract group showed no motor learning transfer despite being better at EEG-BCI control than the embodied group. The fact that more participants were able to learn EEG-BCI control using abstract imagery suggests that abstract imagery may be more suitable for EEG-BCIs for some disabilities, while embodied imagery may be more suitable for others. In Part 2, EEG data collected in the above experiment was used to train an artificial neural network (ANN) to map EEG signals to machine commands. We found that our open-source ANN using spectrograms generated from SFFTs is fundamentally different and in some ways superior to Emotiv's proprietary method. Our use of novel combinations of existing technologies along with abstract and embodied imagery facilitates adaptive customization of EEG-BCI control to meet needs of individual users.
Contributorsda Silva, Flavio J. K (Author) / Mcbeath, Michael K (Thesis advisor) / Helms Tillery, Stephen (Committee member) / Presson, Clark (Committee member) / Sugar, Thomas (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project features three new pieces for clarinet commissioned from three different composers. Two are for unaccompanied clarinet and one is for clarinet, bass clarinet, and laptop. These pieces are Storm's a Comin' by Chris Burton, Light and Shadows by Theresa Martin, and My Own Agenda by Robbie McCarthy. These three solos challenge the performer in various ways including complex rhythm, use of extended techniques such as growling, glissando, and multiphonics, and the incorporation of technology into a live performance. In addition to background information, a performance practice guide has also been included for each of the pieces. This guide provides recommendations and suggestions for future performers wishing to study and perform these works. Also included are transcripts of interviews done with each of the composers as well as full scores for each of the pieces. Accompanying this document are recordings of each of the three pieces, performed by the author.
ContributorsVaughan, Melissa Lynn (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2013
Description
Three Meditations on the Philosophy of Boethius is a musical piece for guitar, piano interior, and computer. Each of the three movements, or meditations, reflects one level of music according to the medieval philosopher Boethius: Musica Mundana, Musica Humana, and Musica Instrumentalis. From spatial aspects, through the human element, to letting sound evolve freely, different movements revolve around different sounds and sound producing techniques.
ContributorsDori, Gil (Contributor) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2013
Description
Throughout history composers and artists have been inspired by the natural world. Nature's influence on music is extraordinary, though water in particular, has had a unique magnetic pull. The large number of compositions dealing with water, from Handel's Water Music (1717) to Ros Bandt's and Leah Barclay's Rivers Talk (2012), reflects this continuous fascination. Since the late 1940s, composers have ventured further and brought actual sounds from the environment, including water recorded on tape, into the musical arena. Moreover, since the 1960s, some composers have nudged their listeners to become more ecologically aware. Much skepticism exists, as with any unconventional idea in history, and as a result compositions belonging to this realm of musique concrète are not as widely recognized and examined as they should be. In this thesis, I consider works of three composers: Annea Lockwood, Eve Beglarian, and Leah Barclay, who not only draw inspiration from nature, but also use their creativity to call attention to pristine environments. All three composers embrace the idea that music can be broadly defined and use technology as a tool to communicate their artistic visions. These artists are from three different countries and represent three generations of composers who set precedents for a new way of composing, listening to, performing, and thinking about music and the environment. This thesis presents case studies of Lockwood's A Sound Map of the Danube River, Beglarian's Mississippi River Project, and Barclay's Sound Mirrors. This thesis draws on unpublished correspondence with the composers, analytical theories of R. Murray Schafer, Barry Truax, and Martijn Voorvelt, among others, musicological publications, eco-critical and environmental studies by Al Gore, Bill McKibben, and Vandana Shiva, as well as research by feminist scholars. As there is little written on music and nature from an eco-critical and eco-feminist standpoint, this thesis will contribute to the recognition of significant figures in contemporary music that might otherwise be overlooked. In this study I maintain that composers and sound artists engage with sounds in ways that reveal aspects of particular places, and their attitudes toward these places to lead listeners toward a greater ecological awareness.
ContributorsRichardson, Jamilyn (Author) / Feisst, Sabine (Thesis advisor) / Solís, Ted (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2012
Description
Piano Quintet> is a three movement piece, inspired by music of Eastern Europe. Sunrise in Hungary starts with a legato song in the first violin unfolding over slow moving sustained harmonics in the rest of the strings. This is contrasted with a lively Hungarian dance which starts in the piano and jumps throughout all of the voices. Armenian Lament introduces a mournful melody performed over a subtly shifting pedal tone in the cello. The rest of the voices are slowly introduced until the movement builds into a canonic threnody. Evening in Bulgaria borrows from the vast repertoire of Bulgarian dances, including rhythms from the horo and rachenitsa. Each time that the movement returns to the primary theme, it incorporates aspects of the dance that directly preceded it. The final return is the crux of the piece, with the first violin playing a virtuosic ornaments run on the melody.
ContributorsGiese, Adam (Composer) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2014
Description
Myoelectric control is lled with potential to signicantly change human-robot interaction.
Humans desire compliant robots to safely interact in dynamic environments
associated with daily activities. As surface electromyography non-invasively measures
limb motion intent and correlates with joint stiness during co-contractions,
it has been identied as a candidate for naturally controlling such robots. However,
state-of-the-art myoelectric interfaces have struggled to achieve both enhanced
functionality and long-term reliability. As demands in myoelectric interfaces trend
toward simultaneous and proportional control of compliant robots, robust processing
of multi-muscle coordinations, or synergies, plays a larger role in the success of the
control scheme. This dissertation presents a framework enhancing the utility of myoelectric
interfaces by exploiting motor skill learning and
exible muscle synergies for
reliable long-term simultaneous and proportional control of multifunctional compliant
robots. The interface is learned as a new motor skill specic to the controller,
providing long-term performance enhancements without requiring any retraining or
recalibration of the system. Moreover, the framework oers control of both motion
and stiness simultaneously for intuitive and compliant human-robot interaction. The
framework is validated through a series of experiments characterizing motor learning
properties and demonstrating control capabilities not seen previously in the literature.
The results validate the approach as a viable option to remove the trade-o
between functionality and reliability that have hindered state-of-the-art myoelectric
interfaces. Thus, this research contributes to the expansion and enhancement of myoelectric
controlled applications beyond commonly perceived anthropomorphic and
\intuitive control" constraints and into more advanced robotic systems designed for
everyday tasks.
Humans desire compliant robots to safely interact in dynamic environments
associated with daily activities. As surface electromyography non-invasively measures
limb motion intent and correlates with joint stiness during co-contractions,
it has been identied as a candidate for naturally controlling such robots. However,
state-of-the-art myoelectric interfaces have struggled to achieve both enhanced
functionality and long-term reliability. As demands in myoelectric interfaces trend
toward simultaneous and proportional control of compliant robots, robust processing
of multi-muscle coordinations, or synergies, plays a larger role in the success of the
control scheme. This dissertation presents a framework enhancing the utility of myoelectric
interfaces by exploiting motor skill learning and
exible muscle synergies for
reliable long-term simultaneous and proportional control of multifunctional compliant
robots. The interface is learned as a new motor skill specic to the controller,
providing long-term performance enhancements without requiring any retraining or
recalibration of the system. Moreover, the framework oers control of both motion
and stiness simultaneously for intuitive and compliant human-robot interaction. The
framework is validated through a series of experiments characterizing motor learning
properties and demonstrating control capabilities not seen previously in the literature.
The results validate the approach as a viable option to remove the trade-o
between functionality and reliability that have hindered state-of-the-art myoelectric
interfaces. Thus, this research contributes to the expansion and enhancement of myoelectric
controlled applications beyond commonly perceived anthropomorphic and
\intuitive control" constraints and into more advanced robotic systems designed for
everyday tasks.
ContributorsIson, Mark (Author) / Artemiadis, Panagiotis (Thesis advisor) / Santello, Marco (Committee member) / Greger, Bradley (Committee member) / Berman, Spring (Committee member) / Sugar, Thomas (Committee member) / Fainekos, Georgios (Committee member) / Arizona State University (Publisher)
Created2015