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.
Displaying 1 - 10 of 71
Description
Perceptual learning by means of coherent motion training paradigms has been shown to produce plasticity in lower and higher-level visual systems within the human occipital lobe both supra- and subliminally. However, efficiency of training methods that produce consolidation in the visual system via coherent motion has yet to be experimentally determined. Furthermore, the effects of coherent motion training on reading comprehension, in clinical and normal populations, are still nascent. In the present study, 20 participants were randomly assigned to one of four experimental conditions. Two conditions had a participation requirement of four days while two conditions required eight days of participation. These conditions were further divided into 500 or 1000 trials per day (4 x 500, 4 x 1000, 8 x 500, 8 x 1000). Additional pre-test and post-test days were used to attain timed pre- and post-tests on the Wide Range Achievement Test IV (WRAT IV) reading comprehension battery. Furthermore, a critical flicker fusion threshold (CFFT) score was taken on a macular pigment densitometer on the pre-test and post-test day. Participants showed significant improvement in CFFT levels, WRAT IV reading comprehension, and speed of completion between pre-test and post-test; however, degree of improvement did not vary as a function of training condition. An interaction between training condition and degree of improvement was evident in coherent dot motion contrast scores, with significant training plasticity occurring in the 4 x 1000 and 8 x 500 conditions.
ContributorsGroth, Anthony (Author) / Náñez, José E. (Thesis advisor) / Hall, Deborah (Committee member) / Risko, Evan F. (Committee member) / Arizona State University (Publisher)
Created2013
Description
Recent research has identified affirmation of transcendence and exposure to violent Bible verses as being related to greater prejudice toward value-violating out-groups (Blogowska & Saroglou, 2012; Shen et al., 2013). Effects of exposure to specific Bible verses on attitudes toward out-groups have not been measured in combination with the Post-Critical Belief Scale developed by Hutsebaut (1996). The relationships between exposure to scriptural endorsements of prejudice, affirmation vs. disaffirmation of transcendence, literal vs. symbolic processing of religious content, and prejudice toward value-violating out-groups were examined using an online survey administered to a sample of U.S. adults (N=283). Greater affirmation of transcendence scores were linked to greater prejudice toward atheists and homosexuals and more favorable ratings of Christians and highly religious people. Lower affirmation of transcendence scores were linked to less favorable ratings of Christians and highly religious people and more favorable ratings of atheists. Exposure to scriptural endorsements of prejudice did not have a significant effect on levels of prejudice in this study.
ContributorsGrove, Richard (Author) / Robles, Elías (Thesis advisor) / Hall, Deborah (Committee member) / Schweitzer, Nicholas (Committee member) / Arizona State University (Publisher)
Created2013
Description
While acceptance towards same-sex marriage is gradually increasing, same-sex marriage is banned in many states within the United States. Laws that prohibit same-sex couples from marrying have been shown to increase feelings of depression, exclusion, and stigma for same-sex attracted individuals. The intention of this study was to explore the effect both pro- and anti-same-sex marriage advertisements have on heterosexual individuals' implicit attitudes towards same-sex couples. It was predicted that exposure to anti-same-sex advertisements would lead to viewing same-sex couples as more unpleasant and heterosexual couples as being more pleasant. However, heterosexual participants who viewed anti-same-sex marriage ads were more likely to rate heterosexual couples as being unpleasant and same-sex couples as pleasant. It is theorized that viewing anti-same-sex marriage advertisements led heterosexual individuals to report heterosexual stimuli as being more unpleasant compared to same-sex stimuli as a form of defensive processing.
ContributorsWalsh, Theodora Michelle (Author) / Newman, Matt (Thesis advisor) / Hall, Deborah (Committee member) / Salerno, Jessica (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
A common concern among musical performers in today'’s musical market pertains to their capacity to adapt to the constantly changing climate of the music business. This document focuses on one aspect of the development of a sustainable, entrepreneurship skill set: the production of a recording. While producing the recording Chocolates, the author examined and documented the multiplicity of skills encompassed with a recording project. The first part of the document includes a discussion of various aspects of the recording project, Chocolates, through an entrepreneurial lens, and an evaluation of the skill sets acquired through the recording process. Additionally, the inspiration and relevance behind the recording project and the process of collaboration between the two composers from whom I commissioned new compositions, Noah Taylor and James Grant, and myself is considered. Finally, I describe the recording and editing processes, including the planning involved within each process, how I achieved the final product, and the entrepreneurial skills involved. The second portion of this document examines a broad range of applications of entrepreneurship, marketing, and career management skills not only within the confines of this particular project, but also in relation to the overall sustainability of a twenty-–first century music-–performing career.
ContributorsStuckemeyer, Mary (Author) / Micklich, Albie (Thesis advisor) / Carpenter, Ellon (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
There are a significant number of musical compositions for violin by composers who used folk songs and dances of various cultures in their music, including works by George Enescu, Béla Bartók and György Ligeti. Less known are pieces that draw on the plethora of melodies and rhythms from Turkey. The purpose of this paper is to help performers become more familiar with two such compositions: Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin. Fazil Say (b. 1970) is considered to be a significant, contemporary Turkish composer. Both of the works discussed in this document simulate traditional "Eastern" instruments, such as the kemenҫe, the baðlama, the kanun and the ud. Additionally, both pieces use themes from folk melodies of Turkey, Turkish dance rhythms and Arabian scales, all framed within traditional structural techniques, such as ostinato bass and the fughetta. Both the Sonata for Violin and Piano and Cleopatra are enormously expressive and musically interesting works, demanding virtuosity and a wide technical range. Although this document does not purport to be a full theoretical analysis, by providing biographical information, analytical descriptions, notes regarding interpretation, and suggestions to assist performers in overcoming technical obstacles, the writer hopes to inspire other violinists to consider learning and performing these works.
ContributorsKalantzi, Panagiota (Author) / Jiang, Danwen (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the process of learning a concerto. The Concerto was inspired by internationally known saxophonist, Sigurd Rascher, who demonstrated for Brant the extent of his abilities on the saxophone. These abilities included use of four-octave range and two types of extended techniques: slap-tonguing and flutter-tonguing. Brant incorporated all three elements in his Concerto, and believed that only Rascher had the command over the saxophone needed to perform the piece. To prevent the possibility of an unsuccessful performance, Brant chose to make the piece unavailable to saxophonists by leaving the Concerto without a reduction. Subsequently, there were no performances of this piece between 1953 and 2001. In 2011, the two directors of Brant's Estate decided to allow for a reduction to be written for the piece so that it would become more widely available to saxophonists.
ContributorsAmes, Elizabeth (Pianist) (Author) / Ryan, Russell (Thesis advisor) / Levy, Benjamin (Committee member) / Hill, Gary (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2013
Description
The integration of yoga into the music curriculum has the potential of offering many immediate and life-long benefits to musicians. Yoga can help address issues such as performance anxiety and musculoskeletal problems, and enhance focus and awareness during musical practice and performance. Although the philosophy of yoga has many similarities to the process of learning a musical instrument, the benefits of yoga for musicians is a topic that has gained attention only recently. This document explores several ways in which the practice and philosophy of yoga can be fused with saxophone pedagogy as one way to prepare students for a healthy and successful musical career. A six-week study at Arizona State University was conducted to observe the effects of regular yoga practice on collegiate saxophone students. Nine participants attended a sixty-minute "yoga for musicians" class twice a week. Measures included pre- and post- study questionnaires as well as personal journals kept throughout the duration of the study. These self-reported results showed that yoga had positive effects on saxophone playing. It significantly increased physical comfort and positive thinking, and improved awareness of habitual patterns and breath control. Student participants responded positively to the idea of integrating such a course into the music curriculum. The integration of yoga and saxophone by qualified professionals could also be a natural part of studio class and individual instruction. Carrie Koffman, professor of saxophone at The Hartt School, University of Hartford, has established one strong model for the combination of these disciplines. Her methods and philosophy, together with the basics of Western-style hatha yoga, clinical reports on performance injuries, and qualitative data from the ASU study are explored. These inquiries form the foundation of a new model for integrating yoga practice regularly into the saxophone studio.
ContributorsAdams, Allison Dromgold (Author) / Norton, Kay (Thesis advisor) / Hill, Gary (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / Standley, Eileen (Committee member) / Arizona State University (Publisher)
Created2012
Description
Nino Rota was a prolific composer of twentieth-century film and concert music, including the Concerto for bassoon and orchestra in b-flat major. Composing over 150 film scores for directors such as Federico Fellini, Francis Ford Coppola, Henry Cass, King Vidor and Franco Zeffirelli, Rota received distinguished acclaim from several film institutions, professional film reviewers and film music experts for his contributions to the art form. Rota also composed a great deal of diverse repertoire for the concert stage (ballet, opera, incidental music, concerti, symphonies, as well as several chamber works). The purpose of this analysis is to emphasize the expressive charm and accessibility of his concerto in the bassoon repertoire. The matter of this analysis of the Concerto for bassoon and orchestra concentrates on a single concerto from his concert repertoire completed in 1977, two years before Rota's death. The discussion includes a brief introduction to Nino Rota and his accomplishments as a musician and film composer, and a detailed outline of the motivic and structural events of contained in each movement of the concerto. The shape of the work is analyzed both in detailed discussion and by the use of charts, including reduced score figures of excerpts of the piece, which illustrate significant thematic events and relationships. The analysis reveals how Rota uses lyrical thematic material in a consistently, and he develops the music by creating melodic sequences and varied repetitions of thematic material. He is comfortable writing several forms, as indicated by the first movement, Toccata - a sonata-type form; the second movement, Recitativo, opening with a cadenza and followed by a theme and brief development; and the third movement, a theme (Andantino) and set of six variations. Rota's writing also includes contrapuntal techniques such as imitation, inversion, retrograde and augmentation, all creating expressive interest during thematic development. It is clear from the discussion that Rota is an accomplished, well-studied and lyrical composer. This analysis will inform the bassoonist and conductor, and aid in developing a fondness for the Concerto for bassoon and orchestra and perhaps other concert works.
ContributorsKluesener, Joseph (Author) / Micklich, Albie (Thesis advisor) / Hill, Gary (Committee member) / Levy, Benjamin (Committee member) / Russell, Timothy (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2012
Description
This study investigates the presence of a dual identity defendant, and how sharing an in-group can create a judgment bias. A sample of 256 participants was used to test whether there was a relationship between judgment punitiveness, perceptions of shared identity, hypocrisy and the social identities (religion and sexual orientation) of the participants and a defendant charges with a sexual offence. Results suggest that Christian participants selected more punitive outcomes for the defendant compared to non-Christian participants. Further, participants were more punitive when the defendant was gay compared to when the defendant was heterosexual. Also, when the defendant was straight there was a stronger feeling of similarity between the participants and defendant compared to when the defendant was gay, and non-Christian participants had a stronger feeling of closeness to the defendant compared to Christian participants. There was a significant interaction found, suggesting that when the defendant was Christian and gay he was seen as more hypocritical compared to when he was Christian and straight; there was no interaction when the defendant was not Christian. These findings should aid in future research and a better understanding of how dual identity defendants are perceived in the courtroom.
ContributorsAltholz, Rachel Leah (Author) / Salerno, Jessica (Thesis advisor) / Hall, Deborah (Committee member) / Schweitzer, Nick (Committee member) / Arizona State University (Publisher)
Created2014