Theses and Dissertations
This collection includes both ASU Theses and Dissertations, submitted by graduate students, and the Barrett, Honors College theses submitted by undergraduate students.
Displaying 1 - 10 of 123
Description
There is a lack of music therapy services for college students who have problems with depression and/or anxiety. Even among universities and colleges that offer music therapy degrees, there are no known programs offering music therapy to the institution's students. Female college students are particularly vulnerable to depression and anxiety symptoms compared to their male counterparts. Many students who experience mental health problems do not receive treatment, because of lack of knowledge, lack of services, or refusal of treatment. Music therapy is proposed as a reliable and valid complement or even an alternative to traditional counseling and pharmacotherapy because of the appeal of music to young women and the potential for a music therapy group to help isolated students form supportive networks. The present study recruited 14 female university students to participate in a randomized controlled trial of short-term group music therapy to address symptoms of depression and anxiety. The students were randomly divided into either the treatment group or the control group. Over 4 weeks, each group completed surveys related to depression and anxiety. Results indicate that the treatment group's depression and anxiety scores gradually decreased over the span of the treatment protocol. The control group showed either maintenance or slight worsening of depression and anxiety scores. Although none of the results were statistically significant, the general trend indicates that group music therapy was beneficial for the students. A qualitative analysis was also conducted for the treatment group. Common themes were financial concerns, relationship problems, loneliness, and time management/academic stress. All participants indicated that they benefited from the sessions. The group progressed in its cohesion and the participants bonded to the extent that they formed a supportive network which lasted beyond the end of the protocol. The results of this study are by no means conclusive, but do indicate that colleges with music therapy degree programs should consider adding music therapy services for their general student bodies.
ContributorsAshton, Barbara (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Davis, Mary (Committee member) / Arizona State University (Publisher)
Created2013
Description
When people look for things in their environment they use a target template - a mental representation of the object they are attempting to locate - to guide their attention around a scene and to assess incoming visual input to determine if they have found that for which they are searching. However, unlike laboratory experiments, searchers in the real-world rarely have perfect knowledge regarding the appearance of their target. In five experiments (with nearly 1,000 participants), we examined how the precision of the observer's template affects their ability to conduct visual search. Specifically, we simulated template imprecision in two ways: First, by contaminating our searchers' templates with inaccurate features, and second, by introducing extraneous features to the template that were unhelpful. In those experiments we recorded the eye movements of our searchers in order to make inferences regarding the extent to which attentional guidance and decision-making are hindered by template imprecision. We also examined a third way in which templates may become imprecise; namely, that they may deteriorate over time. Overall, our findings support a dual-function theory of the target template, and highlight the importance of examining template precision in future research.
ContributorsHout, Michael C (Author) / Goldinger, Stephen D (Thesis advisor) / Azuma, Tamiko (Committee member) / Homa, Donald (Committee member) / Reichle, Erik (Committee member) / Arizona State University (Publisher)
Created2013
Description
Two groups of cochlear implant (CI) listeners were tested for sound source localization and for speech recognition in complex listening environments. One group (n=11) wore bilateral CIs and, potentially, had access to interaural level difference (ILD) cues, but not interaural timing difference (ITD) cues. The second group (n=12) wore a single CI and had low-frequency, acoustic hearing in both the ear contralateral to the CI and in the implanted ear. These `hearing preservation' listeners, potentially, had access to ITD cues but not to ILD cues. At issue in this dissertation was the value of the two types of information about sound sources, ITDs and ILDs, for localization and for speech perception when speech and noise sources were separated in space. For Experiment 1, normal hearing (NH) listeners and the two groups of CI listeners were tested for sound source localization using a 13 loudspeaker array. For the NH listeners, the mean RMS error for localization was 7 degrees, for the bilateral CI listeners, 20 degrees, and for the hearing preservation listeners, 23 degrees. The scores for the two CI groups did not differ significantly. Thus, both CI groups showed equivalent, but poorer than normal, localization. This outcome using the filtered noise bands for the normal hearing listeners, suggests ILD and ITD cues can support equivalent levels of localization. For Experiment 2, the two groups of CI listeners were tested for speech recognition in noise when the noise sources and targets were spatially separated in a simulated `restaurant' environment and in two versions of a `cocktail party' environment. At issue was whether either CI group would show benefits from binaural hearing, i.e., better performance when the noise and targets were separated in space. Neither of the CI groups showed spatial release from masking. However, both groups showed a significant binaural advantage (a combination of squelch and summation), which also maintained separation of the target and noise, indicating the presence of some binaural processing or `unmasking' of speech in noise. Finally, localization ability in Experiment 1 was not correlated with binaural advantage in Experiment 2.
ContributorsLoiselle, Louise (Author) / Dorman, Michael F. (Thesis advisor) / Yost, William A. (Thesis advisor) / Azuma, Tamiko (Committee member) / Liss, Julie (Committee member) / Arizona State University (Publisher)
Created2013
Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Concussion, a subset of mild traumatic brain injury (mTBI), has recently been brought to the forefront of the media due to a large lawsuit filed against the National Football League. Concussion resulting from injury varies in severity, duration, and type, based on many characteristics about the individual that research does not presently understand. Chronic fatigue, poor working memory, impaired self-awareness, and lack of attention to task are symptoms commonly present post-concussion. Currently, there is not a standard method of assessing concussion, nor is there a way to track an individual's recovery, resulting in misguided treatment for better prognosis. The aim of the following study was to determine patient specific higher-order cognitive processing deficits for clinical diagnosis and prognosis of concussion. Six individuals (N=6) were seen during the acute phase of concussion, two of whom were seen subsequently when their symptoms were deemed clinically resolved. Subjective information was collected from both the patient and from neurology testing. Each individual completed a task, in which they were presented with degraded speech, taxing their higher-order cognitive processing. Patient specific behavioral patterns are noted, creating a unique paradigm for mapping subjective and objective data for each patient's strategy to compensate for deficits and understand speech in a difficult listening situation. Keywords: concussion, cognitive processing
ContributorsBerg, Dena (Author) / Liss, Julie M (Committee member) / Azuma, Tamiko (Committee member) / Caviness, John (Committee member) / Arizona State University (Publisher)
Created2013
Description
Arnold Schoenberg's 1908-09 song cycle, Das Buch der hängenden Gärten [The Book of the Hanging Gardens], opus 15, represents one of his most decisive early steps into the realm of musical modernism. In the midst of personal and artistic crises, Schoenberg set texts by Stefan George in a style he called "pantonality," and described his composition as radically new. Though stylistically progressive, however, Schoenberg's musical achievement had certain ideologically conservative roots: the composer numbered among turn-of-the-century Viennese artists and thinkers whose opposition to the conventional and the popular--in favor of artistic autonomy and creativity--concealed a reactionary misogyny. A critical reading of Hanging Gardens through the lens of gender reveals that Schoenberg, like many of his contemporaries, incorporated strong frauenfeindlich [anti-women] elements into his work, through his modernist account of artistic creativity, his choice of texts, and his musical settings. Although elements of Hanging Gardens' atonal music suggest that Schoenberg valued gendered-feminine principles in his compositional style, a closer analysis of the work's musical language shows an intact masculinist hegemony. Through his deployment of uncanny tonal reminiscences, underlying tonal gestures, and closed forms in Hanging Gardens, Schoenberg ensures that the feminine-associated "excesses" of atonality remain under masculine control. This study draws upon the critical musicology of Susan McClary while arguing that Schoenberg's music is socially contingent, affected by the gender biases of his social and literary milieux. It addresses likely influences on Schoenberg's worldview including the philosophy of Otto Weininger, Freudian psychoanalysis, and a complex web of personal relationships. Finally, this analysis highlights the relevance of Schoenberg's world and its constructions of gender to modern performance practice, and argues that performers must consider interrelated historical, textual, and musical factors when interpreting Hanging Gardens in new contexts.
ContributorsGinger, Kerry Anne (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mook, Richard (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT This document introduces singers and voice teachers to Dr. Alfred A. Tomatis's listening training method with a particular emphasis on its relevance to singers. After presenting an overview of Tomatis's work in the field of audio-psycho-phonology (circa 1947 through the 1990s) and specific ways that aspects of his theory are relevant to singers' performance skills, this project investigates the impact of listening training on singers by examining published research. The studies described in this document have investigated the impact of listening training on elements of the singer's skill set, including but not limited to measures of vocal quality such as intonation, vocal control, intensity, and sonority, as well as language pronunciation and general musicianship. Anecdotal evidence, presented by performers and their observers, is also considered. The evidence generated by research studies and anecdotal reports strongly favors Tomatis-based listening training as a valid way to improve singers' performance abilities.
ContributorsHurley, Susan Lynn (Author) / Doan, Jerry (Thesis advisor) / Dreyfoos, Dale (Committee member) / Kopta, Anne (Committee member) / Norton, Kay (Committee member) / Thompson, Billie M (Committee member) / Arizona State University (Publisher)
Created2012
Description
The trained singer utilizes an awareness of her body as an instrument. When she becomes pregnant, her body changes in numerous ways to support the pregnancy. Many of these changes have great impact on her ability to sing during the pregnancy and postpartum periods. The voice may be altered positively or negatively by the release of hormones. The body undergoes many changes that affect the posture and breathing required for singing. Most notably, the abdominal muscles are greatly impacted by the pregnancy. They are stretched by the growing uterus, and this affects their function. In addition, the linea alba (the connective tissue between the halves of the rectus abdominis) is softened by hormonal increases and subject to stretching as the uterus grows, predisposing it to weakness. Since the other abdominal muscles attach to the linea alba via connective tissue, maintaining the integrity of the linea alba during pregnancy and postpartum is vital to the operational function of the abdominal muscles. Protecting the vulnerable linea alba must be deliberately undertaken in two parts. First, conscious exercise is needed to preserve the linea alba during pregnancy and to rehabilitate it after pregnancy. Targeted exercises strengthen the transverse abdominis and shorten and approximate the two halves of the rectus abdominis. Second, modifications in daily movement are necessary to protect the linea alba while performing routine activities. Cesarean sections present additional surgical concerns for singers, including abdominal incisions, use of medication, and the rare need for general anesthesia via intubation. Recovery from a cesarean can be difficult due to abdominal pain, yet steps may be taken to speed healing at the hospital and at home. This paper provides an overview of how pregnancy affects the singer, discusses the effects of pregnancy and cesarean section, and provides a plan to protect the abdominal muscles during pregnancy and rehabilitate them in the postpartum period. It combines information from the fields of physical therapy, medicine, and surgery into a guide for the singer and voice teacher.
ContributorsWill, Andrea Pitman (Author) / Doan, Jerry (Thesis advisor) / Elgar Kopta, Anne (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mills, Robert (Committee member) / Oldani, Robert W (Committee member) / Arizona State University (Publisher)
Created2013
Description
This paper and its accompanying recital examine three solo vocal works by Italian composer Alfredo Casella (1883-1947): "Larmes" from Cinq Mélodies (Op. 2); "Mort, ta servante est à ma porte" from L'adieu à la vie: Quatre lyriques funèbres extraites du "Gitanjali" de Rabindranath Tagore (Op. 26); and "Amante sono, vaghiccia, di voi" from Tre canzoni trecentesche (Op. 36). Each of these songs is discussed as representative of Casella's three compositional periods. A fourth song, "Ecce odor filii mei" from Tre canti sacri per baritono et organo (Op. 66), is also examined, as an end-of-life composition. Some of the more important solo vocal works composed in each period are mentioned to show where the four selected songs fit into Casella's compositional output and to suggest music for further study or repertoire.
ContributorsGordon, Stefan (Author) / Mills, Robert (Thesis advisor) / Holbrook, Amy (Committee member) / FitzPatrick, Carole (Committee member) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2014
Description
Sometimes difficult life events challenge our existing resources in such a way that routinized responses are inadequate to handle the challenge. Some individuals will persist in habitual, automatic behavior, regardless of environmental cues that indicate a mismatch between coping strategy and the demands of the stressor. Other individuals will marshal adaptive resources to construct new courses of action and reconceptualize the problem, associated goals and/or values. A mixed methods approach was used to describe and operationalize cognitive shift, a relatively unexplored construct in existing literature. The study was conducted using secondary data from a parent multi-year cross-sectional study of resilience with eight hundred mid-aged adults from the Phoenix metro area. Semi-structured telephone interviews were analyzed using a purposive sample (n=136) chosen by type of life event. Participants' beliefs, assumptions, and experiences were examined to understand how they shaped adaptation to adversity. An adaptive mechanism, "cognitive shift," was theorized as the transition from automatic coping to effortful cognitive processes aimed at novel resolution of issues. Aims included understanding when and how cognitive shift emerges and manifests. Cognitive shift was scored as a binary variable and triangulated through correlational and logistic regression analyses. Interaction effects revealed that positive personality attributes influence cognitive shift most when people suffered early adversity. This finding indicates that a certain complexity, self-awareness and flexibility of mind may lead to a greater capacity to find meaning in adversity. This work bridges an acknowledged gap in literature and provides new insights into resilience.
ContributorsRivers, Crystal T (Author) / Zautra, Alex (Thesis advisor) / Davis, Mary (Committee member) / Kurpius, Sharon (Committee member) / Arizona State University (Publisher)
Created2014