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.
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- Creators: Glenberg, Arthur
- Creators: Lee, Hyunglae
- Creators: Ryan, Russell
Description
The purpose of this study was to investigate the effect of partial exemplar experience on category formation and use. Participants had either complete or limited access to the three dimensions that defined categories by dimensions within different modalities. The concept of "crucial dimension" was introduced and the role it plays in category definition was explained. It was hypothesized that the effects of partial experience are not explained by a shifting of attention between dimensions (Taylor & Ross, 2009) but rather by an increased reliance on prototypical values used to fill in missing information during incomplete experiences. Results indicated that participants (1) do not fill in missing information with prototypical values, (2) integrate information less efficiently between different modalities than within a single modality, and (3) have difficulty learning only when partial experience prevents access to diagnostic information.
ContributorsCrawford, Thomas (Author) / Homa, Donald (Thesis advisor) / Mcbeath, Micheal (Committee member) / Glenberg, Arthur (Committee member) / Arizona State University (Publisher)
Created2011
Description
Intuitive decision making refers to decision making based on situational pattern recognition, which happens without deliberation. It is a fast and effortless process that occurs without complete awareness. Moreover, it is believed that implicit learning is one means by which a foundation for intuitive decision making is developed. Accordingly, the present study investigated several factors that affect implicit learning and the development of intuitive decision making in a simulated real-world environment: (1) simple versus complex situational patterns; (2) the diversity of the patterns to which an individual is exposed; (3) the underlying mechanisms. The results showed that simple patterns led to higher levels of implicit learning and intuitive decision-making accuracy than complex patterns; increased diversity enhanced implicit learning and intuitive decision-making accuracy; and an embodied mechanism, labeling, contributes to the development of intuitive decision making in a simulated real-world environment. The results suggest that simulated real-world environments can provide the basis for training intuitive decision making, that diversity is influential in the process of training intuitive decision making, and that labeling contributes to the development of intuitive decision making. These results are interpreted in the context of applied situations such as military applications involving remotely piloted aircraft.
ContributorsCovas-Smith, Christine Marie (Author) / Cooke, Nancy J. (Thesis advisor) / Patterson, Robert (Committee member) / Glenberg, Arthur (Committee member) / Homa, Donald (Committee member) / Arizona State University (Publisher)
Created2011
Description
Oscillatory perturbations with varying amplitudes and frequencies have been found to significantly affect human standing balance. However, previous studies have only applied perturbation in either the anterior-posterior (AP) or the medio-lateral (ML) directions. Little is currently known about the impacts of 2D oscillatory perturbations on postural stability, which are more commonly seen in daily life (i.e., while traveling on trains, ships, etc.). This study investigated the effects of applying 2D perturbations vs 1D perturbations on standing stability, and how increasing the frequency and amplitude of perturbation impacts postural stability. A dual-axis robotic platform was utilized to simulate various oscillatory perturbations and evaluate standing postural stability. Fifteen young healthy subjects were recruited to perform quiet stance on the platform. Impacts of perturbation direction (i.e., 1D versus 2D), amplitude, and frequency on postural stability were investigated by analyzing different stability measures, specifically AP/ML/2D Center-of-Pressure (COP) path length, AP/ML/2D Time-to-Boundary (TtB), and sway area. Standing postural stability was compromised more by 2D perturbations than 1D perturbations, evidenced by a significant increase in COP path length and sway area and decrease in TtB. Further, the stability decreased as 2D perturbation amplitude and frequency increased. A significant increase in COP path length and decrease in TtB were consistently observed as the 2D perturbation amplitude and frequency increased. However, sway area showed a considerable increase only with increasing perturbation amplitude but not with increasing frequency.
ContributorsBerrett, Lauren Ann (Author) / Lee, Hyunglae (Thesis director) / Peterson, Daniel (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / School of International Letters and Cultures (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
Learning and transfer were investigated for a categorical structure in which relevant stimulus information could be mapped without loss from one modality to another. The category space was composed of three non-overlapping, linearly-separable categories. Each stimulus was composed of a sequence of on-off events that varied in duration and number of sub-events (complexity). Categories were learned visually, haptically, or auditorily, and transferred to the same or an alternate modality. The transfer set contained old, new, and prototype stimuli, and subjects made both classification and recognition judgments. The results showed an early learning advantage in the visual modality, with transfer performance varying among the conditions in both classification and recognition. In general, classification accuracy was highest for the category prototype, with false recognition of the category prototype higher in the cross-modality conditions. The results are discussed in terms of current theories in modality transfer, and shed preliminary light on categorical transfer of temporal stimuli.
ContributorsFerguson, Ryan (Author) / Homa, Donald (Thesis advisor) / Goldinger, Stephen (Committee member) / Glenberg, Arthur (Committee member) / Arizona State University (Publisher)
Created2011
Description
The Vocal Jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate Vocal Jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the Vocal Jazz ensemble. The discussion relies on recent data showing the benefits of Vocal Jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training.
ContributorsAmerind, Gregory (Author) / Kocour, Michael (Thesis advisor) / Carpenter, Ellon (Committee member) / Britton, David (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (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
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study compares the Hummel Concertos in A Minor, Op. 85 and B Minor, Op. 89 and the Chopin Concertos in E Minor, Op. 11 and F Minor, Op. 21. On initial hearing of Hummel's rarely played concertos, one immediately detects similarities with Chopin's concerto style. Upon closer examination, one discovers a substantial number of interesting and significant parallels with Chopin's concertos, many of which are highlighted in this research project. Hummel belongs to a generation of composers who made a shift away from the Classical style, and Chopin, as an early Romantic, absorbed much from his immediate predecessors in establishing his highly unique style. I have chosen to focus on Chopin's concertos to demonstrate this association. The essay begins with a discussion of the historical background of Chopin's formative years as it pertains to the formation of his compositional style, Hummel's role and influence in the contemporary musical arena, as well as interactions between the two composers. It then provides the historical background of the aforementioned concertos leading to a comparative analysis, which includes structural, melodic, harmonic, and motivic parallels. With a better understanding of his stylistic influences, and of how Chopin assimilated them in the creation of his masterful works, the performer can adopt a more informed approach to the interpretation of these two concertos, which are among the most beloved masterpieces in piano literature.
ContributorsYam, Jessica (Author) / Hamilton, Robert (Thesis advisor) / Levy, Benjamin (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013