Matching Items (3)
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- Genre: Art--Psychology.
- Genre: Music--Instruction and study--Social aspects.
- Genre: Music--Political aspects--Czechoslovakia--20th century.
- Creators: Arizona State University
- Member of: Theses and Dissertations
Description
As the desire for innovation increases, individuals and companies seek reliable ways to encourage their creative side. There are many office superstitions about how creativity works, but few are based on psychological science and even fewer have been tested empirically. One of the most prevalent superstitions is the use of objects to inspire creativity or even make a creative room. It is important to test this kind of notion so workplaces can find reliable ways to be innovative, but also because psychology lacks a breadth of literature on how environmental cues interact with people to shape their mental state. This experiment seeks to examine those gaps and fill in the next steps needed for examining at how multiple objects prime creativity. Participants completed two creativity tasks: one for idea generation and one that relies on insight problem solving, the Remote Association Task. There were four priming conditions that relied on objects: a zero object condition, a four neutral (office) objects condition, a single artistic object condition, and finally a four artistic objects condition. There were no differences found between groups for either type of task or in mood or artistic experience. The number of years a participant spent in the United States, however, did correlate with mood, idea generation scores, and insight problem scores. This potentially demonstrates that performance on idea generation and insight tasks rely on the tasks created and culture.
ContributorsJariwala, Shree (Author) / Branaghan, Russell (Thesis advisor) / Cooke, Nancy J. (Committee member) / Song, Hyunjin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Since the collapse of the Soviet Union, musicologists have been delving into formerly inaccessible archives and publishing new research on Eastern Bloc composers. Much of the English-language scholarship, however, has focused on already well-known composers from Russia or Poland. In contrast, composers from smaller countries such as the Czech Republic (formerly Czechoslovakia) have been neglected. In this thesis, I shed light on the new music scene in Czechoslovakia from 1948–1989, specifically during the period of “Normalization” (1969–1989).
The period of Normalization followed a cultural thaw, and beginning in 1969 the Czechoslovak government attempted to restore control. Many Czech and Slovak citizens kept their opinions private to avoid punishment, but some voiced their opinions and faced repression, while others chose to leave the country. In this thesis, I explore how two Czech composers, Marek Kopelent (b. 1932) and Petr Kotík (b. 1942) came to terms with writing music before and during the period of Normalization.
The period of Normalization followed a cultural thaw, and beginning in 1969 the Czechoslovak government attempted to restore control. Many Czech and Slovak citizens kept their opinions private to avoid punishment, but some voiced their opinions and faced repression, while others chose to leave the country. In this thesis, I explore how two Czech composers, Marek Kopelent (b. 1932) and Petr Kotík (b. 1942) came to terms with writing music before and during the period of Normalization.
ContributorsJohnson, Victoria K (Author) / Feisst, Sabine (Thesis advisor) / Oldani, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2015
Description
In this study, I uncover the coded meanings of "urban" within the music education profession through an exploration and analysis of the discourse present in two prominent music education journals, Music Educators Journal (MEJ) and The Journal of Research in Music Education (JRME). Using critical discourse analysis (CDA), I investigate how the term "urban" is used in statements within a twenty-year time span (1991-2010), and how the words "inner-city," "at-risk," "race," and "diversity" are used in similar ways throughout the corpus. An in-depth examination of these five terms across twenty years of two major publications of the profession reveals attitudes and biases within the music education structure, uncovering pejorative themes in the urban music education discourse. The phrase "urban music education" is rarely defined or explained in the corpus examined in this study. Rather, the word "urban" is at times a euphemism. Based on a CDA conducted in this study, I suggest that "urban" is code for poor, minority, and unable to succeed. Relying on the philosophical ideas of Michel Foucault, I uncover ways in which the profession labels urban music programs, students, and teachers and how the "urban music education" discourse privileges the White, suburban, middle class ideal of music education. I call for an evaluation of the perceptions of "success" in the field, and advocate for a paradigm shift, or different methods of knowing, in order to provide a more just teaching and learning space for all music education actors.
ContributorsFarmer, Dawn Marie (Author) / Stauffer, Sandra L. (Thesis advisor) / Schmidt, Margaret (Committee member) / Solis, Theodore (Committee member) / Sullivan, Jill M. (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2015