Matching Items (19)
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- Genre: Arrangements (Music)
- Genre: Interactive multimedia
Description
The purpose of this study was to investigate the impacts of visual cues and different types of self-explanation prompts on learning, cognitive load and intrinsic motivation, as well as the potential interaction between the two factors in a multimedia environment that was designed to deliver a computer-based lesson about the human cardiovascular system. A total of 126 college students were randomly assigned in equal numbers (N = 21) to one of the six experimental conditions in a 2 X 3 factorial design with visual cueing (visual cues vs. no cues) and type of self-explanation prompts (prediction prompts vs. reflection prompts vs. no prompts) as the between-subjects factors. They completed a pretest, subjective cognitive load questions, intrinsic motivation questions, and a posttest during the course of the experience. A subsample (49 out of 126) of the participants' eye movements were tracked by an eye tracker. The results revealed that (a) participants presented with visually cued animations had significantly higher learning outcome scores than their peers who viewed uncued animations; and (b) cognitive load and intrinsic motivation had different impacts on learning in multimedia due to the moderation effect of visual cueing. There were no other significant findings in terms of learning outcomes, cognitive load, intrinsic motivation, and eye movements. Limitations, implications and future directions are discussed within the framework of cognitive load theory, cognitive theory of multimedia learning and cognitive-affective theory of learning with media.
ContributorsLin, Lijia (Author) / Atkinson, Robert (Thesis advisor) / Nelson, Brian (Committee member) / Savenye, Wilhelmina (Committee member) / Arizona State University (Publisher)
Created2011
Description
Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango songs are presented here: "Elegante Papirusa" by Tito Roccatagliata, "A La Gran Muñeca" by Jesús Ventura, and "La Cotorrita" by Samuel Castriota. The arrangements follow the style of three early recordings produced by The Victor Talking Machine in 1920 and 1922, as performed by two authentic Argentine orquesta típicas: Orquesta Típica Select and Orquesta Típica Fresedo. A brief history of the style and instrumental evolution of tango music from its influences and origins up until 1920 is discussed, followed by a detailed account of the musicians and circumstances involved in the three early recordings. An explanation of the issues encountered by the author in adapting the early tango style to the brass quintet setting is discussed, along with the solutions realized in order to make the project successful and practical for a moderately advanced brass quintet. The full brass quintet scores are provided as part of the Appendix.
ContributorsCamacho, Gustavo (Musician) (Author) / Ericson, John Q (Thesis advisor) / Pilafian, Samuel (Committee member) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2011
Description
Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.
ContributorsDeBoer, Andrew Caleb (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Norton, Kay (Committee member) / McAllister, Timothy (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement.
ContributorsFang, Zhou, D.M.A (Author) / Koonce, Frank (Thesis advisor) / Levy, Benjamin (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
This thesis presents a new arrangement of Richard Peaslee's trombone solo "Arrows of Time" for brass band. This arrangement adapts Peaslee's orchestration - and subsequent arrangement by Dr. Joshua Hauser for wind ensemble - for the modern brass band instrumentation and includes a full score. A brief biography of Richard Peaslee and his work accompanies this new arrangement, along with commentary on the orchestration of "Arrows of Time", and discussion of the evolution and adaptation of the work for wind ensemble by Dr. Hauser. The methodology used to adapt these versions for the brass band completes the background information.
ContributorsMalloy, Jason Patrick (Author) / Ericson, John (Thesis advisor) / Oldani, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
Achievement of many long-term goals requires sustained practice over long durations. Examples include goals related to areas of high personal and societal benefit, such as physical fitness, which requires a practice of frequent exercise; self-education, which requires a practice of frequent study; or personal productivity, which requires a practice of performing work. Maintaining these practices can be difficult, because even though obvious benefits come with achieving these goals, an individual's willpower may not always be sufficient to sustain the required effort. This dissertation advocates addressing this problem by designing novel interfaces that provide people with new practices that are fun and enjoyable, thereby reducing the need for users to draw upon willpower when pursuing these long-term goals. To draw volitional usage, these practice-oriented interfaces can integrate key characteristics of existing activities, such as music-making and other hobbies, that are already known to draw voluntary participation over long durations. This dissertation makes several key contributions to provide designers with the necessary tools to create practice-oriented interfaces. First, it consolidates and synthesizes key ideas from fields such as activity theory, self-determination theory, HCI design, and serious leisure. It also provides a new conceptual framework consisting of heuristics for designing systems that draw new users, plus heuristics for making systems that will continue drawing usage from existing users over time. These heuristics serve as a collection of useful ideas to consider when analyzing or designing systems, and this dissertation postulates that if designers build these characteristics into their products, the resulting systems will draw more volitional usage. To demonstrate the framework's usefulness as an analytical tool, it is applied as a set of analytical lenses upon three previously-existing experiential media systems. To demonstrate its usefulness as a design tool, the framework is used as a guide in the development of an experiential media system called pdMusic. This system is installed at public events for user studies, and the study results provide qualitative support for many framework heuristics. Lastly, this dissertation makes recommendations to scholars and designers on potential future ways to examine the topic of volitional usage.
ContributorsWallis, Isaac (Author) / Ingalls, Todd (Thesis advisor) / Coleman, Grisha (Committee member) / Sundaram, Hari (Committee member) / Arizona State University (Publisher)
Created2013
Description
The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.
ContributorsLanier, William Hudson (Author) / Koonce, Frank (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
Playing an orchestral reduction is not always the most joyous of times for pianists. As pianists, we have to express a reduced idea of all the instruments and orchestral textures that are in the full score. However, in many cases, there are often omissions, errors or discrepancies in the existing published reductions. These reductions are made by a variety of people: editors, conductors, pianists, but rarely by the composer, and often do not reflect the composer's true intentions. While many reductions are technically playable, including the reduction of the Sibelius Violin Concerto that will form the basis of this paper, the arrangement of the orchestration can be obscured or inaccurate to the point where the violin soloist may not be receiving the best representation of the actual orchestration. A piano reduction should as closely as possible represent the original intention of the composer, both for the sake of the audience and the performers. The pianist should be able to provide the proper support and orchestration of any reduction for the instrumentalist or vocalist so that the same performance style and technique can be used while performing with either a piano reduction or a full orchestra. This research document contains a detailed examination of the various orchestral reductions of the Sibelius Violin Concerto, culminating in a new version by the author. In this discussion, the author will present a basic understanding of how to orchestrate at the piano through an in-depth explanation of piano skill and technique, practice techniques such as listening to a recorded version of the full orchestration while playing the piano, and ways to study and revise an existing piano reduction. The current published reductions of the Sibelius Violin Concerto contain many errors and discrepancies and will be contrasted with the author's own reduction, available for comparison and study in the appendix. This new revised reduction will clearly show the orchestral instruments represented throughout the score, demonstrate new techniques for various orchestral textures, and will yield a playable product that more closely represents the composer's original intentions.
ContributorsLee, Sehee (Author) / Campbell, Andrew (Thesis advisor) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Britton, David (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this experimental study was to investigate the effects of textual and visual annotations on Spanish listening comprehension and vocabulary acquisition in the context of an online multimedia listening activity. 95 students who were enrolled in different sections of first year Spanish classes at a community college and a large southwestern university were randomly assigned to one of four versions of an online multimedia listening activity that contained textual and visual annotations of several key words. Students then took a comprehension and vocabulary posttest and a survey to measure cognitive load and general attitudes towards the program. Results indicated that textual annotations had a significant positive effect on listening comprehension and that visual annotations had a significant positive effect on how successful students felt. No statistically significant differences were found for other variables. Participants also reported positive attitudes towards vocabulary annotations and expressed a desire to see more annotations during multimedia listening activities of this type. These findings provide further evidence of the impact that multimedia may have on language acquisition. These findings have implications for multimedia design and for future research. Language listening activities should include a variety of vocabulary annotations that may help students to understand what they hear and to help them learn new vocabulary. Further research is needed outside of the laboratory, in the online and increasingly-mobile language learning environment in order to align the research with the environment in which many students currently study. The incorporation of motivation into multimedia learning theory and cognitive load should be explored, as well as new measures of cognitive load.
ContributorsCottam, Michael Evan (Author) / Savenye, Wilhelmina (Thesis advisor) / Klein, James D. (Committee member) / Atkinson, Robert (Committee member) / Arizona State University (Publisher)
Created2010
Description
The current study investigated how multimedia pacing (learner-control versus system-paced) and presentation styles (visual-only versus audio/visual) impact learning physics concept material, mental effort, and self-efficacy. This 2X2 factorial study randomly assigned participants into one of four conditions that manipulated presentation style (visual-only versus audio/visual) and pacing of the content (system-paced versus learning-controlled). Participant's learning was measured by recording their retention of information and ability to transfer information. Measures of perceived difficulty (mental effort) and perceived ability (self-efficacy) were also obtained. No significant effects were observed in this study which doesn’t support the existence of either the modality or reverse modality effect at least in these noisier online learning environments. In addition, the hypothesis that their effects could be an artifact of experimental design could not be proven as the learner control condition did not yield any significant results.
ContributorsKrause, Tyler (Author) / Craig, Scotty D. (Thesis advisor) / Gray, Robert (Committee member) / Branaghan, Russell (Committee member) / Arizona State University (Publisher)
Created2018