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- All Subjects: Music
- Creators: Barrett, The Honors College
Description
I believe the human mind is not an accurate reproducer of objects and events, but a tool that constructs their qualities. Philosophers Bowman Clarke, James John, and Amy Kind have argued for and against similar points, while Daniel Hoffman and Jay Dowling have debated cases from a psychological perspective. My understanding of their discourse surfaces in Cognize Normal-Like Pleez, a video installation designed to capture the enigmatic connection between perceivers and the things they perceive. The composition encapsulates this theme through a series of five videos that disseminate confusing imagery paired with mangled sounds. The miniatures operate in sequence on computer monitors set inside a haphazardously ornamented tower. Though the original sources for each video communicate clear, familiar subjects, the final product deliberately obscures them. Sometimes sounds and images flicker for only brief moments, perhaps too fast for the human mind to fully process. Though some information comes through, important data supplied by the surrounding context is absent.
I invite the audience to rationalize this complexing conglomerate and reflect on how their established biases inform their opinion of the work. Each person likely draws from his or her experiences, cultural conditioning, knowledge, and other personal factors in order to create an individual conceptualization of the installation. Their subjective conclusions reflect my belief concerning a neurological basis for the origin of qualities. One’s connection to Cognize’s images and sounds, to me, is not derived solely from characteristics inherent to it, but also endowed by one’s mind, which not only constructs the attributes one normally associates with the images and sounds (as opposed to the physics and biology that lead to their construction), but also seamlessly incorporates the aforementioned biases. I realize my ideas by focusing the topics of the videos and their setting around the transmission of information and its obfuscation. Just as one cannot see or hear past the perceptual barriers in Cognize, I believe one cannot escape his or her mind to “sense” qualities in an objective, disembodied manner, because the mind is necessary for perception.
I invite the audience to rationalize this complexing conglomerate and reflect on how their established biases inform their opinion of the work. Each person likely draws from his or her experiences, cultural conditioning, knowledge, and other personal factors in order to create an individual conceptualization of the installation. Their subjective conclusions reflect my belief concerning a neurological basis for the origin of qualities. One’s connection to Cognize’s images and sounds, to me, is not derived solely from characteristics inherent to it, but also endowed by one’s mind, which not only constructs the attributes one normally associates with the images and sounds (as opposed to the physics and biology that lead to their construction), but also seamlessly incorporates the aforementioned biases. I realize my ideas by focusing the topics of the videos and their setting around the transmission of information and its obfuscation. Just as one cannot see or hear past the perceptual barriers in Cognize, I believe one cannot escape his or her mind to “sense” qualities in an objective, disembodied manner, because the mind is necessary for perception.
ContributorsLempke, John Paul (Author) / Suzuki, Kotoka (Thesis advisor) / Knowles, Kristina (Committee member) / Stover, Chris (Committee member) / Arizona State University (Publisher)
Created2018
Description
Martin Ellerby (b. 1951) is a prominent composer for wind and brass bands, and his Euphonium Concerto and Baritone Concerto are among the best and most challenging works in the euphonium and baritone repertoire. This project aims to assist the performer in learning these important works by utilizing specific practice strategies.
Each work has been performed and thoroughly examined by the author in order to develop and offer specific strategies for learning each piece. This project utilizes identification of themes and motives, existing methods, suggested exercises, and suggestions from the premiere performers in order to develop a strategic practice regimen for learning these important works. The discussion of each movement begins with a brief thematic overview to identify the motives and ideas used to construct each movement. The musical content discovered through thematic and motivic identification is used to recommend modified exercises from Arban Complete Method for Trombone and Euphonium edited by Joseph Alessi and Dr. Brian Bowman, Clarke’s Technical Studies for The Cornet by Herbert L. Clarke, The Brass Gym: A Comprehensive Daily Workout for Brass Players by Sam Pilafian and Patrick Sheridan, Scale and Arpeggio Routines for Undergraduate & Graduate College & University Students by Milt Stevens and Brian Bowman, and “The Carmine Caruso Method” as taught by Julie Landsman. Each exercise presented is aimed to target a specific challenge of the movement being discussed and will facilitate effective and efficient practice of each work.
Each work has been performed and thoroughly examined by the author in order to develop and offer specific strategies for learning each piece. This project utilizes identification of themes and motives, existing methods, suggested exercises, and suggestions from the premiere performers in order to develop a strategic practice regimen for learning these important works. The discussion of each movement begins with a brief thematic overview to identify the motives and ideas used to construct each movement. The musical content discovered through thematic and motivic identification is used to recommend modified exercises from Arban Complete Method for Trombone and Euphonium edited by Joseph Alessi and Dr. Brian Bowman, Clarke’s Technical Studies for The Cornet by Herbert L. Clarke, The Brass Gym: A Comprehensive Daily Workout for Brass Players by Sam Pilafian and Patrick Sheridan, Scale and Arpeggio Routines for Undergraduate & Graduate College & University Students by Milt Stevens and Brian Bowman, and “The Carmine Caruso Method” as taught by Julie Landsman. Each exercise presented is aimed to target a specific challenge of the movement being discussed and will facilitate effective and efficient practice of each work.
ContributorsMarquardt, Benjamin (Author) / Swoboda, Deanna (Thesis advisor) / Eriscon, John (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2018
Description
Reverend Stormfield Goes to Heaven is an operetta in six scenes for seven vocalists and
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
ContributorsSakamoto, Dale Toshio (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2019
Description
Light Emerging is a symphonic dance suite in five movements. The work’s approximate length is 25 minutes; it is scored for flute, oboe, clarinet in Bb, bassoon, horn in F, trumpet in C with loop pedal, trombone, percussion, electronic percussion, piano, strings, and fixed media. Each movement of the dance suite is written to be performed as a standalone piece or together as one multimovement work. The music showcases open quintal sonorities layered in conflicting substructures, which contract into denser brooding passages and transform into tonal fanfares.
Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond.
Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond.
ContributorsJohnson, Brice (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
The saxophone is privileged to have a wide variety of repertoire from contemporary composers. Due to its invention in the later half of the nineteenth century, it has no repertoire written by baroque composers, including Johann Sebastian Bach. There are several published arrangements of Bach’s three solo violin partitas including that of Ronald Caravan and Raaf Hekkema. These collections either do not present every movement of each of these three partitas, or they do not present them in their original keys. An advantage to arranging these works in their original keys is that saxophonists have the opportunity to learn more about the works by playing along with recordings of great violinists such as Itzhak Perlman and Hilary Hahn, something that would be very difficult to do if they were not in the original keys. In Ronald Caravan’s Bach for Solo Saxophone, Caravan includes a collection of many unaccompanied works by Bach for saxophone but does not include all of the movements from the three partitas and they are not in the original keys that Bach wrote for. In Raaf Hekkema’s Bach for Saxophone, Hekkema arranges the entirety of the three partitas, however they are not set in the original keys that Bach wrote for. In addition to these points, those collections do not provide information of the life of J.S. Bach, baroque performance practice, mechanics of the baroque violin, baroque dances, and advice on going about the mechanics of these pieces from a saxophonist’s perspective. This information is very useful to a young saxophonist who is trying to fully understand and perform Bach’s three solo violin partitas.
ContributorsSalazar, Nathan John (Author) / Creviston, Christopher (Thesis director) / Saucier, Catherine (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
University students currently lack sufficient knowledge and resources needed to support healthy eating patterns and nutrition. Comparison of the number of registered dietitians that are available to all students, along with the number of wellness events that are held at each university within the Pacific-12 conference will help determine which schools are best able to support their students' needs. Data was collected using a Google forms survey sent via email to wellness directors of each of the universities in the Pac-12 conference. Eight out of the twelve schools in the conference responded to the survey. The average number of dietitians available to all students (regardless of athlete status) was found to be 1.43 dietitians. Of the schools that responded, the University of Colorado, Boulder, has the most resources dedicated to student nutrition wellness with three dietitians available for all undergraduate students, free dietitian services, and approximately 150 wellness events each year. The success of available nutrition wellness resources was inconclusive as schools did not provide the information regarding student utilization and attendance. Future university promoted nutrition wellness programs should increase the number of affordable dietitians and total wellness events, as well as promote student health services through social media platforms to improve student nutrition knowledge and usage of resources.
ContributorsCurtin, Anne Clare (Author) / Dixon, Kathleen (Thesis director) / McCoy, Maureen (Committee member) / School of Nutrition and Health Promotion (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Abstract Ambrofit is a company I founded in February 2014 whose overarching goal is to bridge the gap between science and supplements. This thesis project is as an extension of, and upgrade to, Ambrofit's work. The project begins with a brief discussion of the supplement industry, motivating the problem which myself and Ambrofit are trying to solve. It addresses the shortcomings of the industry, its regulatory history, and the causal factors which create the industry's environment. As the main part of the project, I design and execute a systematic, evidence-based nutritional product formulation process to create an scientifically sound ergogenic aid which can reliably accelerate training adaptations. The methodology starts with a round of exploratory research to discover potential ingredients then systematically analyzes each ingredient in multiple rounds of effectiveness and safety screenings until the final formula can be synthesized. Ergogenics were the focus of this project because Ambrofit's current product is an ergogenic aid, but I will apply this same process to formulate Ambrofit's whole product line in the future. The second arm of the project is a clinical study protocol design - an evidence-based product created from secondary research is a good start, but ultimately, the formula must be validated by direct research. The protocol describes an 8-week study with well-trained subjects which would either support or reject the formula's ability to accelerate anaerobic training adaptations. The project concludes with a discussion and application of Ambrofit's marketing. This part of the project was done with boots-on-the-ground; Ambrofit is already operating commercially, so I was able test marketing ideas live and evaluate their performance.
ContributorsRoper, Jacob William (Author) / Denning, Michael (Thesis director) / Johnston, Carol (Committee member) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This creative project explores the concept of how music is like a language and how, as a teacher, I plan to enforce this concept through my teaching. The aim of this project is to highlight the importance of completing research and acquiring knowledge of aspects, such as the composer's life, historical background and literary references, when learning a piece of music. Through this project, I address connections between the brain and music pertaining to memorization, the components of language, the similarities between language and music, the role of the teacher and the development of a "toolbox" of knowledge for studying a piece of music. I present my own research on Schumann's Novelette Op. 21, No. 8 in f-sharp minor as well as my own experiences of learning the piece to demonstrate an example of the process and discoveries I hope my students will make in their own studies of repertoire.
ContributorsLee, Kara Jia-Shan (Author) / Pagano, Caio (Thesis director) / Creviston, Hannah (Committee member) / Division of Teacher Preparation (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
The SolarSPELL is an offline, ruggedized, digital library, created by Dr. Laura Hosman for the U.S. Peace Corps. It has thousands of pieces of educational content that can be accessed through a self-contained Wi-Fi hotspot on the device itself. Currently, there are more than 200 deployed in several Pacific Island nations. After visiting one of these nations, Tonga, in December of 2016, I learned that almost all of the Peace Corps volunteers stationed around the Pacific Islands suffered from a lack of resources due to a variety of reasons. While the SolarSPELL helps to remedy that, the device is lacking classroom activities and resources for creative work and educational drama. Furthermore, for many students in these environments, schools are for learning information and producing high scores on exams, not for learning about creative strengths and identity. After researching curriculum development and the use of drama in an educational setting, I compiled over 50 pieces of content to include on the SolarSPELL involving art, drama, music, movement, and most importantly, imagination. These resources will allow Peace Corps volunteers to explore additional ways to teach English in their schools, while also creating a classroom environment that allows for creative expression. All the content is compiled into one folder as "Teaching Resources", and is then broken down into seven sub- categories. In the first sub-category, Art Projects, there is a collection of several hands-on projects, many of which involve recyclable or readily available materials. These projects will allow for a greater understanding of conservation and "green" living, concepts that are crucial to the stability of these island nations. The next 5 categories are Drama Readings, Music, Movement, and Video, Group Exercises, Creative Writing, and Worksheets. The second sub- category is a collection of beginner-level "Reader's Theater" scripts. The third sub-category involves music and video to engage students in movement activities. The fourth sub-category is a compilation of group games and activities to help students express themselves and learn social skills. The fifth sub-category includes a collection of activities such as fill-in-the-blank story worksheets and journal prompts which will aid in creative thinking and the practice of the English language. The sixth sub-category involves a collection of worksheets that mainly focus on self-reflection and identity. The seventh and final sub-category, Content Guide and Information, works to explain the benefits of using of drama and creative play in the classroom, as well as strategies teachers can implement in order to further engage their students in dramatic learning and play. Overall, these pieces of content are meant to be used as resources for the Peace Corps volunteers in order to provide alternative ways to practice reading, writing, and speaking the English language, a critical part of education in the Pacific Islands.
ContributorsTaylor, Amanda Nicole (Author) / Hosman, Laura (Thesis director) / McAvoy, Mary (Committee member) / School of Film, Dance and Theatre (Contributor) / Division of Teacher Preparation (Contributor) / Barrett, The Honors College (Contributor) / School for the Future of Innovation in Society (Contributor)
Created2017-12
Description
Forty collegiate gymnasts were recruited for a nutrition and health study. Participants must have been at least eighteen years old at Arizona State University (ASU) in the club or team gymnastics program. The Institutional Review Board (IRB) reviewed and accepted my survey in order to hand out to the gymnasts. The ASU club and team coach and the ASU study team also approved my survey. As soon as the survey was approved, it was emailed to all of the gymnasts. ASU gymnasts were surveyed on nutritional knowledge and personal health. Subjects answered a quiz on nutrient needs and serving sizes. Personal questions consisted of height, weight, injuries, body image, and typical meal plans. Gymnasts were given a $10 compensation to increase the participation. We found that only 16% of gymnasts surveyed scored a 70% or higher on their nutritional knowledge. Although these gymnasts do not have adequate knowledge, the majority consume a healthy diet. Diets included fruits, vegetables, protein-rich foods, and few high fat and sugary foods. Four of the gymnasts had one or fewer injuries in the past two years, although, four gymnasts also had three or more injuries. No correlation was found between diet and injuries. There was also no correlation between the gymnast's nutritional knowledge and their health.
ContributorsKugler, Natalie K. (Author) / Levinson, Simin (Thesis director) / Berger, Christopher (Committee member) / School of Nutrition and Health Promotion (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12