Matching Items (9)
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- Creators: School of Life Sciences
- Creators: Department of Speech and Hearing Science
- Creators: Campbell, Andrew
- Creators: Lopez, Sylvia
- Resource Type: Text
- Status: Published
Real-time composer-performer collaboration as explored in Wilderness, a dance and audio installation
Description
From fall 2010 to spring 2011, the author was the pianist in twenty public performances of Wilderness, a site-adaptable dance and audio installation by choreographer Yanira Castro and composer Stephan Moore. Wilderness's music was generated as the result of an algorithmic treatment of data collected from the movements of both dancers and audience members within the performance space. The immediacy of using movement to instantaneously generate sounds resulted in the need for a real-time notational environment inhabited by a sight-reading musician. Wilderness provided the author the opportunity to extensively explore an extreme sight-reading environment, as well as the experience of playing guided improvisations over existing materials while incorporating lateral thinking strategies, resulting from a real-time collaboration between composer and performer during the course of a live performance. This paper describes Wilderness in detail with particular attention focused on aspects of the work that most directly affect the pianist: the work's real-time notational system, live interaction between composer and performer, and the freedoms and limitations of guided improvisation. There is a significant amount of multi-media documentation of Wilderness available online, and the reader is directed toward this online content in the paper's appendix.
ContributorsDauphinais, Michael (Author) / Campbell, Andrew (Thesis advisor) / Hackbarth, Glenn (Committee member) / McAllister, Timothy (Committee member) / Pilafian, J. Samuel (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
In this study, the Bark transform and Lobanov method were used to normalize vowel formants in speech produced by persons with dysarthria. The computer classification accuracy of these normalized data were then compared to the results of human perceptual classification accuracy of the actual vowels. These results were then analyzed to determine if these techniques correlated with the human data.
ContributorsJones, Hanna Vanessa (Author) / Liss, Julie (Thesis director) / Dorman, Michael (Committee member) / Borrie, Stephanie (Committee member) / Barrett, The Honors College (Contributor) / Department of Speech and Hearing Science (Contributor) / Department of English (Contributor) / Speech and Hearing Science (Contributor)
Created2013-05
Description
Research in the last decade has indicated that collaboration between speech-language pathologists (SLP) and general education teachers is a necessary component for effective instruction. Students that have language difficulties should have the necessary support to help them succeed in the general education classroom. Despite the overwhelming evidence that supports that collaboration is the best practice, it does not take place due to lack of training, time, and funding. My creative project includes a template and website that allows SLPs and teachers to collaborate to enrich instruction targeted towards third grade students diagnosed with a language disorder. This template is designed for the SLP to contribute specific language-based strategies that they implement during their therapy sessions. In turn, the general educator can access the template and easily integrate those strategies into her lessons to support the language skills of her students so that the student has more opportunities to generalize their skills. The template is formatted around the IEP goals of the students and aligned to the Common Core standards. The purpose of the template is to provide SLPs and general education teachers a means to collaborate without having to take additional time from each other's limited schedules and eliminates the need for in-person training to implement these strategies to effectively support students with language disabilities struggling in the general education classroom.
ContributorsJagelka, Daniella (Author) / Weinhold, Juliet (Thesis director) / Mitchell, Jennifer (Committee member) / Division of Teacher Preparation (Contributor) / Department of Speech and Hearing Science (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
Student to Student: A Guide to Anatomy is an anatomy guide written by students, for students. Its focus is on teaching the anatomy of the heart, lungs, nose, ears and throat in a manner that isn't overpowering or stress inducing. Daniel and I have taken numerous anatomy courses, and fully comprehend what it takes to have success in these classes. We found that the anatomy books recommended for these courses are often completely overwhelming, offering way more information than what is needed. This renders them near useless for a college student who just wants to learn the essentials. Why would a student even pick it up if they can't find what they need to learn? With that in mind, our goal was to create a comprehensive, easy to understand, and easy to follow guide to the heart, lungs and ENT (ear nose throat). We know what information is vital for test day, and wanted to highlight these key concepts and ideas in our guide. Spending just 60 to 90 minutes studying our guide should help any student with their studying needs. Whether the student has medical school aspirations, or if they simply just want to pass the class, our guide is there for them. We aren't experts, but we know what strategies and methods can help even the most confused students learn. Our guide can also be used as an introductory resource to our respective majors (Daniel-Biology, Charles-Speech and Hearing) for students who are undecided on what they want to do. In the future Daniel and I would like to see more students creating similar guides, and adding onto the "Student to Student' title with their own works... After all, who better to teach students than the students who know what it takes?
ContributorsKennedy, Charles (Co-author) / McDermand, Daniel (Co-author) / Kingsbury, Jeffrey (Thesis director) / Washo-Krupps, Delon (Committee member) / Department of Speech and Hearing Science (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Course-Based Undergraduate Research Experiences, or CUREs have become an increasingly popular way to integrate research opportunities into the undergraduate biology curriculum. Unlike traditional cookbook labs which provide students with a set experimental design and known outcome, CUREs offer students the opportunity to participate in novel and interesting research that is of interest to the greater biology community. While CUREs have been championed as a way to provide more students with the opportunity to experience, it is unclear whether students benefit differently from participating in different CURE with different structural elements. In this study we focused in on one proposed element of a CURE, collaboration, to determine whether student's perception of this concept change over the course of a CURE and whether it differs among students enrolled in different CUREs. We analyzed pre and post open-ended surveys asking the question "Why might collaboration be important in science?" in two CUREs with different structures of collaboration. We also compared CURE student responses to the responses of senior honors thesis students who had been conducting authentic research. Five themes emerged in response to students' conceptions of collaboration. Comparing two CURE courses, we found that students' conceptions of collaboration were varied within each individual CURE, as well as what students were leaving with compared to the other CURE course. Looking at how student responses compared between 5 different themes, including "Different Perspectives", "Validate/Verify Results", "Compare Results", "Requires Different Expertise", and "Compare results", students appeared to be thinking about collaboration in distinct different ways by lack of continuity in the amount of students discussing each of these among the classes. In addition, we found that student responses in each of the CURE courses were not significantly different for any of the themes except "Different Expertise" compared to the graduating seniors. However, due to the small (n) that the graduating seniors group had, 22, compared to each of the CURE classes composing of 155 and 98 students, this comparison must be taken in a preliminary manner. Overall, students thought differently about collaboration between different CUREs. Still, a gap filling what it means to "collaborate", and whether the structures of CUREs are effective to portray collaboration are still necessary to fully elaborate on this paper's findings.
ContributorsWassef, Cyril Alexander (Author) / Brownell, Sara (Thesis director) / Stout, Valerie (Committee member) / Cooper, Katelyn (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Ballroom dancing, similar to many other forms of dance, art, and expression, has a nature built upon desire to better oneself, to express oneself, and to relate to the audience. While this sits at the core of the artform, there is another element integral to it: competition. Ballroom competitions contribute significantly to the culture of ballroom dancing itself, often conflicting with or undermining its cooperative elements. The question, thus remains, of what the optimal ballroom competition looks like in order to promote the community aspects without compromising the importance of competition to the dancers. This thesis seeks to identify and execute this optimization, culminating in a ballroom competition and a guide detailing every aspect of the competition that was designed to accomplish this goal.
ContributorsPerry, James (Author) / Lopez, Sylvia (Co-author) / Olarte, David (Thesis director) / Daniels, Julianne (Committee member) / Malone, James (Committee member) / Barrett, The Honors College (Contributor) / School of Life Sciences (Contributor)
Created2024-05
Description
Ballroom dancing, similar to many other forms of dance, art, and expression, has a nature built upon desire to better oneself, to express oneself, and to relate to the audience. While this sits at the core of the artform, there is another element integral to it: competition. Ballroom competitions contribute significantly to the culture of ballroom dancing itself, often conflicting with or undermining its cooperative elements. The question, thus remains, of what the optimal ballroom competition looks like in order to promote the community aspects without compromising the importance of competition to the dancers. This thesis seeks to identify and execute this optimization, culminating in a ballroom competition and a guide detailing every aspect of the competition that was designed to accomplish this goal.
ContributorsLopez, Sylvia (Author) / Perry, James (Co-author) / Olarte, David (Thesis director) / Daniells, Julianne (Committee member) / Malone, James (Committee member) / Barrett, The Honors College (Contributor) / Industrial, Systems & Operations Engineering Prgm (Contributor) / Human Systems Engineering (Contributor)
Created2024-05
Description
ABSTRACT
"The Soul Unto Itself," a chamber music song cycle, was commissioned by the author, Rosa LoGiudice, and composed by William Clay, a doctoral candidate in composition at Arizona State University. The cycle was conceived and composed in the summer and fall of 2019. The chamber ensemble was a sextet comprised of Megan Law, mezzo-soprano, Kristi Hanno, clarinet, Emilio Vazquez, violin, Rittika Gambhir, bassoon, Nathaniel De la Cruz, double bass, and Rosa LoGiudice, piano, all based in Tempe, Arizona. The song cycle was premiered in a lecture recital on December 8, 2019 at Hammer and Strings Conservatory in Gilbert, AZ.
"The Soul Unto Itself" is a cycle of six songs based on poems of Emily Dickinson. The poems all have common themes of personal transformation achieved through the introspective observations of the poet. An unusual chamber ensemble was chosen to include instruments not commonly used in vocal chamber music in order to create a greater variety of musical colors and timbres. This project included the creation of the musical score, a live performance that was video recorded, and the research paper. This document discusses the process of working with the composer, rehearsing the music as it was being composed, and negotiating revisions necessary to make the music more effective in performance. Each song is discussed in detail, especially the connection between the music and poetry, the overall form of the song, revisions discussed and implemented, and important motivic relationships between the songs that unify the cycle. In summary, the process of collaborating with a composer is a rewarding experience for both the performers and the composer, as everyone is challenged to improve their craft and overcome obstacles to achieve a successful performance.
"The Soul Unto Itself," a chamber music song cycle, was commissioned by the author, Rosa LoGiudice, and composed by William Clay, a doctoral candidate in composition at Arizona State University. The cycle was conceived and composed in the summer and fall of 2019. The chamber ensemble was a sextet comprised of Megan Law, mezzo-soprano, Kristi Hanno, clarinet, Emilio Vazquez, violin, Rittika Gambhir, bassoon, Nathaniel De la Cruz, double bass, and Rosa LoGiudice, piano, all based in Tempe, Arizona. The song cycle was premiered in a lecture recital on December 8, 2019 at Hammer and Strings Conservatory in Gilbert, AZ.
"The Soul Unto Itself" is a cycle of six songs based on poems of Emily Dickinson. The poems all have common themes of personal transformation achieved through the introspective observations of the poet. An unusual chamber ensemble was chosen to include instruments not commonly used in vocal chamber music in order to create a greater variety of musical colors and timbres. This project included the creation of the musical score, a live performance that was video recorded, and the research paper. This document discusses the process of working with the composer, rehearsing the music as it was being composed, and negotiating revisions necessary to make the music more effective in performance. Each song is discussed in detail, especially the connection between the music and poetry, the overall form of the song, revisions discussed and implemented, and important motivic relationships between the songs that unify the cycle. In summary, the process of collaborating with a composer is a rewarding experience for both the performers and the composer, as everyone is challenged to improve their craft and overcome obstacles to achieve a successful performance.
ContributorsLoGiudice, Rosa Mia (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2020
Description
Education plays a key role throughout many different fields of study. My question has to do with not what we are learning, but how we are learning it, therefore focusing more on the teaching and instructional design aspect of the learning process. Specifically, the goal of my thesis is to theoretically define collaborative learning and develop a framework that demonstrates how collaboration and interactivity can be successfully implemented in a language learning classroom. Language learning is essential in schools because it enables students to be culturally aware. According to the Modern Language Teachers' Association of South Australia, language learning plays a significant role in 21st Century learning. It assists students in being more community engaged as well as culturally diverse. They state that "knowing additional languages and cultures involves connecting, engaging, and interacting with others and negotiating boundaries based on diverse ways of understanding the world." (MLTASA) Collaboration can be very beneficial in the human learning process. According to Webb, students that collaborate with each other engage in challenging conversations and produce joint solutions whereas students that don't collaborate engage in conversation about practical rather than abstract matters (Webb, 2009). The success of collaboration is defined by the content of the dialog, groups won't necessarily engage in beneficial dialogue without help and facilitation by the teacher. It's important for teachers to keep groups on task and monitor their progress throughout the lesson. Through collaborative learning the student is able to take more from the lesson and view each concept from an alternate perspective. With teacher facilitated group discussions, students preform knowledge construction and challenge individual thoughts in order to come up with a joint solution that's takes everyone's point of view into perspective (Nastasi, 1999). Many researchers have concluded that collaborative learning, is a very beneficial learning method when it comes to challenging thoughts and concepts between students. Because each individual has a different thought process and ideas, each student brings a different concept that can be challenged and discussed among the group. Many researchers have previously studied the benefits of collaborative learning as well as the teacher's role in correctly facilitating and implementing it. Webb, highlights the importance of teachers actively pushing students to collaborate and challenge ideas. She states "In classrooms in which teachers pushed students to make explicit the steps in their mental processes (whether students' answers and strategies were correct or incorrect), collaborative groups engaged in frequent explaining and provided explanations that were correct and complete" (Webb, 2009, pg.18). Similarly, researchers such as Rijkje Dekker and Marianne Elshout-Mohr argue that collaboration in classrooms is especially important in terms of the type of work that is assigned. Assignments that require collaboration generally go more in depth and are considered more challenging than those given in individual assignments "Collaborative learning tasks are in general designed as complex, challenging and authentic problems. Such problems motivate students to attempt different strategies and co-construct and justify solutions" (Elshout-Mohr and Dekker, 2000, pg.40). Collaboration in language learning classrooms is beneficial and quite easy to implement (Elshout-Mohr and Dekker, 2000).
ContributorsAhmad, Nshwah Khalil (Author) / Wylie, Ruth (Thesis director) / Li, Na (Committee member) / School of Human Evolution and Social Change (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05