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- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
Labyrinths is my Capstone/Honors Creative Project, blending my proclivity for music composition and the inspiring stories of Jorge Luis Borges. Originally, the project was outlined as a collection of five to eight songs named for and based on stories in Borges' collection Labyrinths, to be written, recorded, and performed by me. Over time other aspects were included, making me a director of a large-scale creative project which now included three other musicians and two artists. In this paper, I give a brief overview of Borges' life and the context surrounding his collection Labyrinths, an in-depth description of the project as a whole, liner notes for each song, credits, and three appendices. The liner notes are broken into four sections: a summary of the story, an analysis of the story and my interpretation of it (including my musical ideas for the resulting song), an effects list, and performance notes which include the text I read from each story in the performance and recordings. The first appendix is a collection of the sheet music scores for each song and the text document I used for the performance readings. The second appendix shows the art I was given permission to use, and how I modified them for my thesis. The third appendix contains my primary sources, secondary sources/suggested readings, and suggested websites and videos. Attached are the recordings of each song I made in Logic Pro 9, a video of the live performance, and an unedited audio recording of the same performance.
ContributorsVidean, Matthew Cutter (Author) / Stauffer, Sandra (Thesis director) / Feisst, Sabine (Committee member) / Downey, Ryan (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of International Letters and Cultures (Contributor)
Created2014-12
Description
Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
This thesis explores my experience in teaching a high school music class through composition. I detail pedagogical approaches that helped to shape my lesson planning including constructivism, informal learning, and project based learning. The music education theory is put into action in a real high school setting and I explain what happened: what worked, what didn't, and what can we learn from this?
ContributorsWhelihan, Brian Peter (Author) / Tobias, Evan (Thesis director) / Schildkret, David (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-05
Description
E-Strings Academy (www.estringsacademy.wordpress.com) is a resource website intended for the beginning violinist, violist, cellist, and bassist. The mission of the website is to extend musical learning opportunities to students outside of the physical string classroom and to engage first-year string students in musical activities at home that supplement the instruction they receive in a school setting. The current website features five different areas for students to explore: lesson videos, tunes, listening activities, games, and resources. In each area, students have the opportunity to learn and reinforce musical concepts and skill sets that they will need in order to be successful in music, both in their first year of playing and beyond. I created E-Strings Academy with the intention that I use it with my own string students in my future teaching career. It is a flexible website that I will continue to revise, adapt, and enhance to best serve the needs of my students and enrich their musical learning outside of the classroom.
ContributorsCook, Christa Marie (Author) / Schmidt, Margaret (Thesis director) / Tobias, Evan (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05
Description
Theory Jam is a series of online, education videos that teach music theory in a fun, engaging way. Our project is a response to the growing need for successful online education content. It incorporates strategies for creating effective educational video content and engages with contemporary debates in the field of music theory surrounding the purpose of a music theory education.
ContributorsCannatelli, Joshua Bryce (Co-author) / Daval, Charles Joseph (Co-author) / Miller, April (Thesis director) / Scott, Jason (Committee member) / Tobias, Evan (Committee member) / Department of English (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
In light of the intensifying environmental, social, and economic challenges facing the world, sustainable development is more necessary than ever. Approaching sustainability problems through Asset-Based Community Development (ABCD) programs involving music is unconventional, but holds potential for grand results. An examination of various existing community development projects, from the Playing for Change Foundation to the Arizona State University Barrett Choir, shows that music-related activities are highly effective at fostering community development. Once a foundation of community connectedness is created, other issues such as social injustices or natural disasters can be more effectively addressed and overcome. Music and other fine arts can contribute, in a variety of ways, to the health of communities. This should be recognized and utilized in the pursuit of sustainable community development to preserve the health of the planet and its inhabitants.
ContributorsPaonessa, Carlotta Colleen (Author) / Schildkret, David (Thesis director) / Manuel-Navarrete, David (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Sustainability (Contributor)
Created2014-05
Description
A previous study demonstrated that learning to lift an object is context-based and that in the presence of both the memory and visual cues, the acquired sensorimotor memory to manipulate an object in one context interferes with the performance of the same task in presence of visual information about a different context (Fu et al, 2012).
The purpose of this study is to know whether the primary motor cortex (M1) plays a role in the sensorimotor memory. It was hypothesized that temporary disruption of the M1 following the learning to minimize a tilt using a ‘L’ shaped object would negatively affect the retention of sensorimotor memory and thus reduce interference between the memory acquired in one context and the visual cues to perform the same task in a different context.
Significant findings were shown in blocks 1, 2, and 4. In block 3, subjects displayed insignificant amount of learning. However, it cannot be concluded that there is full interference in block 3. Therefore, looked into 3 effects in statistical analysis: the main effects of the blocks, the main effects of the trials, and the effects of the blocks and trials combined. From the block effects, there is a p-value of 0.001, and from the trial effects, the p-value is less than 0.001. Both of these effects indicate that there is learning occurring. However, when looking at the blocks * trials effects, we see a p-value of 0.002 < 0.05 indicating significant interaction between sensorimotor memories. Based on the results that were found, there is a presence of interference in all the blocks but not enough to justify the use of TMS in order to reduce interference because there is a partial reduction of interference from the control experiment. It is evident that the time delay might be the issue between context switches. By reducing the time delay between block 2 and 3 from 10 minutes to 5 minutes, I will hope to see significant learning to occur from the first trial to the second trial.
The purpose of this study is to know whether the primary motor cortex (M1) plays a role in the sensorimotor memory. It was hypothesized that temporary disruption of the M1 following the learning to minimize a tilt using a ‘L’ shaped object would negatively affect the retention of sensorimotor memory and thus reduce interference between the memory acquired in one context and the visual cues to perform the same task in a different context.
Significant findings were shown in blocks 1, 2, and 4. In block 3, subjects displayed insignificant amount of learning. However, it cannot be concluded that there is full interference in block 3. Therefore, looked into 3 effects in statistical analysis: the main effects of the blocks, the main effects of the trials, and the effects of the blocks and trials combined. From the block effects, there is a p-value of 0.001, and from the trial effects, the p-value is less than 0.001. Both of these effects indicate that there is learning occurring. However, when looking at the blocks * trials effects, we see a p-value of 0.002 < 0.05 indicating significant interaction between sensorimotor memories. Based on the results that were found, there is a presence of interference in all the blocks but not enough to justify the use of TMS in order to reduce interference because there is a partial reduction of interference from the control experiment. It is evident that the time delay might be the issue between context switches. By reducing the time delay between block 2 and 3 from 10 minutes to 5 minutes, I will hope to see significant learning to occur from the first trial to the second trial.
ContributorsHasan, Salman Bashir (Author) / Santello, Marco (Thesis director) / Kleim, Jeffrey (Committee member) / Helms Tillery, Stephen (Committee member) / Barrett, The Honors College (Contributor) / W. P. Carey School of Business (Contributor) / Harrington Bioengineering Program (Contributor)
Created2014-05
DescriptionThis written work is accompanied by an audio CD and accompanying design and packaging materials, on file at the Barrett Thesis Library. The work details the process of recording an original audio CD and developing a marketing plan, including the building of a personal brand, strategies, tactics, and environment analysis.
ContributorsHoal, Lauren Elizabeth (Author) / Russell, Timothy (Thesis director) / Eaton, John (Committee member) / Rigsby, Clarke (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor) / Department of Finance (Contributor)
Created2013-05
Description
Brain-computer interface technology establishes communication between the brain and a computer, allowing users to control devices, machines, or virtual objects using their thoughts. This study investigates optimal conditions to facilitate learning to operate this interface. It compares two biofeedback methods, which dictate the relationship between brain activity and the movement of a virtual ball in a target-hitting task. Preliminary results indicate that a method in which the position of the virtual object directly relates to the amplitude of brain signals is most conducive to success. In addition, this research explores learning in the context of neural signals during training with a BCI task. Specifically, it investigates whether subjects can adapt to parameters of the interface without guidance. This experiment prompts subjects to modulate brain signals spectrally, spatially, and temporally, as well differentially to discriminate between two different targets. However, subjects are not given knowledge regarding these desired changes, nor are they given instruction on how to move the virtual ball. Preliminary analysis of signal trends suggests that some successful participants are able to adapt brain wave activity in certain pre-specified locations and frequency bands over time in order to achieve control. Future studies will further explore these phenomena, and future BCI projects will be advised by these methods, which will give insight into the creation of more intuitive and reliable BCI technology.
ContributorsLancaster, Jenessa Mae (Co-author) / Appavu, Brian (Co-author) / Wahnoun, Remy (Co-author, Committee member) / Helms Tillery, Stephen (Thesis director) / Barrett, The Honors College (Contributor) / Harrington Bioengineering Program (Contributor) / Department of Psychology (Contributor)
Created2014-05
Description
Biofeedback music is the integration of physiological signals with audible sound for aesthetic considerations, which an individual’s mental status corresponds to musical output. This project looks into how sounds can be drawn from the meditative and attentive states of the brain using the MindWave Mobile EEG biosensor from NeuroSky. With the MindWave and an Arduino microcontroller processor, sonic output is attained by inputting the data collected by the MindWave, and in real time, outputting code that deciphers it into user constructed sound output. The input is scaled from values 0 to 100, measuring the ‘attentive’ state of the mind by observing alpha waves, and distributing this information to the microcontroller. The output of sound comes from sourcing this into the Musical Instrument Shield and varying the musical tonality with different chords and delay of the notes. The manipulation of alpha states highlights the control or lack thereof for the performer and touches on the question of how much control over the output there really is, much like the experimentalist Alvin Lucier displayed with his concepts in brainwave music.
ContributorsQuach, Andrew Duc (Author) / Helms Tillery, Stephen (Thesis director) / Feisst, Sabine (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Harrington Bioengineering Program (Contributor)
Created2014-05