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- Creators: Campbell, Andrew
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
This research is focused on two separate but related topics. The first uses an electroencephalographic (EEG) brain-computer interface (BCI) to explore the phenomenon of motor learning transfer. The second takes a closer look at the EEG-BCI itself and tests an alternate way of mapping EEG signals into machine commands. We test whether motor learning transfer is more related to use of shared neural structures between imagery and motor execution or to more generalized cognitive factors. Using an EEG-BCI, we train one group of participants to control the movements of a cursor using embodied motor imagery. A second group is trained to control the cursor using abstract motor imagery. A third control group practices moving the cursor using an arm and finger on a touch screen. We hypothesized that if motor learning transfer is related to the use of shared neural structures then the embodied motor imagery group would show more learning transfer than the abstract imaging group. If, on the other hand, motor learning transfer results from more general cognitive processes, then the abstract motor imagery group should also demonstrate motor learning transfer to the manual performance of the same task. Our findings support that motor learning transfer is due to the use of shared neural structures between imaging and motor execution of a task. The abstract group showed no motor learning transfer despite being better at EEG-BCI control than the embodied group. The fact that more participants were able to learn EEG-BCI control using abstract imagery suggests that abstract imagery may be more suitable for EEG-BCIs for some disabilities, while embodied imagery may be more suitable for others. In Part 2, EEG data collected in the above experiment was used to train an artificial neural network (ANN) to map EEG signals to machine commands. We found that our open-source ANN using spectrograms generated from SFFTs is fundamentally different and in some ways superior to Emotiv's proprietary method. Our use of novel combinations of existing technologies along with abstract and embodied imagery facilitates adaptive customization of EEG-BCI control to meet needs of individual users.
Contributorsda Silva, Flavio J. K (Author) / Mcbeath, Michael K (Thesis advisor) / Helms Tillery, Stephen (Committee member) / Presson, Clark (Committee member) / Sugar, Thomas (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Humans' ability to perform fine object and tool manipulation is a defining feature of their sensorimotor repertoire. How the central nervous system builds and maintains internal representations of such skilled hand-object interactions has attracted significant attention over the past three decades. Nevertheless, two major gaps exist: a) how digit positions and forces are coordinated during natural manipulation tasks, and b) what mechanisms underlie the formation and retention of internal representations of dexterous manipulation. This dissertation addresses these two questions through five experiments that are based on novel grip devices and experimental protocols. It was found that high-level representation of manipulation tasks can be learned in an effector-independent fashion. Specifically, when challenged by trial-to-trial variability in finger positions or using digits that were not previously engaged in learning the task, subjects could adjust finger forces to compensate for this variability, thus leading to consistent task performance. The results from a follow-up experiment conducted in a virtual reality environment indicate that haptic feedback is sufficient to implement the above coordination between digit position and forces. However, it was also found that the generalizability of a learned manipulation is limited across tasks. Specifically, when subjects learned to manipulate the same object across different contexts that require different motor output, interference was found at the time of switching contexts. Data from additional studies provide evidence for parallel learning processes, which are characterized by different rates of decay and learning. These experiments have provided important insight into the neural mechanisms underlying learning and control of object manipulation. The present findings have potential biomedical applications including brain-machine interfaces, rehabilitation of hand function, and prosthetics.
ContributorsFu, Qiushi (Author) / Santello, Marco (Thesis advisor) / Helms Tillery, Stephen (Committee member) / Buneo, Christopher (Committee member) / Santos, Veronica (Committee member) / Artemiadis, Panagiotis (Committee member) / Arizona State University (Publisher)
Created2013
Description
Reaching movements are subject to noise in both the planning and execution phases of movement production. Although the effects of these noise sources in estimating and/or controlling endpoint position have been examined in many studies, the independent effects of limb configuration on endpoint variability have been largely ignored. The present study investigated the effects of arm configuration on the interaction between planning noise and execution noise. Subjects performed reaching movements to three targets located in a frontal plane. At the starting position, subjects matched one of two desired arm configuration 'templates' namely "adducted" and "abducted". These arm configurations were obtained by rotations along the shoulder-hand axis, thereby maintaining endpoint position. Visual feedback of the hand was varied from trial to trial, thereby increasing uncertainty in movement planning and execution. It was hypothesized that 1) pattern of endpoint variability would be dependent on arm configuration and 2) that these differences would be most apparent in conditions without visual feedback. It was found that there were differences in endpoint variability between arm configurations in both visual conditions, but these differences were much larger when visual feedback was withheld. The overall results suggest that patterns of endpoint variability are highly dependent on arm configuration, particularly in the absence of visual feedback. This suggests that in the presence of vision, movement planning in 3D space is performed using coordinates that are largely arm configuration independent (i.e. extrinsic coordinates). In contrast, in the absence of vision, movement planning in 3D space reflects a substantial contribution of intrinsic coordinates.
ContributorsLakshmi Narayanan, Kishor (Author) / Buneo, Christopher (Thesis advisor) / Santello, Marco (Committee member) / Helms Tillery, Stephen (Committee member) / Arizona State University (Publisher)
Created2013
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Artistic trends of the mid-nineteenth century demonstrate the popularity of incorporating Asian elements into various artistic media. This paper discusses why the stereotypical Asian female provided an attractive character for operatic librettists, composers and audiences. To support the discussion, six operas from 1885 to 2010 are examined, and the dramatic and musical portrayal of representative female characters is discussed. The familiar character of Cio-cio-san from Giocamo Puccini's Madama Butterfly (1904) provides a foundation to discuss these stereotypical Asian female characteristics, specifically one archetype, that of the naïve, yet sexually desirable female. Prior to Cio-cio-san, Sir W. S. Gilbert and Sir Arthur Sullivan's Yum-Yum from The Mikado (1885), Iris of Pietro Mascagni's Iris (1898) exemplify this archetype, as does Liù from Puccini's Turandot (1924). At the other extreme is the icy, cold and bloodthirsty archetype found in the title role of Puccini's Turandot and Katisha from The Mikado. Chiang Ch'ing (also known as Madame Mao) from John Adams's Nixon in China (1987), and Madame White Snake from Chinese-American composer Zhou Long's Madame White Snake (2010) feature leading characters that demonstrate elements of both of these archetypes, and this combination of the two archetypes yields more complex and richer characters. These two extremes of the female Asian stereotype and the evolution of these characteristics provide an interesting outlook on the incorporation of non-Western musical styles into these operas, and the understanding of a Western perception of foreign peoples, especially foreign females.
ContributorsLo, Wan-Yi (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Committee member) / Kopta, Anne (Committee member) / Mills, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
The teaching of singing remained remarkably stable until, at the end of the twentieth century, advances in the understanding of voice science stimulated dramatic changes in approach to vocal pedagogy. Previously, the technology needed to accurately measure physiologic change within the larynx and breath-support musculature during the process of singing simply did not exist. Any prior application of scientific study to the voice was based primarily upon auditory evaluation, rather than objective data accumulation and assessment. After a centuries-long history, within a span of twenty years, vocal pedagogy evolved from an approach solely derived from subjective, auditory evidence to an application grounded in scientific data. By means of analysis of significant publications by Richard Miller, Robert Sataloff, and Ingo Titze, as well as articles from The Journal of Singing and The Journal of Voice, I establish a baseline of scientific knowledge and pedagogic practice ca. 1980. Analysis and comparison of a timeline of advancement in scientific insight and the discussion of science in pedagogical texts, 1980-2000, reveal the extent to which voice teachers have dramatically changed their method of instruction. I posit that voice pedagogy has undergone a fundamental change, from telling the student only what to do, via auditory demonstration and visual imagery, to validating with scientific data how and why students should change their vocal approach. The consequence of this dramatic pedagogic evolution has produced singers who comprehend more fully the science of their art.
ContributorsVelarde, Rachel (Author) / Doan, Jerry (Thesis advisor) / Campbell, Andrew (Committee member) / Solis, Theodore (Committee member) / Elgar Kopta, Anne (Committee member) / Britton, David (Committee member) / Arizona State University (Publisher)
Created2013
Description
Numerous orchestral reductions for piano are plagued by cumbersome passages that impede pianists from delivering phrases with flow and elegance. The vocal works of George Frideric Handel (1685–1759) and Richard Wagner (1813–1883) are among the more unwieldy of these. While arrangers of the piano vocal scores by these two composers admirably include as much orchestration as possible, their efforts often result in writing that is not idiomatic for the piano. The frustrating difficulties in the orchestral reductions of Handel’s “Empio, dirò, tu sei” (Giulio Cesare), his Messiah chorus “For unto us a child is born” as well as Wagner’s aria “Du bist der Lenz” (Die Walküre) all plead for a new, fresh arrangement for the working pianist. Concerning itself with the formation of one’s hands, stamina preservation, and the need to give proper support to the singers, this paper makes examples of these three pieces to document and justify the steps and techniques one may take to customize both these and any variety of orchestral reductions. With great emphasis on the methodology of rewriting operatic and choral orchestral reductions, this document presents newly arranged note–for–note piano vocal scores of the above arias and chorus. By customizing and rewriting complex scores, our partners benefit by singing above the identical accompaniment every time. It is the intent that the collaborative pianist can apply these methods to future rewrites, with the result of producing scores that are conducive to proper technique and flow.
ContributorsPeterman, Jeremy Patrick (Author) / Campbell, Andrew (Thesis advisor) / FitzPatrick, Carole (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
Humans are capable of transferring learning for anticipatory control of dexterous object manipulation despite changes in degrees-of-freedom (DoF), i.e., switching from lifting an object with two fingers to lifting the same object with three fingers. However, the role that tactile information plays in this transfer of learning is unknown. In this study, subjects lifted an L-shaped object with two fingers (2-DoF), and then lifted the object with three fingers (3-DoF). The subjects were divided into two groups--one group performed the task wearing a glove (to reduce tactile sensibility) upon the switch to 3-DoF (glove group), while the other group did not wear the glove (control group). Compensatory moment (torque) was used as a measure to determine how well the subject could minimize the tilt of the object following the switch from 2-DoF to 3-DoF. Upon the switch to 3-DoF, subjects wearing the glove generated a compensatory moment (Mcom) that had a significantly higher error than the average of the last five trials at the end of the 3-DoF block (p = 0.012), while the control subjects did not demonstrate a significant difference in Mcom. Additional effects of the reduction in tactile sensibility were: (1) the grip force for the group of subjects wearing the glove was significantly higher in the 3-DoF trials compared to the 2-DoF trials (p = 0.014), while the grip force of the control subjects was not significantly different; (2) the difference in centers of pressure between the thumb and fingers (ΔCoP) significantly increased in the 3-DoF block for the group of subjects wearing the glove, while the ΔCoP of the control subjects was not significantly different; (3) lastly, the control subjects demonstrated a greater increase in lift force than the group of subjects wearing the glove (though results were not significant). Combined together, these results suggest different force modulation strategies are used depending on the amount of tactile feedback that is available to the subject. Therefore, reduction of tactile sensibility has important effects on subjects' ability to transfer learned manipulation across different DoF contexts.
ContributorsGaw, Nathan (Author) / Helms Tillery, Stephen (Thesis advisor) / Santello, Marco (Committee member) / Kleim, Jeffrey (Committee member) / Arizona State University (Publisher)
Created2014