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"EP \u2014 Kyan Palmer" is a compilation of three songs, "Hit List," "Queen Cobra," and "Burn Mona Lisa" all written and recorded by Barrett student, Kyan Palmer. The project explores the process involved in creating recorded music and exposes the vulnerability and self-reflection in writing a song. The following depicts

"EP \u2014 Kyan Palmer" is a compilation of three songs, "Hit List," "Queen Cobra," and "Burn Mona Lisa" all written and recorded by Barrett student, Kyan Palmer. The project explores the process involved in creating recorded music and exposes the vulnerability and self-reflection in writing a song. The following depicts the thought process that came about in the creation of each song from the lyrics, to the vocals, to the production. This paper depicts a journal-like writing style outlining the various events that took place while creating EP \u2014 Kyan Palmer. The bulk of this Thesis/Creative Project was the written, produced, and recorded music attached in the appendix. With that said, the following document is intended to be reflective rather than scholarly and acts as an accompaniment to the audio recordings and video entries.
ContributorsPalmer, Kyan (Author) / Swoboda, Deanna (Thesis director) / Tobias, Evan (Committee member) / W. P. Carey School of Business (Contributor) / School of Music (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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Description
This creative project includes a self-reflection, four original compositions by Drew Hensley, and supplementary song commentaries. The self-reflection section of the project contains an extensive look into how Hensley's musical experiences and upbringing influenced his song writing process and compositional voice. Specifically, the piece analyzes how Hensley's gravitation to jazz

This creative project includes a self-reflection, four original compositions by Drew Hensley, and supplementary song commentaries. The self-reflection section of the project contains an extensive look into how Hensley's musical experiences and upbringing influenced his song writing process and compositional voice. Specifically, the piece analyzes how Hensley's gravitation to jazz music and musical styles of various cultures influenced the chord structures, rhythms, and melodies in his pop compositions. The track list for the project includes "Do It Anyway," "Puppeteer," "You Really Kind of Suck at Love," and "Drag You Down." Each piece includes lyrics and composed sheet music for vocals and instruments including guitar, piano, bass, and violin. The pieces were supplemented with commentaries describing specific inspirations for both the lyrics and music. "Do It Anyway" discusses Hensley's decision to pursue music and takes inspiration from classic American jazz melodies and Latin jazz rhythms. "Puppeteer" addresses the complexities of control through the metaphor strings. The piece pulls inspiration from the double harmonic scale often associated with Arabic music. "You Really Kind Of Suck At Love" addresses a break up through expertly placed humor and sarcasm. The piece is a new take on the standard 12 bar blues song form. "Drag You Down" tells of Hensley's personal struggles in music using thoroughly developed metaphors and chord progressions native to American rock music of the 1990's and 2000's. Together, the work will be recorded as an Extended Play entitled Do It Anyway. Hensley plans move to Los Angeles, California and use the recordings to pursue a career in pop music performance.
ContributorsHensley, Andrew Michael (Author) / McAdams, Charity (Thesis director) / Bhattacharjya, Nilanjana (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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Description

The distinctions between the neural resources supporting speech and music comprehension have long been studied using contexts like aphasia and amusia, and neuroimaging in control subjects. While many models have emerged to describe the different networks uniquely recruited in response to speech and music stimuli, there are still many questions,

The distinctions between the neural resources supporting speech and music comprehension have long been studied using contexts like aphasia and amusia, and neuroimaging in control subjects. While many models have emerged to describe the different networks uniquely recruited in response to speech and music stimuli, there are still many questions, especially regarding left-hemispheric strokes that disrupt typical speech-processing brain networks, and how musical training might affect the brain networks recruited for speech after a stroke. Thus, our study aims to explore some questions related to the above topics. We collected task-based functional MRI data from 12 subjects who previously experienced a left-hemispheric stroke. Subjects listened to blocks of spoken sentences and novel piano melodies during scanning to examine the differences in brain activations in response to speech and music. We hypothesized that speech stimuli would activate right frontal regions, and music stimuli would activate the right superior temporal regions more than speech (both findings not seen in previous studies of control subjects), as a result of functional changes in the brain, following the left-hemispheric stroke and particularly the loss of functionality in the left temporal lobe. We also hypothesized that the music stimuli would cause a stronger activation in right temporal cortex for participants who have had musical training than those who have not. Our results indicate that speech stimuli compared to rest activated the anterior superior temporal gyrus bilaterally and activated the right inferior frontal lobe. Music stimuli compared to rest did not activate the brain bilaterally, but rather only activated the right middle temporal gyrus. When the group analysis was performed with music experience as a covariate, we found that musical training did not affect activations to music stimuli specifically, but there was greater right hemisphere activation in several regions in response to speech stimuli as a function of more years of musical training. The results of the study agree with our hypotheses regarding the functional changes in the brain, but they conflict with our hypothesis about musical expertise. Overall, the study has generated interesting starting points for further explorations of how musical neural resources may be recruited for speech processing after damage to typical language networks.

ContributorsKarthigeyan, Vishnu R (Author) / Rogalsky, Corianne (Thesis director) / Daliri, Ayoub (Committee member) / Harrington Bioengineering Program (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Electronic dance music (EDM) is a broad genre of music that, after gaining popularity, quickly became stigmatized. This study aimed to examine stigma associations of electronic dance music with substance abuse, cult-like devotion, and the inauthenticity of EDM fans. Further, this study intended to examine the positive aspects of tolerance,

Electronic dance music (EDM) is a broad genre of music that, after gaining popularity, quickly became stigmatized. This study aimed to examine stigma associations of electronic dance music with substance abuse, cult-like devotion, and the inauthenticity of EDM fans. Further, this study intended to examine the positive aspects of tolerance, inclusivity, and authenticity associated with the electronic dance community. An online survey composed of 12 questions was administered to 876 students. The survey data was then analyzed and compared to the information gathered through a literature review. The major findings suggest that, when compared to other genres, there is a level of accuracy to the association of electronic dance music events with substance abuse, but not cult-like devotion or inauthenticity. The findings also suggest that there is no less inclusivity nor authenticity experienced at electronic dance music events compared to other genres. Another major finding is that the negative associations of electronic dance music were shared more often by those who have never attended such events. However, the positive associations were shared more often by those who have attended such events. These findings suggest that experiencing an electronic dance music event for oneself is important to understand the true nature of such events, for they have been shown to engender positive social values such as tolerance, inclusivity, and authenticity.

ContributorsWilliams, Jamie Lee Dawn Harvey (Author) / Becker, David Vaughn (Thesis director) / Mae, Lynda (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

This thesis examines the theological significance and use of chant in the Divine Liturgy of Saint Chrysostom, in both Eastern Orthodoxy and Eastern Catholicism. An overview of the Liturgy and its chant is given while examining contemporary and historical practices. Finally, this paper also offers an overview of trends and

This thesis examines the theological significance and use of chant in the Divine Liturgy of Saint Chrysostom, in both Eastern Orthodoxy and Eastern Catholicism. An overview of the Liturgy and its chant is given while examining contemporary and historical practices. Finally, this paper also offers an overview of trends and practices used by Eastern Christian faithful in the United States.

ContributorsEslava, Martin Hans (Author) / Fossum, David (Thesis director) / Bruhn, Karen (Committee member) / School of Life Sciences (Contributor) / School of Music, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description

A collection of comedy rap songs.

ContributorsBenson, Nathan (Author) / Espinosa, Micha (Thesis director) / Reyes, Guillermo (Committee member) / Barrett, The Honors College (Contributor) / Department of Finance (Contributor)
Created2022-05
Description

A collection of comedy rap songs.

ContributorsBenson, Nathan (Author) / Espinosa, Micha (Thesis director) / Reyes, Guillermo (Committee member) / Barrett, The Honors College (Contributor) / Department of Finance (Contributor)
Created2022-05
Description

A collection of comedy rap songs.

ContributorsBenson, Nathan (Author) / Espinosa, Micha (Thesis director) / Reyes, Guillermo (Committee member) / Barrett, The Honors College (Contributor) / Department of Finance (Contributor)
Created2022-05
Description
In my path through both the academic and the professional music world, I have realized that violinists traditionally operate in a very limited role when it comes to pop music. Rarely are string players integral to a song, and rarely are they allowed to indulge in creativity or improvisation. This

In my path through both the academic and the professional music world, I have realized that violinists traditionally operate in a very limited role when it comes to pop music. Rarely are string players integral to a song, and rarely are they allowed to indulge in creativity or improvisation. This three-track EP explores the various roles and functions that both the violin and the 21st-century violinist can have, beyond the stereotypical string pads in ballads and non-rhythmic, chordal accompaniment. The first track explores the violin providing chordal and rhythmic foundation of a song, containing only vocals and a midi bass as non-violin elements. The second track investigates the importance of production skills and strings providing the melody for a groove based up-tempo electronic drop. The final track is a more traditional yet accessible composition for piano and string quartet, inspired by the work of Ólafur Arnalds and Max Richter, potentially viable for modern dance choreography. The process of writing, recording, and producing this EP served as my first legitimate foray into the professional songwriting world. It is a testament to my battle with, and a temporary victory over, toxic perfectionism. This is an affliction that befalls creators of all trades: the crippling fear of putting out something less than perfect resulting in nothing being put out at all. Finally, I have put something out, something I am solely responsible for, that represent my original creative work. This EP seeks to set a blueprint for the capabilities of modern string playing and modern string players often neglected in the modern popular music sphere. It is the culmination of all I have learned as a musician, technically, professionally, and emotionally.
ContributorsHerbst, Felix Benjamin (Author) / McLin, Katherine (Thesis director) / Peña, Samuel (Committee member) / School of Music (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12
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Description
Runaway i​s the 34 minute short film released alongside Kanye West’s “My Beautiful Dark Twisted Fantasy” album in 2010. The overall purpose of my project is to conduct a descriptive analysis of this film to analyze its visual messages and how they are influenced by the album’s lyrics as well.

Runaway i​s the 34 minute short film released alongside Kanye West’s “My Beautiful Dark Twisted Fantasy” album in 2010. The overall purpose of my project is to conduct a descriptive analysis of this film to analyze its visual messages and how they are influenced by the album’s lyrics as well. To dissect ​Runaway,​ I researched multiple perspectives of the film to further inform and provide a holistic view of the decoded messages in addition to my own analysis. Through use of the Stuart-Hall encoding and decoding model, I found multiple meanings for respective sections of ​Runaway​ and ultimately constructed a narrative path mirroring that of the album.
ContributorsBezawada, Ajay K (Author) / Ingram-Waters, Mary (Thesis director) / Chris, Lambert (Committee member) / Travis, Bean (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05