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Among Georg Philipp Telemann’s most-performed works is his setting of Psalm 117 (Psalm 116, Vulgate), Laudate Jehovam, TWV 7:25. There are three sources; Telemann’s autograph score (heavily marked and corrected by Telemann’s grandson, Georg Michael), a contemporary set of parts by a copyist, and another set of parts by Georg Michael Telemann based on his corrections to the autograph score. There are currently at least seven editions of this work readily available, none of which fully agrees with the autograph manuscript or original parts. The editions also differ substantially from one another: for example, two of them are in a different key from the others. This clearly points to the need for a new edition.
Further, the additions and corrections by Georg Michael Telemann are interesting. These fall into several categories: changes made to correct errors or clarify ambiguities in Georg Philipp Telemann’s original, changes made to reflect performance practice that Georg Philipp might have assumed but that were no longer customary in Georg Michael’s time, adjustments to melody and rhythm that may reflect Georg Michael’s personal taste and preference, and the addition of parts for oboe and viola, along with significant changes to the second violin part that suggest that Georg Michael’s version was intended for performance by a chorus and orchestra, whereas Georg Philipp’s original could be performed as a chamber work, with one singer and instrumentalist per part, or by a larger ensemble.
A discussion of the piece, along with scores of both the original version and Georg Michael’s version, provides both scholars and performers with greater insight into this brief but significant work.
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.
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.
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.