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Stravinsky for Guitar Quartet

Description

This project is an arrangement of three movements from Igor Stravinsky's most famous and beloved ballets for performance by classical guitar quartet. The movements arranged were "Augurs of Spring" from The Rite of Spring (1913), "Russian Dance" from Petrouchka (1911),

This project is an arrangement of three movements from Igor Stravinsky's most famous and beloved ballets for performance by classical guitar quartet. The movements arranged were "Augurs of Spring" from The Rite of Spring (1913), "Russian Dance" from Petrouchka (1911), and "Infernal Dance of All Kastchei's Subjects" from The Firebird (1910). Because the appeal of this music is largely based on the exciting rhythms and interesting harmonies, these works translate from full orchestra to guitar quite well. The arrangement process involved studying both the orchestral scores and Stravinsky's own piano reductions. The sheet music for these arrangements is accompanied by a written document which explains arrangement decisions and provides performance notes. Select movements from Stravinsky for Guitar Quartet were performed at concerts in Tempe, Glendale, Flagstaff, and Tucson throughout April 2016. The suite was performed in its entirety in the Organ Hall at the ASU School of Music on April 26th 2016 at the Guitar Ensembles Concert as well as on April 27th 2016 at Katie Sample's senior recital. A recording of the April 27th performance accompanies the sheet music and arrangement/performance notes.

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2016-05

Biofeedback Music: A Junction of Music and Neurosignals

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

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.

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Date Created
2014-05

Making It In a "Dead" Industry: The Importance of Innovation and Adaptability in the Music Business

Description

The music business has constantly evolved since its inception. Sheet music was the first physical form of music sold and was influenced by innovations in printing technology. Recorded music came about in the late 1800s and early 1900s, with Thomas

The music business has constantly evolved since its inception. Sheet music was the first physical form of music sold and was influenced by innovations in printing technology. Recorded music came about in the late 1800s and early 1900s, with Thomas Edison pioneering the phonograph record. Technology shifted from records to 8-tracks to cassettes, and finally, digital audio, which revolutionized the entire industry. Compact discs (CDs) skyrocketed in popularity during the 1990s and early 2000s, but so did file-sharing. To combat piracy, record labels began selling and streaming music online. Music sales have plummeted in all formats. Streaming reigns as the most popular form of music distribution, but it produces a mere fraction of the revenue traditional albums once did. The loss affects all those in the industry, especially the artists, who see an average of only $23.40 for every $1000 in music sold. But technology has allowed the independent artist to record and distribute their music to the world for little cost compared to their major label predecessors. Many wonder if the music industry is dead, but as with any other technological change in history, the adaptors and innovators will survive.

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Date Created
2015-05

Labyrinths

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

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.

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2014-12

Once On This Island - An Exploration of Nontraditional Casting

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

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.

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2014-12

EP - Kyan Palmer

Description

"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

"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.

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2016-05

Methodology for Inexpensively Creating, Recording, and Producing Studio-Quality Original Music

Description

Due to increasing lack of resources and funding for budding student musicians, it is often not possible for this demographic to create, record, and produce their original music in the same high-budget studio environment in which music has been traditionally

Due to increasing lack of resources and funding for budding student musicians, it is often not possible for this demographic to create, record, and produce their original music in the same high-budget studio environment in which music has been traditionally made. The objective of this project is to explore alternatives which are more accessible to young independent musicians and reveal the most cost-efficient routes to obtain a high-quality result. To make this comparison, the group created budget recordings of their original music in a bedroom in true DIY fashion, and then recorded the same songs in a professional music studio using the best music and recording equipment available. The DIY recordings were mixed and mastered by the group members themselves, as well as separately by a professional audio engineer. The studio recordings were also mixed and mastered by a professional audio engineer, resulting in three final products with varying costs and quality. Ultimately, the group found that without mixing and mastering experience, it is very difficult to achieve high quality results. With the same budget recorded tracks, the group found that quality of the final product vastly increased when a professional audio engineer mixed and mastered the tracks. As far as the quality of the result, the studio recorded tracks were by far the best. Not only was the quality of the sounds from the high-end music and recording equipment much higher, the band had more freedom to be creative without the responsibility of simultaneously serving as recording engineers as was the case in the low budget recordings. The group concluded that this project was highly successful and demonstrated that high quality results could be obtained on a budget. The DIY recording techniques used in this project prove that independent musicians without access to expensive equipment and resources can still produce high quality music at the cost of more effort to serve as audio engineers in addition to musicians. However, recording in a studio with the help of a producer and professional audio engineers affords creative freedom and an increase in sound quality that is simply not possible to reproduce without the equipment and expertise that money can buy.

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2018-05

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The Recording and Marketing Development of an Original CD

Description

This 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.

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Date Created
2013-05

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Freewheelin': The American Counterculture in Museums

Description

Freewheelin': The American Counterculture in Museums is the first study to explore American museums that collect artifacts from the counterculture era at length. Examining institutions whose specialized collections and histories represent the recent, dynamic social movements of the mid-twentieth century

Freewheelin': The American Counterculture in Museums is the first study to explore American museums that collect artifacts from the counterculture era at length. Examining institutions whose specialized collections and histories represent the recent, dynamic social movements of the mid-twentieth century begets particular institutional challenges and extraordinary opportunities; both factors causing the evolution of some American history museums into premier social history centers. I have focused on four institutions for research: the Beat Museum, the GLBT History Museum, the Rock and Roll Hall of Fame, and the Museum of Sex. The analysis of each organization contains a brief account of the history they strive to preserve, a case study of their professional operations, and objective recommendations. Ultimately through researching the four selected institutions and museum studies at large, it was determined that certain collective features are propelling a paradigm shift in modern American history museums.

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2012-12

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Musical Guidance towards Immortality by the Greek Muses by Inspiring Awareness of Being-in-the-World as Understood through the Philosophy of Martin Heidegger

Description

For the ancient Greeks, music not only was esteemed for its social and entertaining value, but also because it reflected the beauty of the gods and their creations. Music furthermore “embodied larger universal principles and served as a vehicle for

For the ancient Greeks, music not only was esteemed for its social and entertaining value, but also because it reflected the beauty of the gods and their creations. Music furthermore “embodied larger universal principles and served as a vehicle for higher understanding.” According to Lippmann, the ancients believed that the universe “contains a harmony that controls both spatial and temporal phenomena” and “we can come to know the divine order of harmony more readily in ourselves than in the external world.” Gaining self-knowledge and awareness of one’s place in the world are significant and music is a means of gaining this consciousness. Ancient Greeks believed that music was inspired by the Greek goddesses known as the Muses. In this paper, I argue that, by gifting humans with divinely inspired music, the Muses help humans achieve this mindfulness of one‟s place in the world and attain immortality.

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2012-12