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- Member of: Theses and Dissertations
- Status: Published
Motor learning is the process of improving task execution according to some measure of performance. This can be divided into skill learning, a model-free process, and adaptation, a model-based process. Prior studies have indicated that adaptation results from two complementary learning systems with parallel organization. This report attempted to answer the question of whether a similar interaction leads to savings, a model-free process that is described as faster relearning when experiencing something familiar. This was tested in a two-week reaching task conducted on a robotic arm capable of perturbing movements. The task was designed so that the two sessions differed in their history of errors. By measuring the change in the learning rate, the savings was determined at various points. The results showed that the history of errors successfully modulated savings. Thus, this supports the notion that the two complementary systems interact to develop savings. Additionally, this report was part of a larger study that will explore the organizational structure of the complementary systems as well as the neural basis of this motor learning.
The FS in music was used in a variety of ways throughout the 20th century, primarily focusing on durations and overall structure in its use. Examples of this are found in Béla Bartók’s Music for Strings, Percussion, and Celeste (1936), Allegro barbaro (1911), Karlheinz Stockhausen’s Klavierstück IX (1955), and Luigi Nono’s il canto sospeso (1955). These works are analyzed in detail within my research, and I found every example to have a natural feel to them even if its use of the FS is carefully planned out by the composer. Bartók’s works are the least precise of my examples but perhaps the most natural ones. This imprecision in composition may be considered a more natural use of the FS in music, since nature is not always perfect either. However, in works such as Stockhausen’s, the structure is meticulously formatted in such that the precision is masked by a cycle as to appear more natural.
The conclusion of my research was a commissioned work for my instrument, the viola. I provided my research to composer Jacob Miller Smith, a DMA Music Composition student at ASU, and together we built the framework for the piece he wrote for me. We utilized the life cycle of the Black-Eyed Susan, a flower that uses the FS in its number of petals. The life cycle of a flower is in seven parts, so the piece was written to have seven separate sections in a palindrome within an overall ABA’ format. To utilize the FS, Smith used Fibonacci number durations for rests between notes, note/gesture groupings, and a mapping of 12358 as the set (01247). I worked with Smith during the process to make sure that the piece was technically suitable for my capabilities and the instrument, and I premiered the work in my defense.
The Fibonacci Series and Golden Mean in music provides a natural feel to the music it is present in, even if it is carefully planned out by the composer. More work is still to be done to develop the FS’s use in music, but the examples presented in this project lay down a framework for it to take a natural place in music composition.