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The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them

The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them separately in a music studio, then mixed them together into one recording. This document focuses on the critical investigation and description of the piece with a brief theoretical analysis, a discussion of performance difficulties, and guitar preparation. The composer approved the use and the scope of this project. Bryan Johanson is one of the leading contemporary composers for the guitar today. 13 Ways of Looking at 12 Strings is a unique guitar dictionary that takes us from Bach to Hendrix and highlights the unique capabilities of the instrument. It utilizes encoded messages, glass slides, metal mutes, explosive "riffs," rhythmic propulsion, improvisation, percussion, fugual writing, and much more. It has a great potential to make the classical guitar attractive to wider audiences, not limited only to guitarists and musicians. The main resources employed in researching this document are existing recordings of Johanson's other compositions and documentation of his personal views and ideas. This written document uses the composer's prolific and eclectic compositional output in order to draw conclusions and trace motifs. This project is a significant and original contribution in expanding the guitar's repertoire, and it uniquely contributes to bringing forth a significant piece of music.
ContributorsSavic, Nenad (Author) / Koonce, Frank (Thesis advisor) / Rotaru, Catalin (Committee member) / McLin, Katherine (Committee member) / Feisst, Sabine (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
Description

The aim of this project was to create an original sound design and score for the ASU SOMDT production of HEDDATRON, by Elizabeth Meriwether. Composition and sound design was done primarily with a modular synthesizer. All audio editing was done in Reaper, and the cues were programmed in Qlab.

ContributorsJansen, Troy Sherk (Author) / Max, Bernstein (Thesis director) / Lance, Gharavi (Committee member) / School of Music, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Music has consistently been documented as a manner to bring people together across cultures throughout the world. In this research, we propose that people use similar musical taste as a strong sign of potential social connection. To investigate this notion, we draw on literature examining how music merges the public/private

Music has consistently been documented as a manner to bring people together across cultures throughout the world. In this research, we propose that people use similar musical taste as a strong sign of potential social connection. To investigate this notion, we draw on literature examining how music merges the public/private self, the link to personality, and group identity, as well as how it is linked to romantic relationships. Thus, music can be a tool when wanting to get to know someone else and/or forge a platonic relationship. To test this hypothesis, we designed an experiment comparing music relative to another commonality (sharing a sports team in common) to see which factor is stronger in triggering an online social connection. We argue that people believe they have more in common with someone who shares similar music taste compared to other commonalities. We discuss implications for marketers on music streaming platforms.

ContributorsDrambarean, Julianna Rose (Co-author) / Simmons, Logan (Co-author) / Samper, Adriana (Thesis director) / Martin, Nathan (Committee member) / Department of Marketing (Contributor) / Watts College of Public Service & Community Solut (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Music has consistently been documented as a manner to bring people together across cultures throughout the world. In this research, we propose that people use similar musical tastes as a strong sign of potential social connection. To investigate this notion, we draw on literature examining how music merges the public/private

Music has consistently been documented as a manner to bring people together across cultures throughout the world. In this research, we propose that people use similar musical tastes as a strong sign of potential social connection. To investigate this notion, we draw on literature examining how music merges the public/private self, the link to personality, and group identity, as well as how it is linked to romantic relationships. Thus, music can be a tool when wanting to get to know someone else and/or forge a platonic relationship. To test this hypothesis, we designed an experiment comparing music relative to another commonality (sharing a sports team in common) to see which factor is stronger in triggering an online social connection. We argue that people believe they have more in common with someone who shares similar music taste compared to other commonalities. We discuss implications for marketers on music streaming platforms.

ContributorsSimmons, Logan Patrick (Co-author) / Drambarean, Julianna (Co-author) / Samper, Adriana (Thesis director) / Martin, Nathan (Committee member) / School of International Letters and Cultures (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description

The purpose of this creative project was to create a stereo sound system in a unique medium. As a team, we decided to integrate a Tesla Coil with a bluetooth audio source. These high frequency, high voltage systems can be configured to emit their electrical discharge in a manner that

The purpose of this creative project was to create a stereo sound system in a unique medium. As a team, we decided to integrate a Tesla Coil with a bluetooth audio source. These high frequency, high voltage systems can be configured to emit their electrical discharge in a manner that resembles playing tunes. Originally the idea was to split the audio into left and right, then to further segregate the signals to have a treble, mid, and base emitter for each side. Due to time, budget, and scope constraints, we decided to complete the project with only two coils.<br/><br/>For this project, the team decided to use a solid-state coil kit. This kit was purchased from OneTelsa and would help ensure everyone’s safety and the project’s success. The team developed our own interrupting or driving circuit through reverse-engineering the interrupter provided by oneTesla and discussing with other engineers. The custom interpreter was controlled by the PSoC5 LP and communicated with an audio source through the DFRobot Bluetooth module. Utilizing the left and right audio signals it can drive the two Tesla Coils in stereo to play the music.

ContributorsPinkowski, Olivia N (Co-author) / Hutcherson, Cree (Co-author) / Jordan, Shawn (Thesis director) / Sugar, Thomas (Committee member) / Engineering Programs (Contributor, Contributor) / College of Integrative Sciences and Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description

The purpose of this creative project was to create a stereo sound system in a unique medium. As a team, we decided to integrate a Tesla Coil with a bluetooth audio source. These high frequency, high voltage systems can be configured to emit their electrical discharge in a manner that

The purpose of this creative project was to create a stereo sound system in a unique medium. As a team, we decided to integrate a Tesla Coil with a bluetooth audio source. These high frequency, high voltage systems can be configured to emit their electrical discharge in a manner that resembles playing tunes. Originally the idea was to split the audio into left and right, then to further segregate the signals to have a treble, mid, and base emitter for each side. Due to time, budget, and scope constraints, we decided to complete the project with only two coils.<br/><br/>For this project, the team decided to use a solid-state coil kit. This kit was purchased from OneTelsa and would help ensure everyone’s safety and the project’s success. The team developed our own interrupting or driving circuit through reverse-engineering the interrupter provided by oneTesla and discussing with other engineers. The custom interpreter was controlled by the PSoC5 LP and communicated with an audio source through the DFRobot Bluetooth module. Utilizing the left and right audio signals it can drive the two Tesla Coils in stereo to play the music.

ContributorsHutcherson, Cree (Co-author) / Pinkowski, Olivia (Co-author) / Jordan, Shawn (Thesis director) / Sugar, Thomas (Committee member) / Engineering Programs (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Music streaming services have affected the music industry from both a financial and legal standpoint. Their current business model affects stakeholders such as artists, users, and investors. These services have been scrutinized recently for their imperfect royalty distribution model. Covid-19 has made these discussions even more relevant as touring income

Music streaming services have affected the music industry from both a financial and legal standpoint. Their current business model affects stakeholders such as artists, users, and investors. These services have been scrutinized recently for their imperfect royalty distribution model. Covid-19 has made these discussions even more relevant as touring income has come to a halt for musicians and the live entertainment industry. <br/>Under the current per-stream model, it is becoming exceedingly hard for artists to make a living off of streams. This forces artists to tour heavily as well as cut corners to create what is essentially “disposable art”. Rapidly releasing multiple projects a year has become the norm for many modern artists. This paper will examine the licensing framework, royalty payout issues, and propose a solution.

ContributorsKoudssi, Zakaria Corley (Author) / Sadusky, Brian (Thesis director) / Koretz, Lora (Committee member) / Dean, W.P. Carey School of Business (Contributor) / Department of Finance (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 study examined attitudes and perspectives of classroom guitar students toward the reading of staff notation in music. The purpose of this qualitative research was to reveal these perceptions in the student's own words, and compare them to those of orchestra and band students of comparable experience. Forty-seven students from

This study examined attitudes and perspectives of classroom guitar students toward the reading of staff notation in music. The purpose of this qualitative research was to reveal these perceptions in the student's own words, and compare them to those of orchestra and band students of comparable experience. Forty-seven students from four suburban middle and high schools on the east coast were selected through purposeful sampling techniques. Research instruments included a Musical Background Questionnaire and a thirty-five question Student Survey. Follow-up interviews were conducted with students to clarify or expound upon collected data. Guitar, orchestra, and band teachers were interviewed in order to provide their perspectives on the issues discussed. The Student Survey featured a five-point Likert-type scale, which measured how much students agreed or disagreed with various statements pertaining to their feelings about music, note-reading, or their class at school. Collected data were coded and used to calculate mean scores, standard deviations, and percentages of students in agreement or disagreement with each statement. Interviews were audio recorded and transcribed into a word processing document for analysis. The study found that while a variety of perspectives exist within a typical guitar class, some students do not find note-reading to be necessary for the types of music they desire to learn. Other findings included a perceived lack of relevance toward the classical elements of the guitar programs in the schools, a lack of educational consistency between classroom curricula and private lesson objectives, and the general description of the struggle some guitarists experience with staff notation. Implications of the collected data were discussed, along with recommendations for better engaging these students.
ContributorsWard, Stephen Michael (Author) / Koonce, Frank (Thesis advisor) / Schmidt, Margaret (Thesis advisor) / Buck, Nancy (Committee member) / Rogers, Rodney (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2011
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Description
ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; have much to offer students, teachers and

ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble &eacutetudes; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble &eacutetude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying &eacutetudes; in a group, this document introduces creative ways that works for violin ensemble can be used as both &eacutetudes; and performance pieces. The first two chapters explore the history and philosophy of the violin &eacutetude; and multiple-violin works, the practice of arranging of solo &eacutetudes; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble &eacutetude; study from solo &eacutetude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: &eacutetude; for Four Violins, with an explanation of the process and techniques used to create this ensemble &eacutetude.; This work is an example of the musical and technical integration essential to &eacutetude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble &eacutetudes; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble &eacutetudes; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.
ContributorsLundell, Eva Rachel (Contributor) / Swartz, Jonathan (Thesis advisor) / Rockmaker, Jody (Committee member) / Buck, Nancy (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011