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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

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.
ContributorsVidean, Matthew Cutter (Author) / Stauffer, Sandra (Thesis director) / Feisst, Sabine (Committee member) / Downey, Ryan (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of International Letters and Cultures (Contributor)
Created2014-12
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Description
In light of the intensifying environmental, social, and economic challenges facing the world, sustainable development is more necessary than ever. Approaching sustainability problems through Asset-Based Community Development (ABCD) programs involving music is unconventional, but holds potential for grand results. An examination of various existing community development projects, from the Playing

In light of the intensifying environmental, social, and economic challenges facing the world, sustainable development is more necessary than ever. Approaching sustainability problems through Asset-Based Community Development (ABCD) programs involving music is unconventional, but holds potential for grand results. An examination of various existing community development projects, from the Playing for Change Foundation to the Arizona State University Barrett Choir, shows that music-related activities are highly effective at fostering community development. Once a foundation of community connectedness is created, other issues such as social injustices or natural disasters can be more effectively addressed and overcome. Music and other fine arts can contribute, in a variety of ways, to the health of communities. This should be recognized and utilized in the pursuit of sustainable community development to preserve the health of the planet and its inhabitants.
ContributorsPaonessa, Carlotta Colleen (Author) / Schildkret, David (Thesis director) / Manuel-Navarrete, David (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Sustainability (Contributor)
Created2014-05
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DescriptionThis 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.
ContributorsHoal, Lauren Elizabeth (Author) / Russell, Timothy (Thesis director) / Eaton, John (Committee member) / Rigsby, Clarke (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor) / Department of Finance (Contributor)
Created2013-05
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 brain using the MindWave Mobile EEG biosensor from NeuroSky. With

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.
ContributorsQuach, Andrew Duc (Author) / Helms Tillery, Stephen (Thesis director) / Feisst, Sabine (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Harrington Bioengineering Program (Contributor)
Created2014-05
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), and "Infernal Dance of All Kastchei's Subjects" from The Firebird

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.
ContributorsSample, Katherine Elizabeth (Author) / Koonce, Frank (Thesis director) / Lake, Brendan (Committee member) / Herberger Institute for Design and the Arts (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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Description
In this paper I seek to understand how consumers value music today by investigating what consumers are willing to pay for digitally downloaded songs (such as the ones available on the iTunes or Amazon music stores) and the variety of factors that influence their willingness to pay. I conducted a

In this paper I seek to understand how consumers value music today by investigating what consumers are willing to pay for digitally downloaded songs (such as the ones available on the iTunes or Amazon music stores) and the variety of factors that influence their willingness to pay. I conducted a survey and received over 500 responses regarding willingness to pay for single-song downloads, consumer sentiment on whether music should be free, streaming service use, and other information pertaining to music consumption behavior. Through this research I found that paid-streamers are willing to pay more for songs than those who do not pay to stream, all else being equal. Further, Free-streamers are not willing to pay significantly more or less than non-streamers. This finding is additional information to other research that suggests streaming acts as a substitute for sales. I also found that most consumers are in the middle when it comes to the debate for whether music should always be free or always be purchased. Where someone aligns on the spectrum is a statistically significant contributing factor to what that person is willing to pay for a song. My findings also suggest that consumer preferences distinguish between benefit derived from music ownership and benefit derived from the ability to listen to music. This information sheds more light on the reason behind the declining digital download market.
ContributorsRodriguez, Stefan Daniel (Author) / Mandel, Naomi (Thesis director) / Veramendi, Gregory (Committee member) / Department of Economics (Contributor) / Department of Finance (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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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 higher understanding.” According to Lippmann, the ancients believed that the

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.
ContributorsSanders, Lauren (Author) / Norton, Kay (Thesis director) / Arena, Paul (Committee member) / Bruhn, Karen (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor)
Created2012-12
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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 begets particular institutional challenges and extraordinary opportunities; both factors causing

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.
ContributorsSenjamin, Willow (Author) / Fahlman, Betsy (Thesis director) / Codell, Julie (Committee member) / Susser, Deborah (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor)
Created2012-12
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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
Personal branding within the music industry has long fallen under the supervision of profit-centric major record labels, whose control extended throughout artist’s music, copyrights, merchandising, and fair-use compensation. This paper explores how artists’ branding has evolved within the recording industry alongside the development of emerging technologies and the discovery of

Personal branding within the music industry has long fallen under the supervision of profit-centric major record labels, whose control extended throughout artist’s music, copyrights, merchandising, and fair-use compensation. This paper explores how artists’ branding has evolved within the recording industry alongside the development of emerging technologies and the discovery of certain patterns in consumer behavior. Starting with an overarching exploration of the origins of commercialized music, this paper iterates how certain record labels ascended the corporate hierarchy to influence consumers’ accessible listening options. This understanding leads to an analysis of the inception of illegal file-sharing websites as an outlet for music distribution, as well as its long-lasting effects on industry distribution tactics and music streaming platforms. This paper then narrows to the origins of the rap industry, delving into the traditionally-rooted experiential celebrations that birthed such an impactful genre. Following an understanding of the history of the recording and rap industries, this paper identifies the modern music listener’s behaviors and choices, supplemented by an examination of how consumer social technologies have motivated these changes. To best understand the role of these evolving perceptions, this paper evaluates four successful rap artists - Chance the Rapper, Tekashi 6ix9ine, Lil Nas X, and Travis Scott - and determines the strategies employed by these individuals and their branding teams. Finally, in determining these strategies, this paper outlines the essential takeaways from this research that would aid in the advancement of an artist’s personal branding today.
ContributorsBoyle, Jared Devin (Co-author) / Schneider, Garrett (Co-author) / Giles, Charles (Thesis director) / Lisjak, Monika (Committee member) / School of Music (Contributor) / Department of Marketing (Contributor) / Department of Finance (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12