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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 "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.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
Deconvolution of noisy data is an ill-posed problem, and requires some form of regularization to stabilize its solution. Tikhonov regularization is the most common method used, but it depends on the choice of a regularization parameter λ which must generally be estimated using one of several common methods. These methods can be computationally intensive, so I consider their behavior when only a portion of the sampled data is used. I show that the results of these methods converge as the sampling resolution increases, and use this to suggest a method of downsampling to estimate λ. I then present numerical results showing that this method can be feasible, and propose future avenues of inquiry.
ContributorsHansen, Jakob Kristian (Author) / Renaut, Rosemary (Thesis director) / Cochran, Douglas (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / Economics Program in CLAS (Contributor) / School of Mathematical and Statistical Sciences (Contributor)
Created2015-05
Description
Fifty years ago, we embarked on a journey for the first time in all of history \u2014 an exploration of the final frontier: outer space. Now, having been to the moon and back, we are still exploring the unknown. In the 21st century, we have pioneered genetic cloning and made other unprecedented biotechnological advances. Similarly, artists have ventured into their own frontier, branching out of their own narrowly defined areas and breaking down barriers \u2014 barriers between art and science, between the concert hall and the outdoors, between manmade instruments and the sounds of nature. At first glance, it seems that music and science have little in common. But upon closer inspection, one will discover that there are similarities and intersections between these two fields that deserve attention. Interest in the correlation between music and science can be traced back at least as far as Ancient Greece; since Pythagoras, mathematicians, physicists, acousticians and many others have addressed connections between the two fields in manifold ways. It is becoming increasingly obvious that art and science are not at the opposite ends of the spectrum, where conventional wisdom has traditionally located them, but at the opposite sides of the same coin. In my thesis, I seek to explore the connections between music and the sciences by examining the field of acoustic ecology. I will first provide an overview of music as an interdisciplinary field. Then I will undertake two case studies of musicians whose endeavors have been significant to the field of acoustic ecology, and consider the benefits that can be drawn from their work. These artists are David Dunn and Andrea Polli. I will draw on their philosophy, writings and art as well as on secondary literature. I will take a philosophical approach to the intersections between the two areas and identify heretofore little explored aspects of the interdisciplinary potential of these two fields.
ContributorsChou, Cecilia (Author) / Feisst, Sabine (Thesis director) / Hackbarth, Glenn (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Human Evolution and Social Change (Contributor) / School of Music (Contributor)
Created2014-05
Description
Bee communities form the keystone of many ecosystems through their pollination services. They are dynamic and often subject to significant changes due to several different factors such as climate, urban development, and other anthropogenic disturbances. As a result, the world has been experiencing a decline in bee diversity and abundance, which can have detrimental effects in the ecosystems they inhabit. One of the largest factors that impacts bees in today's world is the rapid urbanization of our planet, and it impacts the bee community in mixed ways. Not very much is understood about the bee communities that exist in urban habitats, but as urbanization is inevitably going to continue, knowledge on bee communities will need to strengthen. This study aims to determine the levels of variance in bee communities, considering multiple variables that bee communities can differ in. The following three questions are posed: do bee communities that are spatially separated differ significantly? Do bee communities that are separated by seasons differ significantly? Do bee communities that are separated temporally (by year, interannually) differ significantly? The procedure to conduct this experiment consists of netting and trapping bees at two sites at various times using the same methods. The data is then statistically analyzed for differences in abundance, richness, diversity, and species composition. After performing the various statistical analyses, it has been discovered that bee communities that are spatially separated, seasonally separated, or interannually separated do not differ significantly when it comes to abundance and richness. Spatially separated bee communities and interannually separated bee communities show a moderate level of dissimilarity in their species composition, while seasonally separated bee communities show a greater level of dissimilarity in species composition. Finally, seasonally separated bee communities demonstrate the greatest disparity of bee diversity, while interannually separated bee communities show the least disparity of bee diversity. This study was conducted over the time span of two years, and while the levels of variance of an urban area between these variables were determined, further variance studies of greater length or larger areas should be conducted to increase the currently limited knowledge of bee communities in urban areas. Additional studies on precipitation amounts and their effects on bee communities should be conducted, and studies from other regions should be taken into consideration while attempting to understand what is likely the most environmentally significant group of insects.
ContributorsPhan, James Thien (Author) / Sweat, Ken (Thesis director) / Foltz-Sweat, Jennifer (Committee member) / School of Music (Contributor) / School of Molecular Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Many forms of programmable matter have been proposed for various tasks. We use an abstract model of self-organizing particle systems for programmable matter which could be used for a variety of applications, including smart paint and coating materials for engineering or programmable cells for medical uses. Previous research using this model has focused on shape formation and other spatial configuration problems, including line formation, compression, and coating. In this work we study foundational computational tasks that exceed the capabilities of the individual constant memory particles described by the model. These tasks represent new ways to use these self-organizing systems, which, in conjunction with previous shape and configuration work, make the systems useful for a wider variety of tasks. We present an implementation of a counter using a line of particles, which makes it possible for the line of particles to count to and store values much larger than their individual capacities. We then present an algorithm that takes a matrix and a vector as input and then sets up and uses a rectangular block of particles to compute the matrix-vector multiplication. This setup also utilizes the counter implementation to store the resulting vector from the matrix-vector multiplication. Operations such as counting and matrix multiplication can leverage the distributed and dynamic nature of the self-organizing system to be more efficient and adaptable than on traditional linear computing hardware. Such computational tools also give the systems more power to make complex decisions when adapting to new situations or to analyze the data they collect, reducing reliance on a central controller for setup and output processing. Finally, we demonstrate an application of similar types of computations with self-organizing systems to image processing, with an implementation of an image edge detection algorithm.
ContributorsPorter, Alexandra Marie (Author) / Richa, Andrea (Thesis director) / Xue, Guoliang (Committee member) / School of Music (Contributor) / Computer Science and Engineering Program (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
This research project dug into mathematics in music, exploring the various ways a number series was used in the 20th century to create musical compositions. The Fibonacci Series (FS) is an infinite number series that is created by taking the two previous numbers to create the next, excluding 0 and 1 at the very start of the series. As the numbers grow larger, the ratios between the numbers of the FS approach the value of another mathematical concept known as the Golden Mean (GM). The GM is so closely related to the series that it is used interchangeably in terms of proportions and overall structure of musical pieces. This is similar to how both the FS and GM are found in aspects of nature, like to all too well-known conch shell spiral.
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.
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.
ContributorsFerry, Courtney (Author) / Knowles, Kristina (Thesis director) / Buck, Nancy (Committee member) / School of Music (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12