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- Creators: School of Music
Description
This creative project explores the concept of how music is like a language and how, as a teacher, I plan to enforce this concept through my teaching. The aim of this project is to highlight the importance of completing research and acquiring knowledge of aspects, such as the composer's life, historical background and literary references, when learning a piece of music. Through this project, I address connections between the brain and music pertaining to memorization, the components of language, the similarities between language and music, the role of the teacher and the development of a "toolbox" of knowledge for studying a piece of music. I present my own research on Schumann's Novelette Op. 21, No. 8 in f-sharp minor as well as my own experiences of learning the piece to demonstrate an example of the process and discoveries I hope my students will make in their own studies of repertoire.
ContributorsLee, Kara Jia-Shan (Author) / Pagano, Caio (Thesis director) / Creviston, Hannah (Committee member) / Division of Teacher Preparation (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
"French Vanilla" is a collection of written narratives drawn from lived experiences which serve as the vehicle storytelling that I use to examine larger themes related to the intersections of race and gender. Themes include: binaries, legitimacy, intersectionality, biracial identity development (border identity construction), whiteness, shame, and crisis. While the narratives are situated within theoretical discourse, the narratives present a representation of the lived experience. These pieces engage members of my family as well as a number of figures, including Rachel Dolezal, President Barack Obama, Alicia Keys, and a stranger on a tram in an airport. My relationship with these people present the grounds for an interrogation of identity. This project asks the question: How does one negotiate biracial identity with herself and others through narrative performance? It engages theories, such as critical race theory, black feminist theory, and standpoint theory, which informed my understanding of the discourse of race and contextualized my commentary on race. These theories present a framework within which to situate my understanding and analysis of race through lived experience. Narrative performance, the formal methodology for this work, provides a structure for the performance itself: the ultimate end product. Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other's solo pieces and co-producers of Negotiations, in which we share these pieces in relationship to each other. Thus, Negotiations is not a showcase of three individual works, but rather a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices, and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other and to the whole. For this reason, we have chosen to cross-reference our thesis documents: French Vanilla: An Exploration of Biracial Identity Through Narrative Performance by Carly Bates; Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through "Dress in Something Plain and Dark" by Allyson Yoder; and Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora Communities by Raji Ganesan.
ContributorsBates, Carly Christopher (Author) / Davis, Olga Idriss (Thesis director) / de la Garza, Sarah Amira (Committee member) / Dove-Viebahn, Aviva (Committee member) / School of Music (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
DescriptionPanic at the Elbow: High School Baseball's Tommy John Surgery Epidemic reflects on the history of Tommy John surgery, examines the scale of the current epidemic, explores its underlying causes and ultimately recommends steps that parents and players can take to avoid such overuse injuries. Link to documentary: https://www.youtube.com/watch?v=31xvOCN_tqk
ContributorsMargiott, Benjamin James (Author) / Kurland, Brett (Thesis director) / Byck, Peter (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
My thesis project is a 26 minute 46 second film that documents the Arizona State hockey team's first season as an NCAA Division I program. ASU hockey was formerly a club team that competed in the American Collegiate Hockey Association (ACHA), but that all changed in the fall of 2014 after the program received a donation. The documentary explores the significance of the team, the emotion of the players and staff, and the results of the season.
ContributorsCasillas, Mauricio (Author) / Kurland, Brett (Thesis director) / Reed, Sada (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Each year, a select few minor league baseball players are chosen to attend the Arizona Fall League, a development league within Major League Baseball that hones the next generation of players, coaches, managers, and even umpires. These players make up the top talent currently in the minor leagues from each of Major League Baseball's 30 organizations. Of the thousands in the minors, just seven players from each organization can go to this extra six-week season, and learn to play alongside the best future talent the sport has to offer. On Deck: Inside the Arizona Fall League is a short documentary that looks at some of these players, as they continue their baseball journey that they hope leads them one day to the Majors. The documentary can be viewed online at https://youtu.be/jkggYiDtn14 or nicolesheraefox.com
ContributorsFox, Nicole Sherae (Author) / Lodato, Mark (Thesis director) / Kurland, Brett (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
While former New York Yankees pitcher Goose Gossage unleashed his tirade on the deterioration of the unwritten rules of baseball and nerds ruining the sport about halfway through my writing of the paper, sentiments like his were inspiration for my topic: the evolution of statistics and data in baseball. By telling the story of how baseball data and statistics have evolved, my goal was to also demonstrate how they have been intertwined since the beginning—which would essentially mean that nerds have always been ruining the sport (if you subscribe to that kind of thought).
In the quest to showcase this, it was necessary to document how baseball prospers from numbers and numbers prosper from baseball. The relationship between the two is mutualistic. Furthermore, an all-encompassing historical look at how data and statistics in baseball have matured was a critical portion of the paper. With a metric such as batting average going from a radical new measure that posed a threat to the status quo, to a fiercely cherished statistic that was suddenly being unseated by advanced analytics, it shows the creation of new and destruction of old has been incessant. Innovators like Pete Palmer, Dick Cramer and Bill James played a large role in this process in the 1980s. Computers aided their effort and when paired with the Internet, unleashed the ability to crunch data to an even larger sector of the population. The unveiling of Statcast at the commencement of the 2015 season showed just how much potential there is for measuring previously unquantifiable baseball acts.
Essentially, there will always be people who mourn the presence of data and statistics in baseball. Despite this, the evolution story indicates baseball and numbers will be intertwined into the future, likely to an even greater extent than ever before, as technology and new philosophies become increasingly integrated into front offices and clubhouses.
In the quest to showcase this, it was necessary to document how baseball prospers from numbers and numbers prosper from baseball. The relationship between the two is mutualistic. Furthermore, an all-encompassing historical look at how data and statistics in baseball have matured was a critical portion of the paper. With a metric such as batting average going from a radical new measure that posed a threat to the status quo, to a fiercely cherished statistic that was suddenly being unseated by advanced analytics, it shows the creation of new and destruction of old has been incessant. Innovators like Pete Palmer, Dick Cramer and Bill James played a large role in this process in the 1980s. Computers aided their effort and when paired with the Internet, unleashed the ability to crunch data to an even larger sector of the population. The unveiling of Statcast at the commencement of the 2015 season showed just how much potential there is for measuring previously unquantifiable baseball acts.
Essentially, there will always be people who mourn the presence of data and statistics in baseball. Despite this, the evolution story indicates baseball and numbers will be intertwined into the future, likely to an even greater extent than ever before, as technology and new philosophies become increasingly integrated into front offices and clubhouses.
ContributorsGarcia, Jacob Michael (Author) / Kurland, Brett (Thesis director) / Doig, Stephen (Committee member) / Jackson, Victoria (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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 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.
ContributorsDamiano, Alec (Author) / Swoboda, Deanna (Thesis director) / Whyte, Rutger (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor)
Created2015-05
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
We endeavored to begin the process of writing a musical. We composed a total of three songs, 30 pages of script (non-consecutive) with an outline summarizing the remaining uncompleted pages, seven character summaries/analyses, and a reflection on the process and next steps, and presented them in a “Producer Pitch” format to our readers. In our paper we discuss the birth of inspiration for Girls And Boys—namely philosophical conflicts about the role of biology vs. society in gender identity and real, local events of public districts reevaluating their sex education program—as well as the challenges we experienced during the process and our intentions for continued work towards the completion of the material. In our written script we span the opening of the show to the climax through sporadically completed scenes, with the outline serving to fill in the blanks. In our music, we composed three pieces—a solo ballad, an ensemble number, and an emotional trio—that we converted into an audio file format, and performed live for a small audience. Ultimately, we seek to use the elevated drama of a musical to convince the audience that empathy is the truest, ageless, and genderless expression of humanity.
ContributorsDoering, Emilie (Co-author) / Moylan, Megan (Co-author) / Yatso, Toby (Thesis director) / Mills, Robert (Committee member) / Harper, Robert (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / School of Politics and Global Studies (Contributor)
Created2015-05
Description
Rainbow Connection is an integrated choir with members on and off the autism spectrum. It was founded in the spring of 2012 by Barrett students Ali Friedman, Megan Howell, and Victoria Gilman as part of an honors thesis creative project. Rainbow Connection uses the rehearsal process and other creative endeavors to foster natural relationship building across social gaps. A process-oriented choir, Rainbow Connection's main goals concern the connections made throughout the experience rather than the final musical product. The authors believe that individual, non-hierarchical relationships are the keys to breaking down systemized gaps between identity groups and that music is an ideal facilitator for fostering such relationships. Rainbow Connection operates under the premise that, like colors in a rainbow, choir members create something beautiful not by melding into one homogenous group, but by collaboratively showcasing their individual gifts. This paper will highlight the basic premise and structure of Rainbow Connection, outline the process of enacting the choir, and describe the authors' personal reactions and takeaways from the project.
ContributorsFriedman, Alexandra (Co-author) / Gilman, Victoria (Co-author) / Howell, Megan (Co-author) / Rio, Robin (Thesis director) / Schildkret, David (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / School of Mathematical and Statistical Sciences (Contributor)
Created2014-12