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- Creators: Arizona State University
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ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
The physical environment influences the physiology, psychology, and the societal interactions of those who experience it. The environment can also influence human behavior. Critical care nurses are in constant interaction with the physical environment surrounding their patients. High acuity ICU patients are vulnerable and at risk for harm, infection, and poor outcomes while the physical and cognitive workload of nurses presents a demanding and continuous challenge.
The goal of this qualitative study was to explore and understand the way critical care nurses navigate within the patient room and interact with its features. The study of critical care nurses interacting with the patient room environment was conducted in five critical care units at three tertiary care institutions in the Eastern United States, along with another unit in the pilot study at a community hospital in the Southwest United States. Nurses were observed in their typical work environment as they performed normal tasks and patient care activities for entire day and night shifts. The study involved ethnographic field observations, individual semi-structured participant interviews, and examination of photographs and floor plans.
The exploratory study resulted in a comprehensive model for nurse navigation that includes both cognitive and action components, along with a conceptual framework for nurse behavioral activity. Repetitive patterns of nurse movement were identified and named. The findings produced recommendations for nurses’ effective use of space and architectural design of ICU patient rooms to improve patient outcomes.
The goal of this qualitative study was to explore and understand the way critical care nurses navigate within the patient room and interact with its features. The study of critical care nurses interacting with the patient room environment was conducted in five critical care units at three tertiary care institutions in the Eastern United States, along with another unit in the pilot study at a community hospital in the Southwest United States. Nurses were observed in their typical work environment as they performed normal tasks and patient care activities for entire day and night shifts. The study involved ethnographic field observations, individual semi-structured participant interviews, and examination of photographs and floor plans.
The exploratory study resulted in a comprehensive model for nurse navigation that includes both cognitive and action components, along with a conceptual framework for nurse behavioral activity. Repetitive patterns of nurse movement were identified and named. The findings produced recommendations for nurses’ effective use of space and architectural design of ICU patient rooms to improve patient outcomes.
ContributorsHamilton, D. Kirk (Author) / Lamb, Gerri (Thesis advisor) / Fleury, Julie (Committee member) / Gurses, Ayse (Committee member) / Arizona State University (Publisher)
Created2017
Description
This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
ContributorsZhang, Dongfang (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
Louis Hector Berlioz (1803-1869) was a pioneer of 19th century Romanticism in France. In the mid-19th century, he broke the traditional mold by connecting poetry and music through French song. This development transformed French song from the simple and structured Romance of the 18th century into the structural freedom of what he established as the a Mélodie. His song cycle Les nuits d’été, op 7 was composed first for voice and piano in 1841 and later arranged for voice and orchestra in 1856. After the 1856 orchestral version was completed, Les nuits d’été received greater recognition than it had from its original scoring for voice and piano.
This paper examines three major aspects to Les nuits d’été. First, it will discuss the reasons why Berlioz re-scored the work for orchestra and transposed the vocal part for various voice types in this later orchestral version. Second, it examines the difference between musical interactions in these two versions by comparing the existing scores of each version with its respective accompaniment based on Berlioz's use of word painting. Finally, this paper provides the author's original transcription of Les nuits d’été in a version for voice and piano that incorporates the later orchestral versions which were not included in the original version for voice and piano.
This paper examines three major aspects to Les nuits d’été. First, it will discuss the reasons why Berlioz re-scored the work for orchestra and transposed the vocal part for various voice types in this later orchestral version. Second, it examines the difference between musical interactions in these two versions by comparing the existing scores of each version with its respective accompaniment based on Berlioz's use of word painting. Finally, this paper provides the author's original transcription of Les nuits d’été in a version for voice and piano that incorporates the later orchestral versions which were not included in the original version for voice and piano.
ContributorsSeol, Yeojin (Author) / Campbell, Andrew (Thesis advisor) / Britton, David (Committee member) / Ryan, Russell (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
"Play less and listen more" is the prevailing wisdom whenever two musical
partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems.
However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry.
The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic.
partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems.
However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry.
The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic.
ContributorsSmith, Brad (Author) / Campbell, Andrew (Thesis advisor) / Kopta, Anne (Committee member) / Oldani, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
A lot of strides have been made in enabling technologies to aid individuals with visual impairment live an independent life. The advent of smart devices and participatory web has especially facilitated the possibility of new interactions to aide everyday tasks. Current systems however tend to be complex and require multiple cumbersome devices which invariably come with steep learning curves. Building new cyber-human systems with simple integrated interfaces while keeping in mind the specific requirements of the target users would help alleviate their mundane yet significant daily needs. Navigation is one such significant need that forms an integral part of everyday life and is one of the areas where individuals with visual impairment face the most discomfort. There is little technology out there to help travelers with navigating new routes. A number of research prototypes have been proposed but none of them are available to the general population. This may be due to the need for special equipment that needs expertise before deployment, or trained professionals needing to calibrate devices or because of the fact that the systems are just not scalable. Another area that needs assistance is the field of education. Lot of the classroom material and textbook material is not readily available in alternate formats for use. Another such area that requires attention is information delivery in the age of web 2.0. Popular websites like Facebook, Amazon, etc are designed with sighted people as target audience. While the mobile editions with their pared down versions make it easier to navigate with screen readers, the truth remains that there is still a long way to go in making such websites truly accessible.
ContributorsPaladugu, Devi Archana (Author) / Li, Baoxin (Thesis advisor) / Hedgpeth, Terri (Committee member) / Atkinson, Robert (Committee member) / Walker, Erin (Committee member) / Arizona State University (Publisher)
Created2016
Description
The exponential rise in unmanned aerial vehicles has necessitated the need for accurate pose estimation under any extreme conditions. Visual Odometry (VO) is the estimation of position and orientation of a vehicle based on analysis of a sequence of images captured from a camera mounted on it. VO offers a cheap and relatively accurate alternative to conventional odometry techniques like wheel odometry, inertial measurement systems and global positioning system (GPS). This thesis implements and analyzes the performance of a two camera based VO called Stereo based visual odometry (SVO) in presence of various deterrent factors like shadows, extremely bright outdoors, wet conditions etc... To allow the implementation of VO on any generic vehicle, a discussion on porting of the VO algorithm to android handsets is presented too. The SVO is implemented in three steps. In the first step, a dense disparity map for a scene is computed. To achieve this we utilize sum of absolute differences technique for stereo matching on rectified and pre-filtered stereo frames. Epipolar geometry is used to simplify the matching problem. The second step involves feature detection and temporal matching. Feature detection is carried out by Harris corner detector. These features are matched between two consecutive frames using the Lucas-Kanade feature tracker. The 3D co-ordinates of these matched set of features are computed from the disparity map obtained from the first step and are mapped into each other by a translation and a rotation. The rotation and translation is computed using least squares minimization with the aid of Singular Value Decomposition. Random Sample Consensus (RANSAC) is used for outlier detection. This comprises the third step. The accuracy of the algorithm is quantified based on the final position error, which is the difference between the final position computed by the SVO algorithm and the final ground truth position as obtained from the GPS. The SVO showed an error of around 1% under normal conditions for a path length of 60 m and around 3% in bright conditions for a path length of 130 m. The algorithm suffered in presence of shadows and vibrations, with errors of around 15% and path lengths of 20 m and 100 m respectively.
ContributorsDhar, Anchit (Author) / Saripalli, Srikanth (Thesis advisor) / Li, Baoxin (Committee member) / Papandreou-Suppappola, Antonia (Committee member) / Arizona State University (Publisher)
Created2010