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- Creators: Brown, Cassie Anne
- Creators: Department of Marketing
Description
Emotion recognition through facial expression plays a critical role in communication. Review of studies investigating individuals with traumatic brain injury (TBI) and emotion recognition indicates significantly poorer performance compared to controls. The purpose of the study was to determine the effects of different media presentation on emotion recognition in individuals with TBI, and if results differ depending on severity of TBI. Adults with and without TBI participated in the study and were assessed using the The Awareness of Social Inferences Test: Emotion Evaluation Test (TASIT:EET) and the Facial Expressions of Emotion-Stimuli and Tests (FEEST) The Ekman 60 Faces Test (E-60-FT). Results indicated that individuals with TBI perform significantly more poorly on emotion recognition tasks compared to age and education matched controls. Additionally, emotion recognition abilities greatly differ between mild and severe TBI groups, and TBI participants performed better with the static presentation compared to dynamic presentation.
ContributorsBrown, Cassie Anne (Author) / Wright, Heather H (Thesis advisor) / Stats-Caldwell, Denise (Committee member) / Ingram, Kelly (Committee member) / Arizona State University (Publisher)
Created2011
Description
This thesis explores virtuosity as it applies to the following five clarinet works: Grand Duo Concertant by Carl Maria von Weber, Solo de Concours by André Messager, Caprice by Anders Koppel, Live Wire by Theresa Martin, and The Bangui Anomaly by Eric Mandat. By detailing the clarinet’s development, including its creation in the early 18th century and key innovations over the next several hundred years, the histories of several key clarinet manufacturers are described to further analyze the innovation of music at the time. This background is necessary to understand the foundation of the clarinet and how virtuosity is tied closely to its mechanical development. Based on this fundamental information, virtuosity is comprised of three pillars: technical proficiency, musicianship, and recognition. In order for a piece or performer to be considered virtuosic, they must exemplify all three pillars. Technical proficiency applies to physically manipulating the instrument, including finger agility, articulation, voicing, dynamic and intonation control, among others. Musicianship further describes personal interpretation within stylistic boundaries, and the ability to implement interpretive judgement. Finally, recognition serves as esteemed acknowledgement from a panel of field critics. Accompanying this paper is a creative performance recording of the five aforementioned clarinet pieces, demonstrating virtuosity through a wide range of musical genres and eras.
ContributorsGraf, Selena (Author) / Gardner, Joshua (Thesis director) / Spring, Robert (Committee member) / School of Music (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05