Matching Items (7)
Filtering by
- All Subjects: Brains
- All Subjects: Classical Music
- Creators: Feisst, Sabine
- Creators: Rahman, Qasim
- Status: Published
Description
Since the early 1990's, researchers have been looking at intersections between education and music. After a highly popular study correlating listening to Mozart to temporary increases in spatial reasoning, many other researchers tried to find a link between different musical genres and learning outcomes. Using three musical treatments (Pop, classical, silence), this study had subjects (N=34) complete a reading-based task whereupon they were tested on their comprehension. Using a suite of sensors, data was collected to analyze the participants' emotions and affect while they read from an educational psychology textbook. The present study has two major focuses: They detail whether (1) changes in musical condition affect learning outcomes and (2) whether changes in musical condition affect emotional outcomes. The popular conception that listening to classical music makes you smarter was proven false long ago, but there may actually be some merit to using music to assist one in studying. While there were no significant changes in test scores depending on musical condition; frustration levels were significantly lower for those who listened to classical instead of pop music.
ContributorsPaley, Benjamin Henry (Author) / Atkinson, Robert (Thesis director) / Feisst, Sabine (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / T. Denny Sanford School of Social and Family Dynamics (Contributor)
Created2015-05
Description
Motor behavior is prone to variable conditions and deviates further in disorders affecting the nervous system. A combination of environmental and neural factors impacts the amount of uncertainty. Although the influence of these factors on estimating endpoint positions have been examined, the role of limb configuration on endpoint variability has been mostly ignored. Characterizing the influence of arm configuration (i.e. intrinsic factors) would allow greater comprehension of sensorimotor integration and assist in interpreting exaggerated movement variability in patients. In this study, subjects were placed in a 3-D virtual reality environment and were asked to move from a starting position to one of three targets in the frontal plane with and without visual feedback of the moving limb. The alternating of visual feedback during trials increased uncertainty between the planning and execution phases. The starting limb configurations, adducted and abducted, were varied in separate blocks. Arm configurations were setup by rotating along the shoulder-hand axis to maintain endpoint position. The investigation hypothesized: 1) patterns of endpoint variability of movements would be dependent upon the starting arm configuration and 2) any differences observed would be more apparent in conditions that withheld visual feedback. The results indicated that there were differences in endpoint variability between arm configurations in both visual conditions, but differences in variability increased when visual feedback was withheld. Overall this suggests that in the presence of visual feedback, planning of movements in 3D space mostly uses coordinates that are arm configuration independent. On the other hand, without visual feedback, planning of movements in 3D space relies substantially on intrinsic coordinates.
ContributorsRahman, Qasim (Author) / Buneo, Christopher (Thesis director) / Helms Tillery, Stephen (Committee member) / Barrett, The Honors College (Contributor) / Harrington Bioengineering Program (Contributor)
Created2014-05
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 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
Motor behavior is prone to variable conditions and deviates further in disorders affecting the nervous system. A combination of environmental and neural factors impacts the amount of uncertainty. Although the influence of these factors on estimating endpoint positions have been examined, the role of limb configuration on endpoint variability has been mostly ignored. Characterizing the influence of arm configuration (i.e. intrinsic factors) would allow greater comprehension of sensorimotor integration and assist in interpreting exaggerated movement variability in patients. In this study, subjects were placed in a 3-D virtual reality environment and were asked to move from a starting position to one of three targets in the frontal plane with and without visual feedback of the moving limb. The alternating of visual feedback during trials increased uncertainty between the planning and execution phases. The starting limb configurations, adducted and abducted, were varied in separate blocks. Arm configurations were setup by rotating along the shoulder-hand axis to maintain endpoint position. The investigation hypothesized: 1) patterns of endpoint variability of movements would be dependent upon the starting arm configuration and 2) any differences observed would be more apparent in conditions that withheld visual feedback. The results indicated that there were differences in endpoint variability between arm configurations in both visual conditions, but differences in variability increased when visual feedback was withheld. Overall this suggests that in the presence of visual feedback, planning of movements in 3D space mostly uses coordinates that are arm configuration independent. On the other hand, without visual feedback, planning of movements in 3D space relies substantially on intrinsic coordinates.
ContributorsRahman, Qasim (Author) / Buneo, Christopher (Thesis director) / Helms Tillery, Stephen (Committee member) / Barrett, The Honors College (Contributor) / Harrington Bioengineering Program (Contributor)
Created2014-05
Description
Recent work in free-recall tasks suggest that human memory foraging may follow a Lévy flight distribution – a random walk procedure that is common in other activities of cognitive agents, such as animal and human food foraging. This study attempts to draw parallels between memory search and physical search, with the assumption that humans follow similar search patterns in both. To date, research merely equates the two processes (foraging in memory and the physical world) based on a similarity in statistical structure. This study starts with demonstrating a relationship between physical distance traveled and IRIs by having participants list countries. An IRI, inter-retrieval interval, is the time interval between items recalled. The next experiment uses multidimensional scaling (MDS) to derive a Euclidean perceptual space from similarity ratings of freely-recalled items and then maps the trajectory of human thought through this perceptual space. This trajectory can offer a much more compelling comparison to physical foraging behavior. Finally, a possible correlate of Lévy flight foraging is explored called critical slowing down. Statistically significant evidence was found in all three experiments. The discussion connects all three experiments and what their results mean for human memory foraging.
ContributorsGreer, Katharine Marie (Author) / Amazeen, Eric L. (Thesis director) / Glenberg, Arthur (Committee member) / Amazeen, Polemnia (Committee member) / Department of Psychology (Contributor) / School of Criminology and Criminal Justice (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
This paper is the culmination of my creative project for graduation from Barrett, the Honors College at Arizona State University. The creative portion of the project consisted of researching Québécois (or French-Canadian) composers and specifically finding music for flute and piano. I wished to find pieces that could prove valuable in expanding the standard flute repertoire. My goal with this project was to shed light on some fairly unknown and certainly under-played pieces for flute and piano by French-Canadian composers and learn those pieces for my senior recital on March 2, 2020. This summary of the research experience and the process of recital preparation is intended to be a guide for flutists who may work on these pieces in the future and musicians on any instrument who take on a similar project of introducing new pieces to their instrument’s existing repertory.
ContributorsRule, Renee Rejane (Author) / Buck, Elizabeth (Thesis director) / Feisst, Sabine (Committee member) / Dean, W.P. Carey School of Business (Contributor) / School of Music (Contributor) / Department of English (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-05