Matching Items (9)
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- All Subjects: Musical Composition
- Creators: Rockmaker, Jody
Description
Commitment to an activity is widely studied in leisure research. Serious Leisure Perspective (SLP) describes characteristics a committed activity participant possesses. The Psychological Continuum Model (PCM) describes the psychological process a person goes through to become committed to a leisure activity. Awareness, attraction, attachment and loyalty make of the four stages of PCM. Both perspectives have been used to describe committed leisure activity participants and commitment to organized recreational events. Research on leisure activity has yet to determine how the individual becomes loyal. Therefore, the purpose of this study is to determine the process in which recreation activity participates becomes loyal and to identify who can be labels as serious within the PCM Framework. Data was obtained from an online electronic survey distributed to participants of four U.S. marathon and half marathon events. A total of 579 responses were used in the final analysis. Path analysis determined the process in which a runner becomes committed. MANOVA is used to determine difference between leisure groups in the four stages of PCM. Results indicate that activity participants need to go through all four stages of PCM before becoming loyal. As knowledge increases, individuals are more motivated to participate. When the activity satisfies motives and becomes a reflection of their identity, feelings become stronger which results in loyalty. Socialization is instrumental to the progression through the PCM Framework. Additionally, attachment is the "bottleneck" in which all loyal activity participants my pass through. Differences exist between serious leisure groups in the attachment and loyalty stages. Those that are `less serious' are not as committed to the activity as their counterparts.
ContributorsMurphey, Elizabeth M (Author) / Lee, Woojin (Thesis advisor) / Hultsman, Wendy (Thesis advisor) / Larsen, Dale (Committee member) / Chisum, Jack (Committee member) / Arizona State University (Publisher)
Created2014
Description
From Marathon to Athens was inspired by the legend of Pheidippides, a Greek messenger who ran approximately twenty-six miles between the cities of Marathon and Athens in ancient Greece to deliver an important wartime message. According to the legend, he died shortly after completing the journey. The marathon races of today were inspired by his story, though it may be more myth than reality. There is a great deal of inherent drama in the undertaking of such a feat, whether it be a marathon or any other test of strength and endurance. There is the rush of adrenaline when it begins, followed by the excitement and exhilaration of the first few miles. Then, there is a period of settling in and finding a groove - when the runner realizes that there is a long way to go, but is determined to pace him or herself and stay strong. All too often, there is the "wall" that appears about three-quarters of the way through, when it seems that there is no strength left to finish the race. Finally, there is the final push to the finish line - where the runner decides that they are going to make it, in spite of fatigue, pain, or any other obstacle. In this piece, I used a simple melody that was very loosely modeled after a melody from ancient Greece (the tune inscribed on the Epitaph of Seikilos). I used both Phrygian and Dorian modes, which, according to Plato, were most appropriate for soldiers. Throughout the piece, I used different instruments, mostly percussion, to represent the heartbeat of the runner. In the legend, the runner dies - in the piece, the heartbeat becomes very fast and then rather erratic. It then slows and, finally, stops. Though I find the story of Pheidippides inspiring, I wish all marathon runners and athletes of every kind (myself included) a safer and happier outcome!
ContributorsOsteen-Petreshock, Kimberly (Composer) / Hackbarth, Glenn (Thesis advisor) / Rockmaker, Jody (Committee member) / Levy, Benjamin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2010
Description
The composition Fold is a multi-movement work for flute, clarinet, violin, violoncello, piano, and percussion. The music develops from one simple gesture that generates many variations. The gesture symbolizes a folding technique in origami, the pleat fold. The pleat gesture goes through many transformations and evolves into different musical ideas that carry various metaphorical meanings such as the concept of time, the devotion to craftsmanship, and the physical and mental deterioration of a person. The musical materials form a piece about the changing relationship between a craftsperson and their craft over the span of their creative life. Chinese ci poetry informs the structure of this piece on macro and micro levels. This document examines the compositional processes of Fold and explains how musical metaphors and cultural references are used in her creative output.
ContributorsWang, Ziyu (Author) / Rockmaker, Jody (Thesis advisor) / Navarro, Fernanda (Committee member) / Schmelz, Peter (Committee member) / Arizona State University (Publisher)
Created2022
Description
In a Mirror Dimly… is an autobiographical work that follows my mental development from my teen years into my mid-20s and offers a way forward into the future. First comes legalism: a canon, which represents a rule-based thought process. Next is freedom and individuality: indeterminate methods and textures. Finally, the piece concludes with unity and wholeness, using quoted and composed hymns in chorale settings. The conceptual content is taken from Hermann Hesse’s Siddhartha, a story of a Hindu man’s life through the development of his own ideology into Buddhism. He begins by following the rules of his faith obsessively, then he decides that the rules themselves don’t matter as much as the spirit behind them, and finally he begins to see the interconnectedness of nature through the flow of a river and gains a fuller picture of all that is. I have also included an anxiety motif which begins as an interruption or nuisance; it then takes over in the form of a panic attack but is quelled by a hymn: “Be Still My Soul,” with text written by Katharina von Schlegel set to the tune of Sibelius’ Finlandia. Finally, the anxiety is contained and molded to help the overall texture rather than disrupting it. The anxiety is never truly eradicated, but it is transformed.
ContributorsChesney, Jacob Andrew (Author) / Temple, Alex (Thesis advisor) / Bolanos, Gabriel (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2022
Description
Forget You’re Female focuses on stories of women pursuing engineering degrees and women in the field of engineering. The main character, Samantha (Sam), comes from a family of engineers and is unsure whether she wants to study engineering in college. In Opening-Decision, a university admissions counselor insists that Sam enters the engineering program. Sam expresses excitement for the degree in Engineer. However, she faces discrimination and microaggressions in First Class and Peers. These experiences lead her to seek a professor’s advice in Forget You’re Female. Jack’s Song explores the moment when a male student discovers overt sexism in a public part of the engineering building. Finally, in Graduation, Sam completes the degree and reflects on her experiences and potential longevity in the engineering field.
There are some staging instructions written into the score, however, lighting instructions are the only required element. Extras and props are optional but help convey the scene of each song. Projecting relevant footage or written descriptors is recommended in place of extras and props. If no extras are available, then spoken lines (male) need to be recorded and played back as indicated in the score.
ContributorsBush, Zachary Warren (Author) / Rockmaker, Jody (Thesis advisor) / Caslor, Jason (Committee member) / Temple, Alex (Committee member) / Arizona State University (Publisher)
Created2021
Description
There are as many different approaches to artistic collaboration theory as there are authors who have created them. This paper postulates that collaboration is a stage of the artistic co-creative group-work process. Theories of collaboration were examined to isolate verbiage used in various attempted definitions of artistic collaboration. Two theories were selected to serve as a joint model for the creation and maintenance of a collaboration stage during the artistic co-creative group-work process including a derived series of conditions required for a co-creative initial stage to qualify as collaboration. Those conditions were then applied to five collaborative situations to determine if each situation had established a collaboration stage, how that establishment occurred, if that collaborative atmosphere was maintained over the life of the co-creative process, how the presentational outcome of the group-work was affected by the presence or lack of a collaboration stage, and finally this collaborator’s general reactions to the process.
ContributorsBusch, Ashlee T (Author) / Bolanos, Gabriel (Thesis advisor) / Knowles, Kristina (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2021
Description
I have always aspired to compose a large-scale orchestral piece which would be more than 5 minutes in length, rich in harmony and colorfully orchestrated. Impressionism and music for Hollywood films have influenced my music style. I have tried to emulate the harmony, textures and melody development. In preparation for this project, and I analyzed La Mer, and the orchestral arrangement of Image by Debussy, The Planets by Gustav Holst, and a number of works by John Williams. Carnival Chaos by my advisor, Dr. Christopher Norby, in particular, inspired me. The culmination of my own efforts is Final Journey, a 9-minute work for full orchestra. I endeavored to mimic Debussy’s colors. The main theme mm. 1-5, is built on a non-functional major-minor seventh chord that creates tension through raised and lowered pitches. The treble woodwind sections follow with dramatic dynamic changes that contrast with the earlier melody. Echoes of this tune can be found throughout the piece, for instance in mm. 61-77 and 169-176. The whole tone scale perfectly creates a mysterious and vague soundscape. The interaction between parts in the woodwind sections at mm. 43-60 and 107-121 are reminiscent of Hollywood-style orchestral techniques. The process of creation is also a process of learning. I believe I finally achieved my original goals. These valuable experiences will be the basis as I continue my career.
ContributorsShangguan, Yuyao (Author) / Norby, Christopher (Thesis advisor) / Humphreys, Jere (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2021
Description
This paper is an in-depth analysis of the symphonic piece titled Subconsciousness for symphony orchestra that was composed during the summer of 2021. This document will explain the conceptual ideas and compositional processes involved in its creation. This document was written as a resource for musicians, music theorist, composers, and public interested in the creative process used to compose the piece. Much of this work was inspired by the writings of Carl Gustav Jung that explore dreams and how the unconscious mind plays an important role in developing these dreams. In addition, this paper shows how Jung’s ideas are manifested in the music, providing arguments that demonstrate how both psychology and music are correlated in the development of the piece.
ContributorsTaborda Higuita, Daniel Felipe (Author) / Rockmaker, Jody (Thesis advisor) / Bolanos, Gabriel (Committee member) / Temple, Alex (Committee member) / Arizona State University (Publisher)
Created2022
Description
For about a decade, I have thought of composing as a form of sonic gardening. The processes are very similar in that I cultivate ecosystems of interrelated parts, whether in sound or in the soil. My interests in creating sonic ecosystems and in learning more about environmental issues motivated me to research soil health and the rhizosphere, the microbiome around a plant's root system. For my dissertation project I have composed a piece titled The Rhizosphere inspired by the processes and behaviors found in the rhizosphere for percussion sextet of about 8 minutes in duration. This piece was commissioned by the Arizona Contemporary Music Ensemble, with a performance date of April 21, 2022. In this document, I discuss issues relating to soil and sustainability, provide a survey of relevant sound art, and describe processes and features of the rhizosphere. I share how I mapped different aspects of the rhizosphere to various sonic parameters and processes in my composition. I then consider The Rhizosphere as it relates to other pieces in my portfolio, specifically works inspired by nature or environmental issues. During my doctoral studies I have been inspired by and sought to depict plants (Dandelion) and desert (Desertification and Desert Rain God), among others.
ContributorsBrackney, Laura (Author) / Navarro, Fernanda (Thesis advisor) / Rockmaker, Jody (Committee member) / Bolanos, Gabriel (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2022