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Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is

Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.

The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
ContributorsHsu, Gabrielle (Performer) / Kierum, Caitlin (Performer) / Song, Yiqian (Performer) / Fox, Matt (Performer) / Lougheed, Julia (Performer) / Jones, Evelyn (Performer) / Miller, Isaac (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-14
ContributorsMoonitz, Olivia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-13
ContributorsAnderle, Jeff (Performer) / Wegehaupt, David (Performer) / Bennett, Joshua (Performer) / Clements, Katrina (Performer) / Dominguez, Vincent (Performer) / Druesedow, Libby (Performer) / Englert, Patrick (Performer) / Liang, Jack (Performer) / Moonitz, Olivia (Performer) / Ruth, Jeremy (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-09
ContributorsNeidermayer, Tyler (Performer) / Karam, Andrea Luque (Performer) / White, Jonathan (Performer) / Manka, Andrew (Performer) / Chaston, Aubrey (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
ContributorsASU Library. Music Library (Publisher)
Created2018-09-17
ContributorsSpring, Robert (Performer) / Gardner, Joshua (Performer) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Micklich, Albie (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Smith, J. B., 1957- (Performer) / Ryan, Russell (Contributor) / ASU Library. Music Library (Publisher)
Created2018-09-16
ContributorsZhu, Shuang (Performer) / Spring, Robert (Performer) / Zhang, Aihua (Performer) / Skinner, Wesley (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-09
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Description

The brain continuously monitors speech output to detect potential errors between its sensory prediction and its sensory production (Daliri et al., 2020). When the brain encounters an error, it generates a corrective motor response, usually in the opposite direction, to reduce the effect of the error. Previous studies have shown

The brain continuously monitors speech output to detect potential errors between its sensory prediction and its sensory production (Daliri et al., 2020). When the brain encounters an error, it generates a corrective motor response, usually in the opposite direction, to reduce the effect of the error. Previous studies have shown that the type of auditory error received may impact a participant’s corrective response. In this study, we examined whether participants respond differently to categorical or non-categorical errors. We applied two types of perturbation in real-time by shifting the first formant (F1) and second formant (F2) at three different magnitudes. The vowel /ɛ/ was shifted toward the vowel /æ/ in the categorical perturbation condition. In the non-categorical perturbation condition, the vowel /ɛ/ was shifted to a sound outside of the vowel quadrilateral (increasing both F1 and F2). Our results showed that participants responded to the categorical perturbation while they did not respond to the non-categorical perturbation. Additionally, we found that in the categorical perturbation condition, as the magnitude of the perturbation increased, the magnitude of the response increased. Overall, our results suggest that the brain may respond differently to categorical and non-categorical errors, and the brain is highly attuned to errors in speech.

ContributorsCincera, Kirsten Michelle (Author) / Daliri, Ayoub (Thesis director) / Azuma, Tamiko (Committee member) / School of Sustainability (Contributor) / College of Health Solutions (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
ContributorsSadownik, Stephanie (Performer) / Di Russo, Michelle (Conductor) / ASU Library. Music Library (Publisher)
Created2018-04-08