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- Genre: Masters Thesis
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
Academia is not what it used to be. In today’s fast-paced world, requirements
are constantly changing, and adapting to these changes in an academic curriculum
can be challenging. Given a specific aspect of a domain, there can be various levels of
proficiency that can be achieved by the students. Considering the wide array of needs,
diverse groups need customized course curriculum. The need for having an archetype
to design a course focusing on the outcomes paved the way for Outcome-based
Education (OBE). OBE focuses on the outcomes as opposed to the traditional way of
following a process [23]. According to D. Clark, the major reason for the creation of
Bloom’s taxonomy was not only to stimulate and inspire a higher quality of thinking
in academia – incorporating not just the basic fact-learning and application, but also
to evaluate and analyze on the facts and its applications [7]. Instructional Module
Development System (IMODS) is the culmination of both these models – Bloom’s
Taxonomy and OBE. It is an open-source web-based software that has been
developed on the principles of OBE and Bloom’s Taxonomy. It guides an instructor,
step-by-step, through an outcomes-based process as they define the learning
objectives, the content to be covered and develop an instruction and assessment plan.
The tool also provides the user with a repository of techniques based on the choices
made by them regarding the level of learning while defining the objectives. This helps
in maintaining alignment among all the components of the course design. The tool
also generates documentation to support the course design and provide feedback
when the course is lacking in certain aspects.
It is not just enough to come up with a model that theoretically facilitates
effective result-oriented course design. There should be facts, experiments and proof
that any model succeeds in achieving what it aims to achieve. And thus, there are two
research objectives of this thesis: (i) design a feature for course design feedback and
evaluate its effectiveness; (ii) evaluate the usefulness of a tool like IMODS on various
aspects – (a) the effectiveness of the tool in educating instructors on OBE; (b) the
effectiveness of the tool in providing appropriate and efficient pedagogy and
assessment techniques; (c) the effectiveness of the tool in building the learning
objectives; (d) effectiveness of the tool in document generation; (e) Usability of the
tool; (f) the effectiveness of OBE on course design and expected student outcomes.
The thesis presents a detailed algorithm for course design feedback, its pseudocode, a
description and proof of the correctness of the feature, methods used for evaluation
of the tool, experiments for evaluation and analysis of the obtained results.
are constantly changing, and adapting to these changes in an academic curriculum
can be challenging. Given a specific aspect of a domain, there can be various levels of
proficiency that can be achieved by the students. Considering the wide array of needs,
diverse groups need customized course curriculum. The need for having an archetype
to design a course focusing on the outcomes paved the way for Outcome-based
Education (OBE). OBE focuses on the outcomes as opposed to the traditional way of
following a process [23]. According to D. Clark, the major reason for the creation of
Bloom’s taxonomy was not only to stimulate and inspire a higher quality of thinking
in academia – incorporating not just the basic fact-learning and application, but also
to evaluate and analyze on the facts and its applications [7]. Instructional Module
Development System (IMODS) is the culmination of both these models – Bloom’s
Taxonomy and OBE. It is an open-source web-based software that has been
developed on the principles of OBE and Bloom’s Taxonomy. It guides an instructor,
step-by-step, through an outcomes-based process as they define the learning
objectives, the content to be covered and develop an instruction and assessment plan.
The tool also provides the user with a repository of techniques based on the choices
made by them regarding the level of learning while defining the objectives. This helps
in maintaining alignment among all the components of the course design. The tool
also generates documentation to support the course design and provide feedback
when the course is lacking in certain aspects.
It is not just enough to come up with a model that theoretically facilitates
effective result-oriented course design. There should be facts, experiments and proof
that any model succeeds in achieving what it aims to achieve. And thus, there are two
research objectives of this thesis: (i) design a feature for course design feedback and
evaluate its effectiveness; (ii) evaluate the usefulness of a tool like IMODS on various
aspects – (a) the effectiveness of the tool in educating instructors on OBE; (b) the
effectiveness of the tool in providing appropriate and efficient pedagogy and
assessment techniques; (c) the effectiveness of the tool in building the learning
objectives; (d) effectiveness of the tool in document generation; (e) Usability of the
tool; (f) the effectiveness of OBE on course design and expected student outcomes.
The thesis presents a detailed algorithm for course design feedback, its pseudocode, a
description and proof of the correctness of the feature, methods used for evaluation
of the tool, experiments for evaluation and analysis of the obtained results.
ContributorsRaj, Vaishnavi (Author) / Bansal, Srividya (Thesis advisor) / Bansal, Ajay (Committee member) / Mehlhase, Alexandra (Committee member) / Arizona State University (Publisher)
Created2018
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 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.
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
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