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Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many

In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
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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

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
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Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.

The annotated bibliography focuses

This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.

The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.

Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.

In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
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Description
Despite the various driver assistance systems and electronics, the threat to life of driver, passengers and other people on the road still persists. With the growth in technology, the use of in-vehicle devices with a plethora of buttons and features is increasing resulting in increased distraction. Recently, speech recognition has

Despite the various driver assistance systems and electronics, the threat to life of driver, passengers and other people on the road still persists. With the growth in technology, the use of in-vehicle devices with a plethora of buttons and features is increasing resulting in increased distraction. Recently, speech recognition has emerged as an alternative to distraction and has the potential to be beneficial. However, considering the fact that automotive environment is dynamic and noisy in nature, distraction may not arise from the manual interaction, but due to the cognitive load. Hence, speech recognition certainly cannot be a reliable mode of communication.

The thesis is focused on proposing a simultaneous multimodal approach for designing interface between driver and vehicle with a goal to enable the driver to be more attentive to the driving tasks and spend less time fiddling with distractive tasks. By analyzing the human-human multimodal interaction techniques, new modes have been identified and experimented, especially suitable for the automotive context. The identified modes are touch, speech, graphics, voice-tip and text-tip. The multiple modes are intended to work collectively to make the interaction more intuitive and natural. In order to obtain a minimalist user-centered design for the center stack, various design principles such as 80/20 rule, contour bias, affordance, flexibility-usability trade-off etc. have been implemented on the prototypes. The prototype was developed using the Dragon software development kit on android platform for speech recognition.

In the present study, the driver behavior was investigated in an experiment conducted on the DriveSafety driving simulator DS-600s. Twelve volunteers drove the simulator under two conditions: (1) accessing the center stack applications using touch only and (2) accessing the applications using speech with offered text-tip. The duration for which user looked away from the road (eyes-off-road) was measured manually for each scenario. Comparison of results proved that eyes-off-road time is less for the second scenario. The minimalist design with 8-10 icons per screen proved to be effective as all the readings were within the driver distraction recommendations (eyes-off-road time < 2sec per screen) defined by NHTSA.
ContributorsMittal, Richa (Author) / Gaffar, Ashraf (Thesis advisor) / Femiani, John (Committee member) / Gray, Robert (Committee member) / Arizona State University (Publisher)
Created2015
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Description
This study exmaines the effect of in-vehicle infotainment display depth on driving performance. More features are being built into infotainment displays, allowing drivers to complete a greater number of secondary tasks while driving. However, the complexity of completing these tasks can take attention away from the primary task of driving,

This study exmaines the effect of in-vehicle infotainment display depth on driving performance. More features are being built into infotainment displays, allowing drivers to complete a greater number of secondary tasks while driving. However, the complexity of completing these tasks can take attention away from the primary task of driving, which may present safety risks. Tasks become more time consuming as the items drivers wish to select are buried deeper in a menu’s structure. Therefore, this study aims to examine how deeper display structures impact driving performance compared to more shallow structures.

Procedure. Participants complete a lead car following task, where they follow a lead car and attempt to maintain a time headway (TH) of 2 seconds behind the lead car at all times, while avoiding any collisions. Participants experience five conditions where they are given tasks to complete with an in-vehicle infotainment system. There are five conditions, each involving one of five displays with different structures: one-layer vertical, one-layer horizontal, two-layer vertical, two-layer horizontal, and three-layer. Brake Reaction Time (BRT), Mean Time Headway (MTH), Time Headway Variability (THV), and Time to Task Completion (TTC) are measured for each of the five conditions.

Results. There is a significant difference in MTH, THV, and TTC for the three-layer condition. There is a significant difference in BRT for the two-layer horizontal condition. There is a significant difference between one- and two-layer displays for all variables, BRT, MTH, THV, and TTC. There is also a significant difference between one- and three-layer displays for TTC.

Conclusions. Deeper displays negatively impact driving performance and make tasks more time consuming to complete while driving. One-layer displays appear to be optimal, although they may not be practical for in-vehicle displays.
ContributorsGran, Emily (Author) / Gray, Robert (Thesis advisor) / Branaghan, Russell (Committee member) / Carrasquilla, Christina (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsPagano, Caio, 1940- (Performer) / Mechetti, Fabio (Conductor) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Rodrigues, Christiano (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Avanti Festival Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
ContributorsDe La Cruz, Nathaniel (Performer) / LoGiudice, Rosa (Contributor) / Tallino, Michael (Performer) / McKinch, Riley (Performer) / Li, Yuhui (Performer) / Armenta, Tyler (Contributor) / Gonzalez, David (Performer) / Jones, Tarin (Performer) / Ryall, Blake (Performer) / Senseman, Stephen (Performer)
Created2018-10-10
Description
Driver distraction research has a long history spanning nearly 50 years, intensifying in the last decade. The focus has always been on identifying the distractive tasks and measuring the respective harm level. As in-vehicle technology advances, the list of distractive activities grows along with crash risk. Additionally, the distractive activities

Driver distraction research has a long history spanning nearly 50 years, intensifying in the last decade. The focus has always been on identifying the distractive tasks and measuring the respective harm level. As in-vehicle technology advances, the list of distractive activities grows along with crash risk. Additionally, the distractive activities become more common and complicated, especially with regard to In-Car Interactive System. This work's main focus is on driver distraction caused by the in-car interactive System. There have been many User Interaction Designs (Buttons, Speech, Visual) for Human-Car communication, in the past and currently present. And, all related studies suggest that driver distraction level is still high and there is a need for a better design. Multimodal Interaction is a design approach, which relies on using multiple modes for humans to interact with the car & hence reducing driver distraction by allowing the driver to choose the most suitable mode with minimum distraction. Additionally, combining multiple modes simultaneously provides more natural interaction, which could lead to less distraction. The main goal of MMI is to enable the driver to be more attentive to driving tasks and spend less time fiddling with distractive tasks. Engineering based method is used to measure driver distraction. This method uses metrics like Reaction time, Acceleration, Lane Departure obtained from test cases.
ContributorsJahagirdar, Tanvi (Author) / Gaffar, Ashraf (Thesis advisor) / Ghazarian, Arbi (Committee member) / Gray, Robert (Committee member) / Arizona State University (Publisher)
Created2015
Description
Driving is already a complex task that demands a varying level of cognitive and physical load. With the advancement in technology, the car has become a place for media consumption, a communications center and an interconnected workplace. The number of features in a car has also increased. As a result,

Driving is already a complex task that demands a varying level of cognitive and physical load. With the advancement in technology, the car has become a place for media consumption, a communications center and an interconnected workplace. The number of features in a car has also increased. As a result, the user interaction inside the car has become overcrowded and more complex. This has increased the amount of distraction while driving and has also increased the number of accidents due to distracted driving. This thesis focuses on the critical analysis of today’s in-car environment covering two main aspects, Multi Modal Interaction (MMI), and Advanced Driver Assistance Systems (ADAS), to minimize the distraction. It also provides deep market research on future trends in the smart car technology. After careful analysis, it was observed that an infotainment screen cluttered with lots of small icons, a center stack with a plethora of small buttons and a poor Voice Recognition (VR) results in high cognitive load, and these are the reasons for the increased driver distraction. Though the VR has become a standard technology, the current state of technology is focused on features oriented design and a sales driven approach. Most of the automotive manufacturers are focusing on making the VR better but attaining perfection in VR is not the answer as there are inherent challenges and limitations in respect to the in-car environment and cognitive load. Accordingly, the research proposed a novel in-car interaction design solution: Multi-Modal Interaction (MMI). The MMI is a new term when used in the context of vehicles, but it is widely used in human-human interaction. The approach offers a non-intrusive alternative to the driver to interact with the features in the car. With the focus on user-centered design, the MMI and ADAS can potentially help to reduce the distraction. To support the discussion, an experiment was conducted to benchmark a minimalist UI design. An engineering based method was used to test and measure distraction of four different UIs with varying numbers of icons and screen sizes. Lastly, in order to compete with the market, the basic features that are provided by all the other competitors cannot be eliminated, but the hard work can be done to improve the HCaI and to make driving safer.
ContributorsNakrani, Paresh Keshubhai (Author) / Gaffar, Ashraf (Thesis advisor) / Sohoni, Sohum (Committee member) / Ghazarian, Arabi (Committee member) / Arizona State University (Publisher)
Created2015