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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
Previous literature was reviewed in an effort to further investigate the link between notification levels of a cell phone and their effects on driver distraction. Mind-wandering has been suggested as an explanation for distraction and has been previously operationalized with oculomotor movement. Mind-wandering’s definition is debated, but in this research it was defined as off task thoughts that occur due to the task not requiring full cognitive capacity. Drivers were asked to operate a driving simulator and follow audio turn by turn directions while experiencing each of three cell phone notification levels: Control (no texts), Airplane (texts with no notifications), and Ringer (audio notifications). Measures of Brake Reaction Time, Headway Variability, and Average Speed were used to operationalize driver distraction. Drivers experienced higher Brake Reaction Time and Headway Variability with a lower Average Speed in both experimental conditions when compared to the Control Condition. This is consistent with previous research in the field of implying a distracted state. Oculomotor movement was measured as the percent time the participant was looking at the road. There was no significant difference between the conditions in this measure. The results of this research indicate that not, while not interacting with a cell phone, no audio notification is required to induce a state of distraction. This phenomenon was unable to be linked to mind-wandering.
ContributorsRadina, Earl (Author) / Gray, Robert (Thesis advisor) / Chiou, Erin (Committee member) / Branaghan, Russell (Committee member) / Arizona State University (Publisher)
Created2019
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
Sustained attention, the ability to concentrate on a stimulus or task over a prolonged period, is essential for goal pursuit and fulfillment. Sustained attention failures can have catastrophic consequences, underscoring the importance of understanding the mechanisms that underlie variability in sustained attention, and developing interventions targeting these mechanisms to reduce such failures. A growing body of research implicates the brainstem locus coeruleus (LC) as a core modulator of attention and arousal. Activation of LC afferents, such as the trigeminal nerve, may indirectly modulate the LC. The altered LC activity could theoretically be tracked via well-established psychological and physiological indicators of attention and arousal, such as performance, self-reports of attention state, and pupillary activity during attention tasks. The present study tests the hypothesis that continuous transcranial direct current stimulation (tDCS) over the trigeminal nerve of the face improves attentional state, attentional performance, and pupillary reactivity via indirect modulation of the LC. Participants received 2 mA of anodal or cathodal stimulation or sham stimulation over the dorsolateral prefrontal cortex while completing the Psychomotor Vigilance Task. Participants occasionally reported on their attentional state. Pupillary activity was recorded continuously throughout the task. To compare patterns of attention task performance, frequency of task-unrelated thoughts, and pupillary activity across time by stimulation condition, linear mixed-effects models were implemented.
The results replicate the complex interplay between attentional state, attentional performance, and pupillary activity reported in the literature. Specifically, a ubiquitous pattern of performance deterioration was observed, which coincided with an increase in task-unrelated thoughts and reduced pretrial and task-evoked pupil responses. However, tDCS over the face did not produce significant effects compared to the sham condition in attention task performance, proportion of task-unrelated thoughts, and pupillary activity that would indicate LC modulation. This study addresses the causal relations between LC activity, attentional state, attentional performance, and pupillary reactivity that are still poorly understood in human subjects. The findings reported here support the dominant theory of the role of the LC in attentional processes but fail to support hypotheses suggesting that tDCS of the trigeminal nerve influences activity of the LC and indicators of LC activity.
ContributorsTorres, Alexis Stephanie (Author) / Brewer, Gene A (Thesis advisor) / Robison, Matthew K (Committee member) / McClure, Samuel M (Committee member) / Helms Tillery, Stephen (Committee member) / Arizona State University (Publisher)
Created2022
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