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Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
Description
The recent spotlight on concussion has illuminated deficits in the current standard of care with regard to addressing acute and persistent cognitive signs and symptoms of mild brain injury. This stems, in part, from the diffuse nature of the injury, which tends not to produce focal cognitive or behavioral deficits that are easily identified or tracked. Indeed it has been shown that patients with enduring symptoms have difficulty describing their problems; therefore, there is an urgent need for a sensitive measure of brain activity that corresponds with higher order cognitive processing. The development of a neurophysiological metric that maps to clinical resolution would inform decisions about diagnosis and prognosis, including the need for clinical intervention to address cognitive deficits. The literature suggests the need for assessment of concussion under cognitively demanding tasks. Here, a joint behavioral- high-density electroencephalography (EEG) paradigm was employed. This allows for the examination of cortical activity patterns during speech comprehension at various levels of degradation in a sentence verification task, imposing the need for higher-order cognitive processes. Eight participants with concussion listened to true-false sentences produced with either moderately to highly intelligible noise-vocoders. Behavioral data were simultaneously collected. The analysis of cortical activation patterns included 1) the examination of event-related potentials, including latency and source localization, and 2) measures of frequency spectra and associated power. Individual performance patterns were assessed during acute injury and a return visit several months following injury. Results demonstrate a combination of task-related electrophysiology measures correspond to changes in task performance during the course of recovery. Further, a discriminant function analysis suggests EEG measures are more sensitive than behavioral measures in distinguishing between individuals with concussion and healthy controls at both injury and recovery, suggesting the robustness of neurophysiological measures during a cognitively demanding task to both injury and persisting pathophysiology.
ContributorsUtianski, Rene (Author) / Liss, Julie M (Thesis advisor) / Berisha, Visar (Committee member) / Caviness, John N (Committee member) / Dorman, Michael (Committee member) / Arizona State University (Publisher)
Created2014
Description
Everyday speech communication typically takes place face-to-face. Accordingly, the task of perceiving speech is a multisensory phenomenon involving both auditory and visual information. The current investigation examines how visual information influences recognition of dysarthric speech. It also explores where the influence of visual information is dependent upon age. Forty adults participated in the study that measured intelligibility (percent words correct) of dysarthric speech in auditory versus audiovisual conditions. Participants were then separated into two groups: older adults (age range 47 to 68) and young adults (age range 19 to 36) to examine the influence of age. Findings revealed that all participants, regardless of age, improved their ability to recognize dysarthric speech when visual speech was added to the auditory signal. The magnitude of this benefit, however, was greater for older adults when compared with younger adults. These results inform our understanding of how visual speech information influences understanding of dysarthric speech.
ContributorsFall, Elizabeth (Author) / Liss, Julie (Thesis advisor) / Berisha, Visar (Committee member) / Gray, Shelley (Committee member) / Arizona State University (Publisher)
Created2014
Description
Often termed the "gold standard" in the differential diagnosis of dysarthria, the etiology-based Mayo Clinic classification approach has been used nearly exclusively by clinicians since the early 1970s. However, the current descriptive method results in a distinct overlap of perceptual features across various etiologies, thus limiting the clinical utility of such a system for differential diagnosis. Acoustic analysis may provide a more objective measure for improvement in overall reliability (Guerra & Lovely, 2003) of classification. The following paper investigates the potential use of a taxonomical approach to dysarthria. The purpose of this study was to identify a set of acoustic correlates of perceptual dimensions used to group similarly sounding speakers with dysarthria, irrespective of disease etiology. The present study utilized a free classification auditory perceptual task in order to identify a set of salient speech characteristics displayed by speakers with varying dysarthria types and perceived by listeners, which was then analyzed using multidimensional scaling (MDS), correlation analysis, and cluster analysis. In addition, discriminant function analysis (DFA) was conducted to establish the feasibility of using the dimensions underlying perceptual similarity in dysarthria to classify speakers into both listener-derived clusters and etiology-based categories. The following hypothesis was identified: Because of the presumed predictive link between the acoustic correlates and listener-derived clusters, the DFA classification results should resemble the perceptual clusters more closely than the etiology-based (Mayo System) classifications. Results of the present investigation's MDS revealed three dimensions, which were significantly correlated with 1) metrics capturing rate and rhythm, 2) intelligibility, and 3) all of the long-term average spectrum metrics in the 8000 Hz band, which has been linked to degree of phonemic distinctiveness (Utianski et al., February 2012). A qualitative examination of listener notes supported the MDS and correlation results, with listeners overwhelmingly making reference to speaking rate/rhythm, intelligibility, and articulatory precision while participating in the free classification task. Additionally, acoustic correlates revealed by the MDS and subjected to DFA indeed predicted listener group classification. These results beget acoustic measurement as representative of listener perception, and represent the first phase in supporting the use of a perceptually relevant taxonomy of dysarthria.
ContributorsNorton, Rebecca (Author) / Liss, Julie (Thesis advisor) / Azuma, Tamiko (Committee member) / Ingram, David (Committee member) / Arizona State University (Publisher)
Created2012
Description
Distorted vowel production is a hallmark characteristic of dysarthric speech, irrespective of the underlying neurological condition or dysarthria diagnosis. A variety of acoustic metrics have been used to study the nature of vowel production deficits in dysarthria; however, not all demonstrate sensitivity to the exhibited deficits. Less attention has been paid to quantifying the vowel production deficits associated with the specific dysarthrias. Attempts to characterize the relationship between naturally degraded vowel production in dysarthria with overall intelligibility have met with mixed results, leading some to question the nature of this relationship. It has been suggested that aberrant vowel acoustics may be an index of overall severity of the impairment and not an "integral component" of the intelligibility deficit. A limitation of previous work detailing perceptual consequences of disordered vowel acoustics is that overall intelligibility, not vowel identification accuracy, has been the perceptual measure of interest. A series of three experiments were conducted to address the problems outlined herein. The goals of the first experiment were to identify subsets of vowel metrics that reliably distinguish speakers with dysarthria from non-disordered speakers and differentiate the dysarthria subtypes. Vowel metrics that capture vowel centralization and reduced spectral distinctiveness among vowels differentiated dysarthric from non-disordered speakers. Vowel metrics generally failed to differentiate speakers according to their dysarthria diagnosis. The second and third experiments were conducted to evaluate the relationship between degraded vowel acoustics and the resulting percept. In the second experiment, correlation and regression analyses revealed vowel metrics that capture vowel centralization and distinctiveness and movement of the second formant frequency were most predictive of vowel identification accuracy and overall intelligibility. The third experiment was conducted to evaluate the extent to which the nature of the acoustic degradation predicts the resulting percept. Results suggest distinctive vowel tokens are better identified and, likewise, better-identified tokens are more distinctive. Further, an above-chance level agreement between nature of vowel misclassification and misidentification errors was demonstrated for all vowels, suggesting degraded vowel acoustics are not merely an index of severity in dysarthria, but rather are an integral component of the resultant intelligibility disorder.
ContributorsLansford, Kaitlin L (Author) / Liss, Julie M (Thesis advisor) / Dorman, Michael F. (Committee member) / Azuma, Tamiko (Committee member) / Lotto, Andrew J (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT Many musicians, both amateur and professional alike, are continuously seeking to expand and explore their performance literature and repertory. Introducing new works into the standard repertory is an exciting endeavor for any active musician. Establishing connections, commissioning new works, and collaborating on performances can all work together toward the acceptance and success of a composer's music within an instrument community. For the flute, one such composer is Daniel Dorff (b. 1956). Dorff, a Philadelphia-based composer, has written for symphony orchestra, clarinet, contrabassoon, and others; however, his award-winning works for flute and piccolo are earning him much recognition. He has written works for such illustrious flutists as Mimi Stillman, Walfrid Kujala, and Gary Schocker; his flute works have been recorded by Laurel Zucker, Pamela Youngblood and Lois Bliss Herbine; and his pieces have been performed and premiered at each of the National Flute Association Conventions from 2004 to 2009. Despite this success, little has been written about Dorff's life, compositional style, and contributions to the flute repertory. In order to further promote the flute works of Daniel Dorff, the primary focus of this study is the creation of a compact disc recording of Dorff's most prominent works for flute: April Whirlwind, 9 Walks Down 7th Avenue, both for flute and piano, and Nocturne Caprice for solo flute. In support of this recording, the study also provides biographical information regarding Daniel Dorff, discusses his compositional methods and ideology, and presents background information, description, and performance notes for each piece. Interviews with Daniel Dorff regarding biographical and compositional details serve as the primary source for this document. Suggestions for the performance of the three flute works were gathered through interviews with prominent flutists who have studied and performed Dorff's pieces. Additional performance suggestions for Nocturne Caprice were gathered through a coaching session between the author and the composer. This project is meant to promote the flute works of Daniel Dorff and to help establish their role in the standard flute repertory.
ContributorsRich, Angela Marie (Contributor) / Novak, Gail (Pianist) (Performer) / Buck, Elizabeth Y (Thesis advisor) / Hill, Gary W. (Committee member) / Holbrook, Amy (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2010