Matching Items (3)
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- Genre: Interactive multimedia--Equipment and supplies.
- Genre: Interactive multimedia--Philosophy.
- Genre: Music--Bibliography.
- Creators: Arizona State University
- Member of: Theses and Dissertations
Description
The use of instrumental vibrato in certain periods of classical music performances has become a highly debated and often fiery topic. The scholars of yesterday had only a few sources with which to gain a better understanding of the definition, mechanics, employment, and prevalent attitudes of those coming before them. This project aims to develop the foundation to a better understanding of instrumental vibrato by compiling primary source material written before 1940 and secondary source material relevant to that period into an annotated bibliography. The source materials in this study were mainly comprised of treatises, tutors, method books, newspaper articles, and dictionaries. The instruments covered in this study included the violin family and relatives (viols, etc...), woodwinds (including recorder), members of the brass family, organ, other keyboard instruments, guitar/banjo/lute, theremin, and prototype
iche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable.
iche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable.
ContributorsVerville, Timothy David (Author) / Russell, Timothy (Thesis advisor) / Humphreys, Jere T (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2012
Description
Wittgenstein’s claim: anytime something is seen, it is necessarily seen as something, forms the philosophical foundation of this research. I synthesize theories and philosophies from Simondon, Maturana, Varela, Wittgenstein, Pye, Sennett, and Reddy in a research process I identify as a paradigm construction project. My personal studio practice of inventing experiential media systems is a key part of this research and illustrates, with practical examples, my philosophical arguments from a range of points of observation. I see media systems as technical objects, and see technical objects as structurally determined systems, in which the structure of the system determines its organization. I identify making, the process of determining structure, as a form of structural coupling and see structural coupling as a means of knowing material. I introduce my theory of conceptual plurifunctionality as an extension to Simondon’s theory. Aspects of materiality are presented as a means of seeing material and immaterial systems, including cultural systems. I seek to answer the questions: How is structure seen as determining the organization of systems, and making seen as a process in which the resulting structures of technical objects and the maker are co-determined? How might an understanding of structure and organization be applied to the invention of contemporary experiential media systems?
ContributorsLahey, Byron (Author) / Burleson, Winslow (Thesis advisor) / Xin Wei, Sha (Committee member) / Collins, Daniel (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2015
Description
Guitar Hero III and similar games potentially offer a vehicle for improvement of musical rhythmic accuracy with training delivered in both visual and auditory formats and by use of its novel guitar-shaped interface; however, some theories regarding multimedia learning suggest sound is a possible source of extraneous cognitive load while playing so players may score higher with sound turned off. Also, existing studies have shown that differences in the physical format of interfaces affect learning outcomes. This study sought to determine whether (a) the game’s audio content affects rhythmic accuracy, and (b) the type of game controller used affects learning of rhythmic accuracy. One hundred participants were randomly assigned in approximately equal numbers (ns = 25) to the four cells of a 2x2 between-subjects design. The first variable was the audio content of the game with two levels: on or off. The second variable was the type of game controller: the standard guitar-style controller or tablet interface. Participants across all conditions completed a pre- and post-test with a system that required them to tap along with repeated rhythmic patterns on an electronic drum pad. Statistical evidence showed better outcomes with a tablet controller with respect to input time error, reduction of extra notes played, and reduction of missed notes; however, the guitar-style controller produced superior outcomes in terms of avoiding missed notes and was associated with higher satisfaction by participants. When audio was present better outcomes were achieved at multiple factor-levels of reduction of missed responses, but superior outcomes in input time error were seen without audio. There was no evidence to suggest an interaction between controller type and the presence or absence of audio.
ContributorsThomas, James William (Author) / Zuiker, Steven J (Thesis advisor) / Atkinson, Robert (Thesis advisor) / Savenye, Wilhelmina C (Committee member) / Arizona State University (Publisher)
Created2017