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- Genre: Academic theses
- Creators: Turaga, Pavan
- Creators: Ryan, Russell
- Status: Published
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
The repertoire of the saxophone has advanced significantly since its invention circa 1840. Performers are required to adapt to the demands of composers - many of whom are exploring new and unconventional sounds and techniques. Numerous texts exist to identify and explain these so-called "extended" techniques, but there are very few resources for the initial stages of performance. In order to offer performers a resource, the author of this text composed forty original etudes (or studies) that incorporate extended techniques in a variety of ways. After identifying common extended techniques that a performer might face, the author focused on four different ways each individual technique might appear in actual repertoire. The resulting work is entitled Pushing Boundaries: Forty Etudes on Extended Techniques. Each etude offers a practical approach to what is generally a single extended technique. Although this text is not pedagogical in the sense of identifying the mechanics and anatomical requirements of each technique, it does contain a performance analysis of each etude. This analysis identifies areas where performers might struggle and offers helpful suggestions. To this end, the etudes accompanied by performance analysis provide a paced, systematic approach to the mastery of each technique.
ContributorsMurphy, Patrick Joseph (Author) / Hill, Gary (Thesis advisor) / Spring, Robert (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2013
Description
CYOA is a prototype of an iPhone application that produces a single, generative, musical work. This document details some of the thoughts and practices that informed its design, and specifically addresses the overlap between application structure and musical form. The concept of composed instruments is introduced and briefly discussed, some features of video game design that relate to this project are considered, and some specifics of hardware implementation are addressed.
ContributorsPeterson, Julian (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Levy, Benjamin (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2013
Description
Digital sound synthesis allows the creation of a great variety of sounds. Focusing on interesting or ecologically valid sounds for music, simulation, aesthetics, or other purposes limits the otherwise vast digital audio palette. Tools for creating such sounds vary from arbitrary methods of altering recordings to precise simulations of vibrating objects. In this work, methods of sound synthesis by re-sonification are considered. Re-sonification, herein, refers to the general process of analyzing, possibly transforming, and resynthesizing or reusing recorded sounds in meaningful ways, to convey information. Applied to soundscapes, re-sonification is presented as a means of conveying activity within an environment. Applied to the sounds of objects, this work examines modeling the perception of objects as well as their physical properties and the ability to simulate interactive events with such objects. To create soundscapes to re-sonify geographic environments, a method of automated soundscape design is presented. Using recorded sounds that are classified based on acoustic, social, semantic, and geographic information, this method produces stochastically generated soundscapes to re-sonify selected geographic areas. Drawing on prior knowledge, local sounds and those deemed similar comprise a locale's soundscape. In the context of re-sonifying events, this work examines processes for modeling and estimating the excitations of sounding objects. These include plucking, striking, rubbing, and any interaction that imparts energy into a system, affecting the resultant sound. A method of estimating a linear system's input, constrained to a signal-subspace, is presented and applied toward improving the estimation of percussive excitations for re-sonification. To work toward robust recording-based modeling and re-sonification of objects, new implementations of banded waveguide (BWG) models are proposed for object modeling and sound synthesis. Previous implementations of BWGs use arbitrary model parameters and may produce a range of simulations that do not match digital waveguide or modal models of the same design. Subject to linear excitations, some models proposed here behave identically to other equivalently designed physical models. Under nonlinear interactions, such as bowing, many of the proposed implementations exhibit improvements in the attack characteristics of synthesized sounds.
ContributorsFink, Alex M (Author) / Spanias, Andreas S (Thesis advisor) / Cook, Perry R. (Committee member) / Turaga, Pavan (Committee member) / Tsakalis, Konstantinos (Committee member) / Arizona State University (Publisher)
Created2013
Description
One of the main challenges in planetary robotics is to traverse the shortest path through a set of waypoints. The shortest distance between any two waypoints is a direct linear traversal. Often times, there are physical restrictions that prevent a rover form traversing straight to a waypoint. Thus, knowledge of the terrain is needed prior to traversal. The Digital Terrain Model (DTM) provides information about the terrain along with waypoints for the rover to traverse. However, traversing a set of waypoints linearly is burdensome, as the rovers would constantly need to modify their orientation as they successively approach waypoints. Although there are various solutions to this problem, this research paper proposes the smooth traversability of the rover using splines as a quick and easy implementation to traverse a set of waypoints. In addition, a rover was used to compare the smoothness of the linear traversal along with the spline interpolations. The data collected illustrated that spline traversals had a less rate of change in the velocity over time, indicating that the rover performed smoother than with linear paths.
ContributorsKamasamudram, Anurag (Author) / Saripalli, Srikanth (Thesis advisor) / Fainekos, Georgios (Thesis advisor) / Turaga, Pavan (Committee member) / Arizona State University (Publisher)
Created2013
Description
Bright Summer, a one-movement piece for orchestra, was composed in Arizona, and completed in February 2013. The piece is approximately twelve minutes long. The motivation for writing this piece was the death of my mother the year before, in 2012. The prevailing mood of this work is bright and pleasant, expressing my mother's cheerful personality when she was alive. It also portrays bright summer days which resemble my mother's spirit. Thus, soundscape plays an important role in this work. It depicts summer breeze, rustling sounds of leaves, and, to translate a Korean saying, "high blue skies." This soundscape opens the piece as well as closes it. In the middle section, the fast upbeat themes represent my mother's witty and optimistic personality. The piece also contains the presence of a hymn tune, The Love of God is Greater Far, which informs the motivic content and also functions as the climax of the piece. It was my mother's favorite hymn and we used to sing it together following her conversion to Christianity. The piece contains three main sections, which are held together by transitional material based on the soundscape and metric modulations. Unlike my earlier works, Bright Summer is tonal, with upper tertian harmonies prevailing throughout the piece. However, the opening and closing soundscapes do not have functional harmonies. For example, tertian chords appear and vanish silently, leaving behind some resonant sounds without any harmonic progression. Overall, the whole piece is reminiscent of my mother who lived a beautiful life.
ContributorsKim, JeeYeon (Composer) / DeMars, James (Thesis advisor) / Hackbarth, Glenn (Committee member) / Rogers, Rodney (Committee member) / Levy, Benjamin (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
Our research focuses on finding answers through decentralized search, for complex, imprecise queries (such as "Which is the best hair salon nearby?") in situations where there is a spatiotemporal constraint (say answer needs to be found within 15 minutes) associated with the query. In general, human networks are good in answering imprecise queries. We try to use the social network of a person to answer his query. Our research aims at designing a framework that exploits the user's social network in order to maximize the answers for a given query. Exploiting an user's social network has several challenges. The major challenge is that the user's immediate social circle may not possess the answer for the given query, and hence the framework designed needs to carry out the query diffusion process across the network. The next challenge involves in finding the right set of seeds to pass the query to in the user's social circle. One other challenge is to incentivize people in the social network to respond to the query and thereby maximize the quality and quantity of replies. Our proposed framework is a mobile application where an individual can either respond to the query or forward it to his friends. We simulated the query diffusion process in three types of graphs: Small World, Random and Preferential Attachment. Given a type of network and a particular query, we carried out the query diffusion by selecting seeds based on attributes of the seed. The main attributes are Topic relevance, Replying or Forwarding probability and Time to Respond. We found that there is a considerable increase in the number of replies attained, even without saturating the user's network, if we adopt an optimal seed selection process. We found the output of the optimal algorithm to be satisfactory as the number of replies received at the interrogator's end was close to three times the number of neighbors an interrogator has. We addressed the challenge of incentivizing people to respond by associating a particular amount of points for each query asked, and awarding the same to people involved in answering the query. Thus, we aim to design a mobile application based on our proposed framework so that it helps in maximizing the replies for the interrogator's query by diffusing the query across his/her social network.
ContributorsSwaminathan, Neelakantan (Author) / Sundaram, Hari (Thesis advisor) / Davulcu, Hasan (Thesis advisor) / Turaga, Pavan (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study compares the Hummel Concertos in A Minor, Op. 85 and B Minor, Op. 89 and the Chopin Concertos in E Minor, Op. 11 and F Minor, Op. 21. On initial hearing of Hummel's rarely played concertos, one immediately detects similarities with Chopin's concerto style. Upon closer examination, one discovers a substantial number of interesting and significant parallels with Chopin's concertos, many of which are highlighted in this research project. Hummel belongs to a generation of composers who made a shift away from the Classical style, and Chopin, as an early Romantic, absorbed much from his immediate predecessors in establishing his highly unique style. I have chosen to focus on Chopin's concertos to demonstrate this association. The essay begins with a discussion of the historical background of Chopin's formative years as it pertains to the formation of his compositional style, Hummel's role and influence in the contemporary musical arena, as well as interactions between the two composers. It then provides the historical background of the aforementioned concertos leading to a comparative analysis, which includes structural, melodic, harmonic, and motivic parallels. With a better understanding of his stylistic influences, and of how Chopin assimilated them in the creation of his masterful works, the performer can adopt a more informed approach to the interpretation of these two concertos, which are among the most beloved masterpieces in piano literature.
ContributorsYam, Jessica (Author) / Hamilton, Robert (Thesis advisor) / Levy, Benjamin (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Three Meditations on the Philosophy of Boethius is a musical piece for guitar, piano interior, and computer. Each of the three movements, or meditations, reflects one level of music according to the medieval philosopher Boethius: Musica Mundana, Musica Humana, and Musica Instrumentalis. From spatial aspects, through the human element, to letting sound evolve freely, different movements revolve around different sounds and sound producing techniques.
ContributorsDori, Gil (Contributor) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2013