Matching Items (4)
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- Genre: Art--Psychological aspects.
- Genre: Interactive multimedia--Evaluation.
- Genre: Music--Arizona--21st century--History and criticism.
- Genre: Music--Vocational guidance--Economic aspects.
- Creators: Arizona State University
- Status: Published
Description
The purpose of this study was to investigate the impacts of visual cues and different types of self-explanation prompts on learning, cognitive load and intrinsic motivation, as well as the potential interaction between the two factors in a multimedia environment that was designed to deliver a computer-based lesson about the human cardiovascular system. A total of 126 college students were randomly assigned in equal numbers (N = 21) to one of the six experimental conditions in a 2 X 3 factorial design with visual cueing (visual cues vs. no cues) and type of self-explanation prompts (prediction prompts vs. reflection prompts vs. no prompts) as the between-subjects factors. They completed a pretest, subjective cognitive load questions, intrinsic motivation questions, and a posttest during the course of the experience. A subsample (49 out of 126) of the participants' eye movements were tracked by an eye tracker. The results revealed that (a) participants presented with visually cued animations had significantly higher learning outcome scores than their peers who viewed uncued animations; and (b) cognitive load and intrinsic motivation had different impacts on learning in multimedia due to the moderation effect of visual cueing. There were no other significant findings in terms of learning outcomes, cognitive load, intrinsic motivation, and eye movements. Limitations, implications and future directions are discussed within the framework of cognitive load theory, cognitive theory of multimedia learning and cognitive-affective theory of learning with media.
ContributorsLin, Lijia (Author) / Atkinson, Robert (Thesis advisor) / Nelson, Brian (Committee member) / Savenye, Wilhelmina (Committee member) / Arizona State University (Publisher)
Created2011
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 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
Description
ABSTRACT A cultural overview of the so-called "early music movement" in Arizona, specifically the musicians who performed early music in the mid-to-late twentieth century, has never been undertaken. In applying ethnographic methods to Western art music, Kay Kaufman Shelemay suggests, in her 2001 article, "Toward an Ethnomusicology of the Early Music Movement," that a musical anthropology "would seem to hold great potential for the study of `Western music.'" In this paper I analyze and discuss issues related to "early music" in Arizona from roughly 1960 to 2008. In focusing primarily on the musicians themselves, I address issues in three primary areas: 1) the repertory and the so-called "early music revival;" 2) specific types of early music which have been presented in Arizona and the effects of economic factors; and 3) Arizona musicians' attitudes toward the repertory and their motivations for specializing in it. I then analyze Arizona musicians' involvement with both the early music repertory itself and with the community, identifying how musicians were exposed to early music and whether or not those first exposures began a long-lasting involvement with the repertory. In this section I also describe ways in which musicians define early music for themselves as well as analyze more critical areas such as musicians' formation of an "early music identity." I also asked informants to discuss how they see early music as being fundamentally different from other types of "classical" music and how they view their own places in that community of "difference." Finally, I compare musicians' thoughts on the "transformative" effect that some early music can have on performers and listeners and how that effect compares with similar phenomena in other types of Western art music.
ContributorsDe Fazio, James M (Author) / Haefer, John R (Thesis advisor) / Solis, Theodore (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2010
Description
Art is a form of spiritual expression that is thriving in many Indigenous cultures. It can take many forms, meanings and have a multitude of emotional, mental, physical and spiritual effects on its creator as well as its audience. Amongst American Indians, art has been a method for maintaining holistic well-being intended to heal and cope with traumatic experiences. In this thesis, I examine the western societal and cultural influences that have led to the loss of cultural identity and examine approaches and practices that aim to re-establish a resilient connection to identity and well-being using art as a spiritual catalyst. Literary research and articles were reviewed related to the issue of art as a form of spiritual expression in Indigenous cultures. An autoethnography was conducted with the intent to record and reflect on the well-being of the researcher in relation to her artistic expression. Journaling and vlogging were used as research methods and painting, sketching, and beading was used as artistic methods. Over the course of six months, over 50 videos with 30 hours of raw footage were recorded; averaging 2 hours per day. The results are reflected in the researchers free-flowing and emotionally driven reflection of experiences that have driven her artwork. This thesis supports the establishment of art as a form of spiritual expression for transforming the current western focused health care paradigm to one that recognizes, values and employs Indigenous insight, methodologies, worldviews, culture and spirituality.
ContributorsRobbins, Marlena (Author) / Romero-Little, Eunice (Thesis advisor) / Marley, Tennille L (Committee member) / Meders, Jacob (Committee member) / Arizona State University (Publisher)
Created2018