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- Genre: Cartographic
- Genre: Music--Computer network resources.
- Genre: Music--Philosophy and aesthetics.
- Creators: Arizona State University
Description
This research paper examines the close relationships between the visual arts and music and the implications of curatorial practice upon the work of conductors. While some conductors consider suitability the prime (or only) factor in determining which music to perform, curators use many more criteria. Five elements of exhibition design are particularly germane to musicians including setting, subject matter, visual weight, compositional direction, and narrative. Each of these five elements is discussed in terms of its impact on concert design with a goal of providing additional criteria to the conductor when planning concerts. Three concert experiences, designed with these principles in mind, are presented as examples. Upon consideration of the elements of exhibition design separately and corporately, one arrives at a new appreciation of the concert as a unified experience--capable of being much more than the sum of its parts. The aim of effective concert design is to eliminate unintentional communication--to present music in the most complimentary manner possible. To this end, this study has implications for conductors at all levels.
ContributorsHoughtalen, Brandon (Author) / Hill, Gary W. (Thesis advisor) / Bailey, Wayne A (Committee member) / Ericson, John Q (Committee member) / Feisst, Sabine M (Committee member) / Russell, Timothy W (Committee member) / Arizona State University (Publisher)
Created2012
Description
This study examined discussion forum posts within a website dedicated to a medium and genre of music (chiptunes) with potential for music-centered making, a phrase I use to describe maker culture practices that revolve around music-related purposes. Three research questions guided this study: (1) What chiptune-related practices did members of chipmusic.org discuss between December 30th, 2009 and November 13th, 2017? (2) What do chipmusic.org discussion forum posts reveal about the multidisciplinary aspects of chiptunes? (3) What import might music-centered making evident within chipmusic.org discussion forum posts hold for music education? To address these research questions, I engaged in corpus-assisted discourse analysis tools and techniques to reveal and analyze patterns of discourse within 245,098 discussion forum posts within chipmusic.org. The analysis cycle consisted of (a) using corpus analysis techniques to reveal patterns of discourse across and within data consisting of 10,892,645 words, and (b) using discourse analysis techniques for a close reading of revealed patterns.
Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. Members of chipmusic.org primarily discussed composing and performing chiptunes on a variety of instruments, as well as through retro computer and video game hardware. Members also discussed modifying and creating hardware and software for a multitude of electronic devices. Some members engaged in entrepreneurial practices to promote, sell, buy, and trade with other members. Throughout each of the revealed themes, members engaged in visual art practices, as well as community practices such as collective learning, collaborating, constructive criticism, competitive events, and collective efficacy.
Findings suggest the revealed themes incorporated practices from a multitude of academic disciplines or fields of study for music-related purposes. However, I argue that many of the music-related practices people discussed within chipmusic.org are not apparent within music education discourse, curricula, or standards. I call for an expansion of music education discourse and practices to include additional ways of being musical through practices that might borrow from multiple academic disciplines or fields of study for music-related purposes.
Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. Members of chipmusic.org primarily discussed composing and performing chiptunes on a variety of instruments, as well as through retro computer and video game hardware. Members also discussed modifying and creating hardware and software for a multitude of electronic devices. Some members engaged in entrepreneurial practices to promote, sell, buy, and trade with other members. Throughout each of the revealed themes, members engaged in visual art practices, as well as community practices such as collective learning, collaborating, constructive criticism, competitive events, and collective efficacy.
Findings suggest the revealed themes incorporated practices from a multitude of academic disciplines or fields of study for music-related purposes. However, I argue that many of the music-related practices people discussed within chipmusic.org are not apparent within music education discourse, curricula, or standards. I call for an expansion of music education discourse and practices to include additional ways of being musical through practices that might borrow from multiple academic disciplines or fields of study for music-related purposes.
ContributorsO'Leary, Jared Duane (Author) / Mantie, Roger A (Thesis advisor) / Tobias, Evan S (Thesis advisor) / Schmidt, Margaret (Committee member) / Stauffer, Sandra (Committee member) / Thompson, Jason (Committee member) / Arizona State University (Publisher)
Created2018
Description
When cartographers and graphic designers create maps they choose typefaces. Often, serif and sans serif typefaces are paired together to represent different information on a map. Typefaces have a communicated tone and choosing the correct typeface combination to send the intended message can be challenging. The purpose of this study was to create an analysis of the aesthetic characteristics of typeface pairings to assist map creators when choosing typefaces. An online survey was utilized to collect responses from graphic designers who have been trained in at least one year or more in design from a higher education institution. There were 30 participants in the study and they scored 24 typeface pairings, 12 differentiating and 12 superfamily, on 48 maps. Scoring was done on eight aesthetic characteristics: friendly, whimsical, cheap, neutral, bland, corporate, serious and modern. The researcher conducted an analysis of each typeface’s microaesthetics and then compared these to the survey’s scored aesthetic characteristics. It was concluded that there are many factors that go into comparing the typeface pairings of serif and sans serif typeface combinations. However, a selection of a superfamily typeface pairing is better than selecting a differentiating pairing. Future research should focus on conducting studies with a varying amount of typeface styles. Also, to include less maps per survey and a survey completion status bar.
ContributorsFinden, Nathan (Author) / Ralston, Laurie (Thesis advisor) / Carrasquilla, Christina (Committee member) / Westover, William (Committee member) / Arizona State University (Publisher)
Created2018