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- Genre: Interactive multimedia--Equipment and supplies.
- Genre: Music--Latin America.
- Creators: Arizona State University
Description
This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list.
ContributorsArias-Esguerra, Mauricio (Author) / Meir, Baruch I (Thesis advisor) / DeMars, James (Committee member) / Hamilton, Robert (Committee member) / Pagano, Caio (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
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