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Asthma is a chronic respiratory disease affecting millions of people in the United States. Medication is effective at treating physiological symptoms of asthma, but other treatments are necessary to address the corresponding physical, emotional, social, and psychological issues and promote increased quality of life for patients. This paper presents a literature review on the applications of music therapy for asthma and other respiratory disorders, utilizing elements of Therapeutic Singing and Therapeutic Instrumental Music Performance. A treatment protocol that uses therapeutic clarinet playing interventions, combined with breathing exercises and music-assisted relaxation techniques, can, as a compliment to medication, help asthma patients increase their physical functioning, effectively manage their symptoms, improve mood, and enhance overall quality of life.
ContributorsOlson, Shelbe Erin (Author) / Rio, Robin (Thesis director) / Gardner, Joshua (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
This creative project documents the methods and challenges of writing three clarinet choir arrangements of different musical genres, and culminates into three clarinet choir scores with an upcoming performance date. The three pieces that were arranged are “Dinah” by Sam Lewis and Joe Young, “Laud ye the Name of the Lord” from Vespers by Sergei Rachmaninoff, and “Peace” by Jeremy Zuckerman. The goal of the project was to arrange these pieces for clarinet choir without making any major changes to the form or style of the original works. Scores to the final three arrangements are included within this document, as well as a brief description of the processes involved in writing them. While the pieces were being arranged, the techniques of arranging were studied concurrently by reviewing a text on arranging, other successful clarinet choir arrangements, fixing the challenges that were presented by the pieces to be arranged. Each piece required a few drafts: after being written to near-completion, they were played by live clarinet groups and recorded to hear how they sounded. After these recording sessions, the pieces would be further edited for readability, suitability for the instrument, and overall sound and effect. Major difficulties are also covered within the following paper, including why those issues arose and what methods were used to solve them. Each of the pieces helped to explore different aspects of arranging for clarinet choir, and each piece has turned into a pleasing arrangement that may be performed by a live ensemble. This creative project greatly improved the skills of the author and serves to stoke interest in arranging and composition.
ContributorsGerman, Lindsey (Author) / Spring, Robert (Thesis director, Committee member) / Gardner, Joshua (Thesis director, Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This thesis presents a new study “Fostering Student Autonomy in the Collegiate Woodwind Studio” which gathered pedagogical techniques that collegiate woodwind professors use to foster student autonomy in their woodwind studios. This study defines “student autonomy” as an end-goal of education, in which students are “self-monitoring, strategizing, and taking responsibility for and ownership of the learning process.” A survey of questions concerning student autonomy was emailed to each of the appointed woodwind studio professors at ASU. Their responses are presented and analyzed in this thesis. The author hypothesized that the professors would show some understanding of various methods that can achieve student autonomy, but the study results showed that the professors had much knowledge and specific examples on how to achieve student autonomy in their studios. All of the participants cited examples of using indirect teaching, peer-learning, student-selected repertoire with teacher guidance, student goal-setting, and practical autonomy in their woodwind studios to facilitate student autonomy. About half of the participants cited examples of using student-to-teacher rapport, technology-mediated feedback, and diversified autonomy in their studios to facilitate student autonomy. Student-selected repertoire was by far the most popular method through which to foster student autonomy. This study found that further research is needed to prove if there is indeed a positive correlation between students who compose music for their woodwind lessons and their level of autonomous learning.
ContributorsBurton, Charlotte Elizabeth (Author) / Spring, Robert (Thesis director) / Gardner, Joshua (Thesis director) / N/A, N/A (Committee member) / School of Music (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Proper clarinet embouchure presents a pedagogical conundrum simply because the many forces involved cannot be observed visually, and many pedagogical resources state conflicting opinions often based on subjective "feel" rather than any empirical data. In order to broaden our understanding of clarinet embouchure dynamics, seven professional clarinetists were asked to perform various tasks using thin-film force sensors to measure embouchure and thumb forces. The results indicate variations in how clarinetists apply embouchure forces during performance.
ContributorsLow, Erica (Author) / Gardner, Joshua (Thesis director) / Jacob, Richard (Committee member) / Barrett, The Honors College (Contributor)
Created2014-05
Description
Research on /r/ production previously used formant analysis as the primary acoustic analysis, with particular focus on the low third formant in the speech signal. Prior imaging of speech used X-Ray, MRI, and electromagnetic midsagittal articulometer systems. More recently, the signal processing technique of Mel-log spectral plots has been used to study /r/ production in children and female adults. Ultrasound imaging of the tongue also has been used to image the tongue during speech production in both clinical and research settings. The current study attempts to describe /r/ production in three different allophonic contexts; vocalic, prevocalic, and postvocalic positions. Ultrasound analysis, formant analysis, Mel-log spectral plots, and /r/ duration were measured for /r/ production in 29 adult speakers (10 male, 19 female). A possible relationship between these variables was also explored. Results showed that the amount of superior constriction in the postvocalic /r/ allophone was significantly lower than the other /r/ allophones. Formant two was significantly lower and the distance between formant two and three was significantly higher for the prevocalic /r/ allophone. Vocalic /r/ had the longest average duration, while prevocalic /r/ had the shortest duration. Signal processing results revealed candidate Mel-bin values for accurate /r/ production for each allophone of /r/. The results indicate that allophones of /r/ can be distinguished based the different analyses. However, relationships between these analyses are still unclear. Future research is needed in order to gather more data on /r/ acoustics and articulation in order to find possible relationships between the analyses for /r/ production.
ContributorsHirsch, Megan Elizabeth (Author) / Weinhold, Juliet (Thesis director) / Gardner, Joshua (Committee member) / Department of Speech and Hearing Science (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Making Clarinet Reeds by Hand is an instructive manual for the collegiate or professional clarinetist seeking to learn about how to have more control over their reeds. It explores reasons to consider making one’s own clarinet reeds by hand, explains the process in detail both from starting with tube cane or from commercially purchased reed blanks, and includes a cost and time effectiveness analysis highlighting the benefits and disadvantages of making reeds by hand. The thesis also includes a variety of pictures, diagrams, and infographics to incorporate visual explanation as well as addresses the common mistakes associated with each part of the reed making process. The thesis is organized into many sections and section headings to facilitate quick reference for specific questions, as well as incorporates step-by-step guides that walk through the general reed making process.
ContributorsBreeden, Katherine Nichole (Author) / Spring, Robert (Thesis director) / Gardner, Joshua (Committee member) / Historical, Philosophical & Religious Studies (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
For my honors thesis, I chose a creative project that would incorporate expertise and skills from both of my undergraduate degrees at Arizona State University: Music Performance and Music Theory and Composition. The main goal for this project was to design and experience an artistic process of musical production and create a professional musical work to release on digital platforms. The musical process included five main components: Listening, Transcribing, Composing, Recording, and Post Production. The final product is a full album, titled This is Jam Music, that consists of eight pieces and a run time of 33 minutes.
ContributorsArora, Vashawn Michael (Author) / Gardner, Joshua (Thesis director) / Knowles, Kristina (Thesis director) / Libman, Jeffrey (Committee member) / School of Music, Dance and Theatre (Contributor, Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
A previous study identified a subset of participants who required multiple swallows to clear a single bolus (Weinhold & McKay, 2017). Presence of multiple swallows was positively correlated with orofacial myofunctional disorder (OMD), suggesting that multiple swallows might be a potential screening marker for OMD. Since bolus size was not controlled in the study, reviewers questioned whether multiple swallows might have been a consequence of larger bolus size. In 2018, Pennington and Weinhold replicated this study by using a consistent 5ml bolus and revealed a similar correlation between OMD and multiple swallows. However, the test instrument used in that study to identify OMD yielded an OMD incidence of 60%. Accordingly, a new test instrument was developed to increase specificity of scoring for future studies. The new instrument identified 30% of participants as having OMD, which is more in line with the literature. The current study replicated Weinhold & McKay (2017) by utilizing the new test instrument as well as a predetermined average sip size for each participant. Utilizing both a controlled bolus of 5ml, and a participant-specific bolus size failed to eliminate multiple swallows. Linear regression revealed no significant relationship between size of bolus and number of swallows for either study; therefore, the hypothesis that the size of the unmeasured boluses in Weinhold & McKay caused differences in number of swallows was rejected. The suggestion that multiple swallows are indicative of OMD was strengthened, prompting further investigation into the relationship between number of swallows per bolus and OMD. Ultrasound images of three stages of the oral swallow were compared for the OMD and non-OMD groups. No statistical differences were noted in tongue constriction, which did not support our hypothesis that the OMD participants would display less constriction. However, baseline tongue position of /𝑎/ for participants with OMD was significantly lower than the baseline of participants without OMD. Pertinence of these findings relative to the oral stages of the swallow are addressed, as well as implications of oral stage dysfunction in general.
ContributorsPennington, Amanda Jean (Author) / Weinhold, Juliet (Thesis director) / Gardner, Joshua (Committee member) / Dean, W.P. Carey School of Business (Contributor) / College of Health Solutions (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This thesis explores virtuosity as it applies to the following five clarinet works: Grand Duo Concertant by Carl Maria von Weber, Solo de Concours by André Messager, Caprice by Anders Koppel, Live Wire by Theresa Martin, and The Bangui Anomaly by Eric Mandat. By detailing the clarinet’s development, including its creation in the early 18th century and key innovations over the next several hundred years, the histories of several key clarinet manufacturers are described to further analyze the innovation of music at the time. This background is necessary to understand the foundation of the clarinet and how virtuosity is tied closely to its mechanical development. Based on this fundamental information, virtuosity is comprised of three pillars: technical proficiency, musicianship, and recognition. In order for a piece or performer to be considered virtuosic, they must exemplify all three pillars. Technical proficiency applies to physically manipulating the instrument, including finger agility, articulation, voicing, dynamic and intonation control, among others. Musicianship further describes personal interpretation within stylistic boundaries, and the ability to implement interpretive judgement. Finally, recognition serves as esteemed acknowledgement from a panel of field critics. Accompanying this paper is a creative performance recording of the five aforementioned clarinet pieces, demonstrating virtuosity through a wide range of musical genres and eras.
ContributorsGraf, Selena (Author) / Gardner, Joshua (Thesis director) / Spring, Robert (Committee member) / School of Music (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
The original scope of this project was to have several conducting experiences and written records about the conductor’s experiences. Due to COVID-19, the focus of the paper has shifted to documenting the preparation, rehearsal, and performance "Recombobulation" (2016) by Theresa Martin. Using the templates found in the "Teaching Music Through Performance in Band" book series as a model, combined with the author’s personal narrative of their experience, this paper aims to serve as a resource for both people considering programming this piece of music as well as early career conductors who strive to improve their craft.
ContributorsStirm, Taylor Lynne (Author) / Caslor, Jason (Thesis director) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / School of Music, Dance and Theatre (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-12