Matching Items (210)
Description
About piano students who display disruptive behavior and perform far below reasonable expectations, teachers first conclude that they are lazy, rude, disinterested, and/or lacking intelligence or ability. Most dismiss such students from studios and advise parents to discontinue lessons. In truth, many of these students are both highly gifted and also have a learning disability. Examined literature shows that the incidence of dyslexia and other learning disabilities in the gifted learner population is several times that of the regular learner population. Although large volumes of research have been devoted to dyslexia, and more recently to dyslexia and music (in the classroom and some in individual instrumental instruction), there is no evidence of the same investigation in relation to the specific needs of highly gifted dyslexic students in learning to play the piano. This project examines characteristics of giftedness and dyslexia, gifted learners with learning disabilities, and the difficulties they encounter in learning to read music and play keyboard instruments. It includes historical summaries of author's experience with such students and description of their progress and success. They reveal some of practical strategies that evolved through several decades of teaching regular and gifted dyslexic students that helped them overcome the challenges and learn to play the piano. Informal conversations and experience exchanges with colleagues, as well as a recently completed pilot study also showed that most piano pedagogues had no formal opportunity to learn about this issue and to be empowered to teach these very special students. The author's hope is to offer personal insights, survey of current knowledge, and practical suggestions that will not only assist piano instructors to successfully teach highly gifted learners with dyslexia, but also inspire them to learn more about the topic.
ContributorsVladikovic, Jelena (Author) / Humphreys, Jere T. (Thesis advisor) / Meir, Baruch (Thesis advisor) / Norton, Kay (Committee member) / Hamilton, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Arnold Schoenberg's 1908-09 song cycle, Das Buch der hängenden Gärten [The Book of the Hanging Gardens], opus 15, represents one of his most decisive early steps into the realm of musical modernism. In the midst of personal and artistic crises, Schoenberg set texts by Stefan George in a style he called "pantonality," and described his composition as radically new. Though stylistically progressive, however, Schoenberg's musical achievement had certain ideologically conservative roots: the composer numbered among turn-of-the-century Viennese artists and thinkers whose opposition to the conventional and the popular--in favor of artistic autonomy and creativity--concealed a reactionary misogyny. A critical reading of Hanging Gardens through the lens of gender reveals that Schoenberg, like many of his contemporaries, incorporated strong frauenfeindlich [anti-women] elements into his work, through his modernist account of artistic creativity, his choice of texts, and his musical settings. Although elements of Hanging Gardens' atonal music suggest that Schoenberg valued gendered-feminine principles in his compositional style, a closer analysis of the work's musical language shows an intact masculinist hegemony. Through his deployment of uncanny tonal reminiscences, underlying tonal gestures, and closed forms in Hanging Gardens, Schoenberg ensures that the feminine-associated "excesses" of atonality remain under masculine control. This study draws upon the critical musicology of Susan McClary while arguing that Schoenberg's music is socially contingent, affected by the gender biases of his social and literary milieux. It addresses likely influences on Schoenberg's worldview including the philosophy of Otto Weininger, Freudian psychoanalysis, and a complex web of personal relationships. Finally, this analysis highlights the relevance of Schoenberg's world and its constructions of gender to modern performance practice, and argues that performers must consider interrelated historical, textual, and musical factors when interpreting Hanging Gardens in new contexts.
ContributorsGinger, Kerry Anne (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mook, Richard (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT This document introduces singers and voice teachers to Dr. Alfred A. Tomatis's listening training method with a particular emphasis on its relevance to singers. After presenting an overview of Tomatis's work in the field of audio-psycho-phonology (circa 1947 through the 1990s) and specific ways that aspects of his theory are relevant to singers' performance skills, this project investigates the impact of listening training on singers by examining published research. The studies described in this document have investigated the impact of listening training on elements of the singer's skill set, including but not limited to measures of vocal quality such as intonation, vocal control, intensity, and sonority, as well as language pronunciation and general musicianship. Anecdotal evidence, presented by performers and their observers, is also considered. The evidence generated by research studies and anecdotal reports strongly favors Tomatis-based listening training as a valid way to improve singers' performance abilities.
ContributorsHurley, Susan Lynn (Author) / Doan, Jerry (Thesis advisor) / Dreyfoos, Dale (Committee member) / Kopta, Anne (Committee member) / Norton, Kay (Committee member) / Thompson, Billie M (Committee member) / Arizona State University (Publisher)
Created2012
Description
The alkali activation of aluminosilicate materials as binder systems derived from industrial byproducts have been extensively studied due to the advantages they offer in terms enhanced material properties, while increasing sustainability by the reuse of industrial waste and byproducts and reducing the adverse impacts of OPC production. Fly ash and ground granulated blast furnace slag are commonly used for their content of soluble silica and aluminate species that can undergo dissolution, polymerization with the alkali, condensation on particle surfaces and solidification. The following topics are the focus of this thesis: (i) the use of microwave assisted thermal processing, in addition to heat-curing as a means of alkali activation and (ii) the relative effects of alkali cations (K or Na) in the activator (powder activators) on the mechanical properties and chemical structure of these systems. Unsuitable curing conditions instigate carbonation, which in turn lowers the pH of the system causing significant reductions in the rate of fly ash activation and mechanical strength development. This study explores the effects of sealing the samples during the curing process, which effectively traps the free water in the system, and allows for increased aluminosilicate activation. The use of microwave-curing in lieu of thermal-curing is also studied in order to reduce energy consumption and for its ability to provide fast volumetric heating. Potassium-based powder activators dry blended into the slag binder system is shown to be effective in obtaining very high compressive strengths under moist curing conditions (greater than 70 MPa), whereas sodium-based powder activation is much weaker (around 25 MPa). Compressive strength decreases when fly ash is introduced into the system. Isothermal calorimetry is used to evaluate the early hydration process, and to understand the reaction kinetics of the alkali powder activated systems. A qualitative evidence of the alkali-hydroxide concentration of the paste pore solution through the use of electrical conductivity measurements is also presented, with the results indicating the ion concentration of alkali is more prevalent in the pore solution of potassium-based systems. The use of advanced spectroscopic and thermal analysis techniques to distinguish the influence of studied parameters is also discussed.
ContributorsChowdhury, Ussala (Author) / Neithalath, Narayanan (Thesis advisor) / Rajan, Subramanium D. (Committee member) / Mobasher, Barzin (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study focuses on implementing probabilistic nature of material properties (Kevlar® 49) to the existing deterministic finite element analysis (FEA) of fabric based engine containment system through Monte Carlo simulations (MCS) and implementation of probabilistic analysis in engineering designs through Reliability Based Design Optimization (RBDO). First, the emphasis is on experimental data analysis focusing on probabilistic distribution models which characterize the randomness associated with the experimental data. The material properties of Kevlar® 49 are modeled using experimental data analysis and implemented along with an existing spiral modeling scheme (SMS) and user defined constitutive model (UMAT) for fabric based engine containment simulations in LS-DYNA. MCS of the model are performed to observe the failure pattern and exit velocities of the models. Then the solutions are compared with NASA experimental tests and deterministic results. MCS with probabilistic material data give a good prospective on results rather than a single deterministic simulation results. The next part of research is to implement the probabilistic material properties in engineering designs. The main aim of structural design is to obtain optimal solutions. In any case, in a deterministic optimization problem even though the structures are cost effective, it becomes highly unreliable if the uncertainty that may be associated with the system (material properties, loading etc.) is not represented or considered in the solution process. Reliable and optimal solution can be obtained by performing reliability optimization along with the deterministic optimization, which is RBDO. In RBDO problem formulation, in addition to structural performance constraints, reliability constraints are also considered. This part of research starts with introduction to reliability analysis such as first order reliability analysis, second order reliability analysis followed by simulation technique that are performed to obtain probability of failure and reliability of structures. Next, decoupled RBDO procedure is proposed with a new reliability analysis formulation with sensitivity analysis, which is performed to remove the highly reliable constraints in the RBDO, thereby reducing the computational time and function evaluations. Followed by implementation of the reliability analysis concepts and RBDO in finite element 2D truss problems and a planar beam problem are presented and discussed.
ContributorsDeivanayagam, Arumugam (Author) / Rajan, Subramaniam D. (Thesis advisor) / Mobasher, Barzin (Committee member) / Neithalath, Narayanan (Committee member) / Arizona State University (Publisher)
Created2012
Description
Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition will discuss how Raymond Ridley's original composition, FyrStar (2009), is comparable to other pre-existing percussion works in the literature. Selected compositions for comparison included Darius Milhaud's Concerto for Marimba, Vibraphone and Orchestra, Op. 278 (1949); David Friedman's and Dave Samuels's Carousel (1985); Raymond Helble's Duo Concertante for Vibraphone and Marimba, Op. 54 (2009); Tera de Marez Oyens's Octopus: for Bass Clarinet and one Percussionist (marimba/vibraphone) (1982). In the course of this document, the author will discuss the uniqueness of FyrStar's instrumentation of nine single reed instruments--E-flat clarinet, B-flat clarinet, alto clarinet, bass clarinet, B-flat contrabass clarinet, B-flat soprano saxophone, alto saxophone, tenor saxophone, and B-flat baritone saxophone, juxtaposing this unique instrumentation to the symbolic relationship between the ensemble, marimba, and vibraphone.
ContributorsThompson, Darrell Irwin (Author) / Sunkett, Mark E (Thesis advisor) / Bush, Jeffrey (Committee member) / DeMars, James (Committee member) / Little, Bliss (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2012
Description
New music is often created as a product of commissions resulting in a collaborative effort between the performer and the composer. This performer-composer relationship represents an important component of the role of the artist in expanding the repertoire of the instrument. Belgian composer, Norbert Goddaer (b. 1933), has written numerous works for clarinet that are the result of such collaborations. Mr. Goddaer's works for clarinet are well-crafted and audience-friendly, and are thus good programming choices for students and professionals alike. His clarinet works have been performed worldwide in artist recitals, conferences for organizations such as the International Clarinet Association, The Midwest Clinic, and the Texas Music Educators Association, and have been commercially recorded and released by some of the foremost contemporary clarinet artists. These works have a great education value given the fact that they are appropriate choices for such a wide range of clarinetists. In an effort to contribute to this body of performance history, the author has produced a recording of five of Goddaer's previously unrecorded works, accompanied by a performance guide to each work. This document provides detailed performance notes with corresponding musical examples, basic formal analyses, and musical suggestions for Las Mañas, Conversations, Ballad, Duets, and Restless by Norbert Goddaer. The author has included a full transcript of an interview with Norbert Goddaer, which includes a first-person discussion of each work, and additionally includes biographical information supported by concert programs and an annotated list of all of Goddaer's works for clarinet, and a discography of his works for clarinet.
ContributorsClasen, Kevin (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Committee member) / Norton, Kay (Committee member) / Hill, Gary (Committee member) / McAllister, Timothy (Committee member) / Arizona State University (Publisher)
Created2012
Description
The number of Brazilian immigrants in the United States has greatly increased over the past three decades. In Phoenix, Arizona, this population increase reveals itself through a greater number of large Brazilian cultural events and higher demand for live Brazilian music. Music is so embedded in Brazilian culture that it serves as the ideal medium through which immigrants can reconnect to their Brazilian heritage. In this thesis, I contend that Brazilian immigrants in Phoenix, Arizona maintain their identity as Brazilians through various activities extracted from their home culture, the most prominent being musical interaction and participation. My research reveals three primary factors which form a foundation for maintaining cultural identity through music within the Brazilian immigrant community in Phoenix. These include the common experiences of immigration, diasporic identity, and the role of music within this diaspora. Music is one of the stronger art forms for representing emotions and creating an experience of relationship and connections. Music creates a medium with which to confirm identity, and makes the Brazilian immigrant population visible to other Americans and outsiders. While other Brazilian activities can also serve to maintain immigrants' identity, it is clear to me from five years of participant-observation that musical interaction and participation is the most prominent and effective means for Brazilians in Phoenix to maintain their cultural identity while living in the U.S. As a community, music unites the experiences of the Brazilian immigrants and removes them from the periphery of life in a new society.
ContributorsSwietlik, Amy (Author) / Solís, Ted (Thesis advisor) / Norton, Kay (Committee member) / Pilafian, Sam (Committee member) / Arizona State University (Publisher)
Created2012
Description
Emily Dickinson is a well-known American poet of the nineteenth century, and her oeuvre consists of nearly 2,000 posthumously published poems. Written largely in hymn form with unique ideas of punctuation and grammar, her poetry attracts composers with its inherent musicality. The twentieth-century American composers Aaron Copland, Ernst Bacon, Lee Hoiby, and Gordon Getty have created song settings of Dickinson's poetry. Copland's song cycle Twelve Poems of Emily Dickinson (1949-50) is admired by many as an illustration of poetry; however, the Dickinson cycles by Bacon, Hoiby, and Getty are also valuable, lesser-known representations of her writing. Settings of one poem, "There came a Wind like a Bugle--", are common among Copland's Twelve Poems, Bacon's cycle Songs from Emily Dickinson: Nature, Time, and Space (1930), Hoiby's Four Dickinson Songs (1988), and Getty's The White Election (1982). These latter three settings have previously undergone some theoretical analysis; however, this paper considers a performance analysis of these songs from a singer's point of view. Chapter 1 provides background for this study. Chapter 2 consists of a biographical overview of Dickinson's life and writing style, as well as a brief literary analysis of "There came a Wind like a Bugle--". Chapters 3, 4, and 5 discuss Ernst Bacon, Lee Hoiby, and Gordon Getty, respectively; each chapter consists of a short biography of the composer and a discussion of his writing style, a brief theoretical analysis of his song setting, and commentary on the merits of his setting from the point of view of a singer. Observations of the depiction of mood in the song and challenges for the singer are also noted. This paper provides a comparative analysis of three solo vocal settings of one Emily Dickinson poem as a guide for singers who wish to begin studying song settings of this poem. The Bacon and Hoiby settings were found to be lyrical, tonal representations of the imagery presented in "There came a Wind like a Bugle--". The Getty setting was found to be a musically starker representation of the poem's atmosphere. These settings are distinctive and worthy of study and performance.
ContributorsCastellone, Amanda Beth (Author) / Doan, Jerry (Thesis advisor) / Kopta, Anne E (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mills, Robert (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
Concrete design has recently seen a shift in focus from prescriptive specifications to performance based specifications with increasing demands for sustainable products. Fiber reinforced composites (FRC) provides unique properties to a material that is very weak under tensile loads. The addition of fibers to a concrete mix provides additional ductility and reduces the propagation of cracks in the concrete structure. It is the fibers that bridge the crack and dissipate the incurred strain energy in the form of a fiber-pullout mechanism. The addition of fibers plays an important role in tunnel lining systems and in reducing shrinkage cracking in high performance concretes. The interest in most design situations is the load where cracking first takes place. Typically the post crack response will exhibit either a load bearing increase as deflection continues, or a load bearing decrease as deflection continues. These behaviors are referred to as strain hardening and strain softening respectively. A strain softening or hardening response is used to model the behavior of different types of fiber reinforced concrete and simulate the experimental flexural response. Closed form equations for moment-curvature response of rectangular beams under four and three point loading in conjunction with crack localization rules are utilized. As a result, the stress distribution that considers a shifting neutral axis can be simulated which provides a more accurate representation of the residual strength of the fiber cement composites. The use of typical residual strength parameters by standards organizations ASTM, JCI and RILEM are examined to be incorrect in their linear elastic assumption of FRC behavior. Finite element models were implemented to study the effects and simulate the load defection response of fiber reinforced shotcrete round discrete panels (RDP's) tested in accordance with ASTM C-1550. The back-calculated material properties from the flexural tests were used as a basis for the FEM material models. Further development of FEM beams were also used to provide additional comparisons in residual strengths of early age samples. A correlation between the RDP and flexural beam test was generated based a relationship between normalized toughness with respect to the newly generated crack surfaces. A set of design equations are proposed using a residual strength correction factor generated by the model and produce the design moment based on specified concrete slab geometry.
ContributorsBarsby, Christopher (Author) / Mobasher, Barzin (Thesis advisor) / Rajan, Subramaniam D. (Committee member) / Neithalath, Narayanan (Committee member) / Arizona State University (Publisher)
Created2011