Matching Items (284)
Description
Motor learning is the process of improving task execution according to some measure of performance. This can be divided into skill learning, a model-free process, and adaptation, a model-based process. Prior studies have indicated that adaptation results from two complementary learning systems with parallel organization. This report attempted to answer the question of whether a similar interaction leads to savings, a model-free process that is described as faster relearning when experiencing something familiar. This was tested in a two-week reaching task conducted on a robotic arm capable of perturbing movements. The task was designed so that the two sessions differed in their history of errors. By measuring the change in the learning rate, the savings was determined at various points. The results showed that the history of errors successfully modulated savings. Thus, this supports the notion that the two complementary systems interact to develop savings. Additionally, this report was part of a larger study that will explore the organizational structure of the complementary systems as well as the neural basis of this motor learning.
ContributorsRuta, Michael (Author) / Santello, Marco (Thesis director) / Blais, Chris (Committee member) / School of Mathematical and Statistical Sciences (Contributor) / School of Molecular Sciences (Contributor) / School of Human Evolution & Social Change (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
Oscillatory perturbations with varying amplitudes and frequencies have been found to significantly affect human standing balance. However, previous studies have only applied perturbation in either the anterior-posterior (AP) or the medio-lateral (ML) directions. Little is currently known about the impacts of 2D oscillatory perturbations on postural stability, which are more commonly seen in daily life (i.e., while traveling on trains, ships, etc.). This study investigated the effects of applying 2D perturbations vs 1D perturbations on standing stability, and how increasing the frequency and amplitude of perturbation impacts postural stability. A dual-axis robotic platform was utilized to simulate various oscillatory perturbations and evaluate standing postural stability. Fifteen young healthy subjects were recruited to perform quiet stance on the platform. Impacts of perturbation direction (i.e., 1D versus 2D), amplitude, and frequency on postural stability were investigated by analyzing different stability measures, specifically AP/ML/2D Center-of-Pressure (COP) path length, AP/ML/2D Time-to-Boundary (TtB), and sway area. Standing postural stability was compromised more by 2D perturbations than 1D perturbations, evidenced by a significant increase in COP path length and sway area and decrease in TtB. Further, the stability decreased as 2D perturbation amplitude and frequency increased. A significant increase in COP path length and decrease in TtB were consistently observed as the 2D perturbation amplitude and frequency increased. However, sway area showed a considerable increase only with increasing perturbation amplitude but not with increasing frequency.
ContributorsBerrett, Lauren Ann (Author) / Lee, Hyunglae (Thesis director) / Peterson, Daniel (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / School of International Letters and Cultures (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
Neurostimulation methods currently include deep brain stimulation (DBS), optogenetic, transcranial direct-current stimulation (tDCS), and transcranial magnetic stimulation (TMS). TMS and tDCS are noninvasive techniques whereas DBS and optogenetic require surgical implantation of electrodes or light emitting devices. All approaches, except for optogenetic, have been implemented in clinical settings because they have demonstrated therapeutic utility and clinical efficacy for neurological and psychiatric disorders. When applied for therapeutic applications, these techniques suffer from limitations that hinder the progression of its intended use to treat compromised brain function. DBS requires an invasive surgical procedure that surfaces complications from infection, longevity of electrical components, and immune responses to foreign materials. Both TMS and tDCS circumvent the problems seen with DBS as they are noninvasive procedures, but they fail to produce the spatial resolution required to target specific brain structures. Realizing these restrictions, we sought out to use ultrasound as a neurostimulation modality. Ultrasound is capable of achieving greater resolution than TMS and tDCS, as we have demonstrated a ~2mm lateral resolution, which can be delivered noninvasively. These characteristics place ultrasound superior to current neurostimulation methods. For these reasons, this dissertation provides a developed protocol to use transcranial pulsed ultrasound (TPU) as a neurostimulation technique. These investigations implement electrophysiological, optophysiological, immunohistological, and behavioral methods to elucidate the effects of ultrasound on the central nervous system and raise questions about the functional consequences. Intriguingly, we showed that TPU was also capable of stimulating intact sub-cortical circuits in the anesthetized mouse. These data reveal that TPU can evoke synchronous oscillations in the hippocampus in addition to increasing expression of brain-derived neurotrophic factor (BDNF). Considering these observations, and the ability to noninvasively stimulate neuronal activity on a mesoscale resolution, reveals a potential avenue to be effective in clinical settings where current brain stimulation techniques have shown to be beneficial. Thus, the results explained by this dissertation help to pronounce the significance for these protocols to gain translational recognition.
ContributorsTufail, Yusuf Zahid (Author) / Tyler, William J (Thesis advisor) / Duch, Carsten (Committee member) / Muthuswamy, Jitendran (Committee member) / Santello, Marco (Committee member) / Tillery, Stephen H (Committee member) / Arizona State University (Publisher)
Created2011
Description
ABSTRACT études; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études.; These works rarely go by the title "étude;," and have not been the focus of much scholarly research. Ensemble études; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble études; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études; in a group, this document introduces creative ways that works for violin ensemble can be used as both études; and performance pieces. The first two chapters explore the history and philosophy of the violin étude; and multiple-violin works, the practice of arranging of solo études; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude; study from solo étude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: étude; for Four Violins, with an explanation of the process and techniques used to create this ensemble étude.; This work is an example of the musical and technical integration essential to étude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble études; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble études; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.
ContributorsLundell, Eva Rachel (Contributor) / Swartz, Jonathan (Thesis advisor) / Rockmaker, Jody (Committee member) / Buck, Nancy (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver and Greil Marcus unearthed and promoted her music and called for further research on this enigmatic figure. In other publications, Wiley is frequently given only passing mention in long lists of talented female blues singer-guitarists, or briefly discussed in descriptions of songsters. Her music is lauded in the liner notes of the myriad compilation albums that have re-released her recordings. However, prior to this study, Marcus's three-page profile is the longest work written about Wiley; other contributions range between one sentence and two paragraphs in length. None really answers the question: who was Geechie Wiley? This thesis begins by documenting my attempt to piece together all information presently available on Geechie Wiley. A biographical chapter, supplemented with a discussion of the blues songster, follows. I then discuss my methodology and philosophy for transcription. This is followed by a critical and comparative analysis of the recordings, using the transcriptions as supplements. Finally, my fifth chapter presents conclusions about Wiley's life, career, and disappearance. My transcriptions of Wiley's six songs are found in the first appendix. Reproductions of Paramount Records advertisements are located in the final appendix. In these ways, this thesis argues that Wiley's work traces the transformation of African-American music from the general secular music of the songsters to the iconic blues genre.
ContributorsCordeiro, AnneMarie Youell (Author) / Norton, Kay (Thesis advisor) / Mook, Richard (Committee member) / Sunkett, Mark (Committee member) / Arizona State University (Publisher)
Created2011
Description
Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous Computing Laboratory. Performance tasks included performing a slurred three-octave chromatic scale in sixteenth notes, at sixty quarter-note beats per minute, three times, with a metronome and a short pause between repetitions, and forming three pedagogical hand postures. Following the CyberGloves® tasks, each subject completed a questionnaire about equipment, playing history, practice routines, health practices, and hand usage during computer and sports activities. CyberGlove® data were analyzed to find average hand/finger postures and differences for each pitch across subjects, subject variance in the performance task and differences in ascending and descending postures of the chromatic scale. The data were also analyzed to describe generalized finger posture characteristics based on hand size, whether right hand thumb position affects finger flexion, and whether professional clarinetists use similar finger/hand postures when performing on clarinet, holding a tennis ball, allowing hands to hang freely by the sides, or form a "C" shape. The findings of this study suggest an individual approach based on hand size is necessary for teaching clarinet hand posture.
ContributorsHarger, Stefanie (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Stauffer, Sandy (Committee member) / Arizona State University (Publisher)
Created2011
Description
An accurate sense of upper limb position is crucial to reaching movements where sensory information about upper limb position and target location is combined to specify critical features of the movement plan. This dissertation was dedicated to studying the mechanisms of how the brain estimates the limb position in space and the consequences of misestimation of limb position on movements. Two independent but related studies were performed. The first involved characterizing the neural mechanisms of limb position estimation in the non-human primate brain. Single unit recordings were obtained in area 5 of the posterior parietal cortex in order to examine the role of this area in estimating limb position based on visual and somatic signals (proprioceptive, efference copy). When examined individually, many area 5 neurons were tuned to the position of the limb in the workspace but very few neurons were modulated by visual feedback. At the population level however decoding of limb position was somewhat more accurate when visual feedback was provided. These findings support a role for area 5 in limb position estimation but also suggest that visual signals regarding limb position are only weakly represented in this area, and only at the population level. The second part of this dissertation focused on the consequences of misestimation of limb position for movement production. It is well known that limb movements are inherently variable. This variability could be the result of noise arising at one or more stages of movement production. Here we used biomechanical modeling and simulation techniques to characterize movement variability resulting from noise in estimating limb position ('sensing noise') and in planning required movement vectors ('planning noise'), and compared that to the variability expected due to noise in movement execution. We found that the effects of sensing and planning related noise on movement variability were dependent upon both the planned movement direction and the initial configuration of the arm and were different in many respects from the effects of execution noise.
ContributorsShi, Ying (Author) / Buneo, Christopher A (Thesis advisor) / Helms Tillery, Stephen (Committee member) / Santello, Marco (Committee member) / He, Jiping (Committee member) / Santos, Veronica (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an "organism." This study examines Martinù's piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinù's overall style through several piano miniatures written throughout his career. It takes into consideration the composer's personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinù's first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinù was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. The discussion and analysis of the Fantasie et Toccata intends to serve as a guide to interpretation for the performer or listener and also seeks to promote the piano music of Bohuslav Martinù to a wider audience.
ContributorsCrane-Waleczek, Jennifer (Author) / Hamilton, Robert (Thesis advisor) / Hackbarth, Glenn (Committee member) / Meyer Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2011
Description
Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.
ContributorsDeBoer, Andrew Caleb (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Norton, Kay (Committee member) / McAllister, Timothy (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011