Matching Items (142)
Description
There are as many different approaches to artistic collaboration theory as there are authors who have created them. This paper postulates that collaboration is a stage of the artistic co-creative group-work process. Theories of collaboration were examined to isolate verbiage used in various attempted definitions of artistic collaboration. Two theories were selected to serve as a joint model for the creation and maintenance of a collaboration stage during the artistic co-creative group-work process including a derived series of conditions required for a co-creative initial stage to qualify as collaboration. Those conditions were then applied to five collaborative situations to determine if each situation had established a collaboration stage, how that establishment occurred, if that collaborative atmosphere was maintained over the life of the co-creative process, how the presentational outcome of the group-work was affected by the presence or lack of a collaboration stage, and finally this collaborator’s general reactions to the process.
ContributorsBusch, Ashlee T (Author) / Bolanos, Gabriel (Thesis advisor) / Knowles, Kristina (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2021
Description
I have always aspired to compose a large-scale orchestral piece which would be more than 5 minutes in length, rich in harmony and colorfully orchestrated. Impressionism and music for Hollywood films have influenced my music style. I have tried to emulate the harmony, textures and melody development. In preparation for this project, and I analyzed La Mer, and the orchestral arrangement of Image by Debussy, The Planets by Gustav Holst, and a number of works by John Williams. Carnival Chaos by my advisor, Dr. Christopher Norby, in particular, inspired me. The culmination of my own efforts is Final Journey, a 9-minute work for full orchestra. I endeavored to mimic Debussy’s colors. The main theme mm. 1-5, is built on a non-functional major-minor seventh chord that creates tension through raised and lowered pitches. The treble woodwind sections follow with dramatic dynamic changes that contrast with the earlier melody. Echoes of this tune can be found throughout the piece, for instance in mm. 61-77 and 169-176. The whole tone scale perfectly creates a mysterious and vague soundscape. The interaction between parts in the woodwind sections at mm. 43-60 and 107-121 are reminiscent of Hollywood-style orchestral techniques. The process of creation is also a process of learning. I believe I finally achieved my original goals. These valuable experiences will be the basis as I continue my career.
ContributorsShangguan, Yuyao (Author) / Norby, Christopher (Thesis advisor) / Humphreys, Jere (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2021
Description
ABSTRACT This project is comprised of two main components, a paper, and audiovisual composition (two-channel audio, single-channel video). The composition takes the beginning thematic elements from the book of Genesis and transitions to a robotic teleology (the transhuman being merged with technology). For the transhumanist, taking control of the evolutionary process both in speed and in trajectory is the ultimate goal.The composition, Queue R is narrative and tripartite in structure, having a beginning, middle, and end. However, a more in-depth analysis of the piece will yield smaller parts and extractions. Although the composition is programmatic, many of the visual and aural gestures lean towards an abstract aesthetic.
The paper will discuss various tenets of Christianity and Transhumanism, including religious motifs, philosophical aspects, oppositional and congruent features between the two. Ray Kurzweil’s “The Six Epochs of Evolution,” is used as a reference and launching point for Transhuman teleology and is discussed later in the paper. Lastly, the paper will discuss how the artwork engages with Transhumanism and Christianity, and end with a discussion of some aspects the compositional process.
Finally, the title of the piece, Queue R, refers to a line, a queue which leads to a Robotic existence, that is, an existence where the human being and technology merge. Also, Queue R refers to the present state of technology, a QR code being a scannable (machine readable) code which contains information about a product or item being scanned.
The video may be found at the link to the channel of the composer, and will list all audiovisual compositions. Click (or copy/paste into browser) on the video titled Queue R: Channel: https://www.youtube.com/channel/UCzOhPCwYGjJud92RLG_UQpQ or direct link: https://youtu.be/7ogR0Vb1-pA .
ContributorsHernandez, Brian (Author) / Bolanos, Gabriel (Thesis advisor) / Temple, Alex (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2021
ContributorsRockmaker, Jody (Composer)
ContributorsCampbell, Andrew (Pianist) (Performer) / Mancuso, Simone (Performer) / Fusi, Marco (Performer) / Spring, Robert (Performer) / Buck, Nancy (Performer) / Kuo, Sunny (Performer) / Standley, Eileen (Performer) / Rex, Melissa S. (Performer) / Cosand, Walter, 1950- (Performer) / McAllister, Timothy (Performer) / Mastrian, Stacey (Performer) / Lilly, Stephen (Performer) / Rockmaker, Jody (Speaker) / Levy, Ben (Speaker) / ASU Library. Music Library (Publisher)
Created2012-04-17
ContributorsRockmaker, Jody (Composer)
ContributorsRockmaker, Jody (Composer)
ContributorsRockmaker, Jody (Composer)
ContributorsRockmaker, Jody (Composer)
ContributorsRockmaker, Jody (Composer)