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- All Subjects: conference
- Creators: Stauffer, Sandra
- Creators: Kraus, Lawrence
- Creators: Matsunaga, Bruce
- Status: Published
Description
"Romantic Cyber-Engagement" offers a new type of dissertation organized around three projects that combine the core values of the Digital Humanities with the hypertext tradition of scholarly pursuits in the field of Romanticism. The first of the three Digital Humanities contributions is to the profession. "A Resource for the Future: The ICR Template and Template Guide" articulates a template for the construction and operation of an advanced conference in Romantic studies. This part of the project includes the conference web site template and guide, which is publicly available to all interested organizations; the template guide includes instructions, tutorials, and advice to govern modification of the template for easier adaptation for future conferences. The second project, "Collaborative Literature Projects in the Digital Age: The Frankenstein Project" is a functional pedagogical example of one way to incorporate Digital Humanities praxis as an interactive part of a college course. This part of the dissertation explains the "Frankenstein Project," a web site that I created for an undergraduate critical theory course where the students contributed various critical approaches for sections of the novel Frankenstein; or, The Modern Prometheus. The final project, "'[W]hat they half-create, / And what perceive': The Creation of a Hypertext Scholarly Edition of 'Tintern Abbey;'" is a critical approaches section in which I created an interactive web site that focused on the primary work, "Lines Written a Few Miles above Tintern Abbey: On Revisiting the Banks of the Wye during a Tour, July 13, 1798." This advanced, multimodal site allows viewers to examine various critical approaches to each section of the primary work, and the viewer/reader can interactively engage the text in dialogue by contributing their own interpretation or critical approach. In addition to the three products and analysis generated from this dissertation, the project as a whole offers an initial Digital Humanities model for future dissertations in discipline of English Literature.
ContributorsMatsunaga, Bruce (Author) / Lussier, Mark S (Thesis advisor) / Broglio, Ronald (Committee member) / Wright, Johnson K (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study examined discussion forum posts within a website dedicated to a medium and genre of music (chiptunes) with potential for music-centered making, a phrase I use to describe maker culture practices that revolve around music-related purposes. Three research questions guided this study: (1) What chiptune-related practices did members of chipmusic.org discuss between December 30th, 2009 and November 13th, 2017? (2) What do chipmusic.org discussion forum posts reveal about the multidisciplinary aspects of chiptunes? (3) What import might music-centered making evident within chipmusic.org discussion forum posts hold for music education? To address these research questions, I engaged in corpus-assisted discourse analysis tools and techniques to reveal and analyze patterns of discourse within 245,098 discussion forum posts within chipmusic.org. The analysis cycle consisted of (a) using corpus analysis techniques to reveal patterns of discourse across and within data consisting of 10,892,645 words, and (b) using discourse analysis techniques for a close reading of revealed patterns.
Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. Members of chipmusic.org primarily discussed composing and performing chiptunes on a variety of instruments, as well as through retro computer and video game hardware. Members also discussed modifying and creating hardware and software for a multitude of electronic devices. Some members engaged in entrepreneurial practices to promote, sell, buy, and trade with other members. Throughout each of the revealed themes, members engaged in visual art practices, as well as community practices such as collective learning, collaborating, constructive criticism, competitive events, and collective efficacy.
Findings suggest the revealed themes incorporated practices from a multitude of academic disciplines or fields of study for music-related purposes. However, I argue that many of the music-related practices people discussed within chipmusic.org are not apparent within music education discourse, curricula, or standards. I call for an expansion of music education discourse and practices to include additional ways of being musical through practices that might borrow from multiple academic disciplines or fields of study for music-related purposes.
Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. Members of chipmusic.org primarily discussed composing and performing chiptunes on a variety of instruments, as well as through retro computer and video game hardware. Members also discussed modifying and creating hardware and software for a multitude of electronic devices. Some members engaged in entrepreneurial practices to promote, sell, buy, and trade with other members. Throughout each of the revealed themes, members engaged in visual art practices, as well as community practices such as collective learning, collaborating, constructive criticism, competitive events, and collective efficacy.
Findings suggest the revealed themes incorporated practices from a multitude of academic disciplines or fields of study for music-related purposes. However, I argue that many of the music-related practices people discussed within chipmusic.org are not apparent within music education discourse, curricula, or standards. I call for an expansion of music education discourse and practices to include additional ways of being musical through practices that might borrow from multiple academic disciplines or fields of study for music-related purposes.
ContributorsO'Leary, Jared Duane (Author) / Mantie, Roger A (Thesis advisor) / Tobias, Evan S (Thesis advisor) / Schmidt, Margaret (Committee member) / Stauffer, Sandra (Committee member) / Thompson, Jason (Committee member) / Arizona State University (Publisher)
Created2018
Description
The College Band Directors National Association (CBDNA) began holding
national conferences in 1941, and the organization's six divisions have held biennial conferences on alternating years beginning in 1950. The CBDNA Statement of Purpose specifies, "CBDNA is committed to serving as a dynamic hub connecting individuals to communities, ideas and resources." The regional and national conferences are one of the strongest means to that end. This study presents a history and documentation of the events of the College Band Directors National Association Western/Northwestern Divisional Conference held in Reno, Nevada from 1990 to 2016. The events leading up to the first conference are reported. The details of the clinics and concerts are chronicled to provide a foundation for analyses of various trends and threads regarding number and types of ensembles that performed, types and content of clinics presented, trends in repertoire selection, details of featured composers and commissions, and a discussion of gender disparity across all of these facets.
national conferences in 1941, and the organization's six divisions have held biennial conferences on alternating years beginning in 1950. The CBDNA Statement of Purpose specifies, "CBDNA is committed to serving as a dynamic hub connecting individuals to communities, ideas and resources." The regional and national conferences are one of the strongest means to that end. This study presents a history and documentation of the events of the College Band Directors National Association Western/Northwestern Divisional Conference held in Reno, Nevada from 1990 to 2016. The events leading up to the first conference are reported. The details of the clinics and concerts are chronicled to provide a foundation for analyses of various trends and threads regarding number and types of ensembles that performed, types and content of clinics presented, trends in repertoire selection, details of featured composers and commissions, and a discussion of gender disparity across all of these facets.
ContributorsMartin, Stephen (Author) / Stauffer, Sandra (Thesis advisor) / Hill, Gary W. (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill M. (Committee member) / Arizona State University (Publisher)
Created2016