Matching Items (18)
Description
An exploratory qualitative study was conducted using a grounded theory approach (Charmaz, 2006) to examine the subjective experiences of mindfulness. Semi-structured interviews were conducted with 10 individuals who practice mindfulness on a regular basis. Data analysis revealed domains related to the experience, conditions, strategies and consequences related to the practice of mindfulness. The following main themes emerged: subjective experience, mechanism of practice, use of metaphors, contextual influences, and shift in perception. An emerging theoretical model related to the experience of mindfulness is also proposed. Implications, limitations and suggestions for future research are discussed.
ContributorsMejia, Araceli (Author) / Kurpius, Sharon (Thesis advisor) / Arciniega, Miguel (Committee member) / Kinnier, Richard (Committee member) / Arizona State University (Publisher)
Created2013
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
School bullying is a serious problem for children and adolescents, associated with a multitude of psychological and behavioral problems. Interventions at the individual level have primarily been social skills training for victims of bullying. However, investigators have had mixed results; finding little change in victimization rates. It has been suggested victims of school bullying have the social skills necessary to be effective in a bullying situation; however they experience intense emotional arousal and negative thoughts leading to an inability to use social skills. One intervention that has been getting increasing acknowledgement for its utility in the intervention literature in psychology is mindfulness. However, there has been no research conducted examining the effects of mindfulness meditation on victims of bullying. Therefore, the purpose of this study was to develop an online intervention for victims of bullying that utilizes the cutting-edge technique of mindfulness and to determine the efficacy of this intervention in the context of bullying victimization. Participants were 32 adolescents ages 11 to 14 identified by their school facilitators as victims of bullying. Repeated measures ANOVAs were used to assess the efficacy of the NMT program versus a treatment as usual (TAU) social skills program. Results revealed significant decreases in victimization and increases in mindfulness among both treatment groups from pre-test to follow-up and post-test to follow-up assessments. There were no differences found between the two treatment groups for mean victimization or mindfulness scores. Overall, the NMT program appears to be a promising online intervention for bullied teens. Directions for future research and limitations of this study were also discussed.
ContributorsYabko, Brandon (Author) / Tracey, Terence J. G. (Thesis advisor) / Homer, Judith (Committee member) / Sebren, Ann (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation project addresses one of the most critical problems in the study of religion: how new formations of religion are constructed and constituted. My work builds on the recent revisions of the secularization theory, which demonstrates the alternative and hybrid ways people seek out religion in modernity. To this end, my project examines the emerging popularity and phenomenon of international meditation centers in Thailand, focusing on encounters between international meditation center teachers and their international students. Through participant observation and in-depth interviews at these sites throughout Thailand, my project explores the social processes of religious change and adaptation, and the construction of religious meaning. I detail the historical conditions that led to the formation of persisting ideas of Buddhism by tracing the continuities between Orientalist interpretations and modern-day spiritual seekers. My work contributes to a greater understanding of the most recent articulation of this engagement and interaction between Buddhism and the international community and adds to the burgeoning scholarship that reconsiders the relationship between religion and modernity. I investigate this relationship in regard to international meditation centers in Thailand through three angles: promotional materials concerning meditation in Thailand, experiences of international meditators, and teachings of international meditation center teachers. I contextualize this ethnographic analysis with an evaluation of the relationship of Buddhism to discourses of modernity and Orientalism as well as a historical inquiry into the rise of lay meditation in Thailand. Throughout I argue that international meditators' engagement with meditation in Thai temples constitutes a hybrid religiosity where the decontextualized practice of meditation is mixed with both non-religious and other religious beliefs and practices. Social discourses and practices involving meditation, even in a Buddhist country, demonstrate the deconstruction of traditional religiosity in modernity and the rise of hybrid religiosity. Through the decontextualization of meditation and the discourse of the practice having no religious boundaries, meditation becomes mixed with tourism, therapy, healing, as well as other religious and secular practices. This research contributes to studies of Theravada Buddhism as well as modern, global religions and the contemporary intersection between religion and tourism.
ContributorsSchedneck, Brooke (Author) / Schober, Juliane (Thesis advisor) / Rush, James (Committee member) / Fessenden, Tracy (Committee member) / Arizona State University (Publisher)
Created2012
Description
The reed quintet is an intriguing and innovative chamber ensemble that offers adistinctive soundscape to the genre of chamber music. Through significant efforts to
legitimize the ensemble, the reed quintet now exists as a viable option for chamber
musicians. However, a significant challenge remains in the limited accessibility of
repertoire suitable for developing musicians interested in reed quintets. REED
REVOLUTION: A Fundamental Approach to Reed Quintet represents a comprehensive
solution, offering aspiring student chamber musicians the essential pedagogical tools and
materials needed to excel in a reed quintet setting.
This method book encompasses a wide array of strategies aimed at fostering a
functional and collaborative ensemble, establishing foundational chamber music skills,
and introducing five original compositions commissioned specifically for this project.
With REED REVOLUTION, student reed quintets can begin their chamber music journey
equipped with tools to become a successful ensemble prepared to explore the existing
reed quintet repertoire. Additionally, the method book includes a collection of online
resources and recordings, performed by the Arcane Reed Quintet, produced by Dr.
Joshua Gardner, and recorded by Jin Studios, LLC. These resources include reference
recordings and practice tracks for each instrument and the ensemble, serving as
invaluable aids in the learning process.
ContributorsMacDonald, Benjamin Xavier (Author) / Creviston, Christopher (Thesis advisor) / Gardner, Joshua (Committee member) / Shea, Nicholas (Committee member) / Arizona State University (Publisher)
Created2023
Description
Autistic adults face heightened risk of psychiatric disorders, with depression occurrence estimated at quadruple the rate of the general population. Mindfulness Based Stress Reduction (MBSR), an intensive 8-week in-person intervention, reduces depressive symptoms in adults with autism spectrum disorder (ASD). However, access to these programs is restricted due to financial, geographic, and scheduling limitations. Additionally, lapses in practice post-intervention cause these effects to be short-lived. This study examines antidepressant effects of an 8-week app-delivered mindfulness meditation intervention using Ten Percent Happier in adults with ASD and explores whether anchoring meditation practice to a preexisting behavior will improve therapy compliance and depression-related efficacy. Ninety-seven participants were randomly assigned to either App Only (n=30), App + Habit training (n=27) or Waitlist Control (n=40). App Only and App + Habit groups were requested to meditate a minimum of 10 minutes per day, 5 days per week for 8 consecutive weeks using the mobile application. The App + Habit group received additional instruction to anchor leaving the bathroom each morning with meditation; The App Only group was only provided with education on habit formation. Participants completed the Beck Depression Inventory-II (BDI-II) at pre- and post-intervention. All groups received weekly ecological momentary assessments (EMAs) to assess frequency and length of practice. The App + Habit group was additionally assessed for cue-initiated meditation frequency. Data were analyzed using repeated measures analysis of variance (ANOVA). Pre-to-post changes on BDI-II scores indicated a group by time interaction (p=0.04) and a main effect of time (p <0.001). Post-hoc analysis revealed the App + Habit group exclusively showed significant decline in depressive symptoms (p<0.001). The App + Habit group showed greater number of days meditated, average minutes per day of meditating, and continuation of meditation practice 8-weeks after the intervention period, compared to the App Only group.
Findings support app-delivered mindfulness interventions as an accessible and cost-effective alternative to traditional in-person mindfulness training for Autistic adults. However, results suggest app-based mindfulness tools may only be effective when delivered with specific habit formation instruction. Additionally, habit formation instruction led to greater adherence to meditation practice after the study period ended.
ContributorsVink, Schuyler Rae (Author) / Braden, B. Blair (Thesis advisor) / Stecher, Chad (Committee member) / Dixon, Maria (Committee member) / Rogalsky, Corriane (Committee member) / Arizona State University (Publisher)
Created2022
Description
Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
ContributorsBrown, Jr., Fredrick Marcell (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Schmelz, Peter (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014