Matching Items (6)
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Description
Guitar Hero III and similar games potentially offer a vehicle for improvement of musical rhythmic accuracy with training delivered in both visual and auditory formats and by use of its novel guitar-shaped interface; however, some theories regarding multimedia learning suggest sound is a possible source of extraneous cognitive load while

Guitar Hero III and similar games potentially offer a vehicle for improvement of musical rhythmic accuracy with training delivered in both visual and auditory formats and by use of its novel guitar-shaped interface; however, some theories regarding multimedia learning suggest sound is a possible source of extraneous cognitive load while playing so players may score higher with sound turned off. Also, existing studies have shown that differences in the physical format of interfaces affect learning outcomes. This study sought to determine whether (a) the game’s audio content affects rhythmic accuracy, and (b) the type of game controller used affects learning of rhythmic accuracy. One hundred participants were randomly assigned in approximately equal numbers (ns = 25) to the four cells of a 2x2 between-subjects design. The first variable was the audio content of the game with two levels: on or off. The second variable was the type of game controller: the standard guitar-style controller or tablet interface. Participants across all conditions completed a pre- and post-test with a system that required them to tap along with repeated rhythmic patterns on an electronic drum pad. Statistical evidence showed better outcomes with a tablet controller with respect to input time error, reduction of extra notes played, and reduction of missed notes; however, the guitar-style controller produced superior outcomes in terms of avoiding missed notes and was associated with higher satisfaction by participants. When audio was present better outcomes were achieved at multiple factor-levels of reduction of missed responses, but superior outcomes in input time error were seen without audio. There was no evidence to suggest an interaction between controller type and the presence or absence of audio.
ContributorsThomas, James William (Author) / Zuiker, Steven J (Thesis advisor) / Atkinson, Robert (Thesis advisor) / Savenye, Wilhelmina C (Committee member) / Arizona State University (Publisher)
Created2017
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Description
Rhythm is a work for percussion ensemble and narrator. The percussion ensemble includes five percussionists who each play multiple instruments. The narrator recites quotes from the book Meter as Rhythm by Dr. Christopher Hasty. The piece is in six parts with a short introduction (mm. 1-5). The structure is

Rhythm is a work for percussion ensemble and narrator. The percussion ensemble includes five percussionists who each play multiple instruments. The narrator recites quotes from the book Meter as Rhythm by Dr. Christopher Hasty. The piece is in six parts with a short introduction (mm. 1-5). The structure is delineated by the quotes from Meter as Rhythm. The narrator describes an aspect of rhythm at the beginning of each section and the quote is sonically realized through the percussion ensemble.

This piece experiments with different timbres and rhythmic motives. Timbral variety is achieved through grouping instruments into woods, metals, and membranes and using combinations of those groups to delineate different sections and ideas. The rhythmic motives are based on the numbers 3, 5, and 7, and appear as rhythmic values, phrase lengths, and number of repetitions.

The first section states a definition of rhythm and contains all timbres and motives contained within the composition. The piece then explores the relativity of time and is represented by drums changing the speed of their notes. The third section discusses rhythm as repetition and is illustrated by repetitive rhythmic motives. The text then features rhythm as a subjective human experience and is reflected through polyrhythms played between ensemble members. What follows is a description of meter as a temporal measurement that is unchanged by rhythmic activity. By bringing back previous motives, this section reveals that all of the motives work within the same meter. In the final section, the performers play various subdivisions of the beat to show different aspects of proportion by dividing the beat in several ways.
ContributorsBush, Zachary (Author) / Rockmaker, Jody (Thesis advisor) / Rodgers, Rodney (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2018
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Description
The idea that everything occurs linearly, over the course of time, is evident in the way we construct our sentences and track our understanding of our own lives. It is within this understanding we perform, compose, and listen to music. Since language occurs over time, there is the understanding that

The idea that everything occurs linearly, over the course of time, is evident in the way we construct our sentences and track our understanding of our own lives. It is within this understanding we perform, compose, and listen to music. Since language occurs over time, there is the understanding that words and ideas are uttered like marks on a continuous line, some closer together, others with large gaps in-between. It has been the work of linguists and philosophers to understand the patterns, or the rhythm, of speech and language in this way, and while there is no definitive or consistent model for how language is rhythmically produced in any language, it has been determined that rhythm is considered and perceived when language is spoken or heard. It is this perception of rhythm in speech that defines how language comprehension is acquired before phonetic skills. This paper will explore the effects of rhythm in language during infant's prelexical period, the correlations of rhythm and developing reading skills, and finally, explore how the intervals between vocalic utterances become normalized and consistent in poetic readings.
ContributorsZillich, Nicolette Isabel (Author) / Mantie, Roger (Thesis director) / Laing, Alexander (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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Description
Last Hymn was created by the team of Tyler Pinho, Jefferson Le, and Curtis Spence with the desire to create an eccentric Role Playing Game focused on the exploration of a strange, dying world. Battles in the game are based off of rhythm games like Dance Dance Revolution using a

Last Hymn was created by the team of Tyler Pinho, Jefferson Le, and Curtis Spence with the desire to create an eccentric Role Playing Game focused on the exploration of a strange, dying world. Battles in the game are based off of rhythm games like Dance Dance Revolution using a procedural generation algorithm that makes every encounter unique. This is then complemented with the path system where each enemy has unique rhythm patterns to give them different types of combat opportunities. In Last Hymn, the player arrives on a train at the World's End Train Station where they are greeted by a mysterious figure and guided to the Forest where they witness the end of the world and find themselves back at the train station before they left for the Forest. With only a limited amount of time per cycle of the world, the player must constantly weigh the opportunity cost of each decision, and only with careful thought, conviction, and tenacity will the player find a conclusion from the never ending cycle of rebirth. Blending both Shinto architecture and modern elements, Last Hymn used a "fantasy-chic" aesthetic in order to provide memorable locations and dissonant imagery. As the player explores they will struggle against puzzles and dynamic, rhythm based combat while trying to unravel the mystery of the world's looping time. Last Hymn was designed to develop innovative and dynamic new solutions for combat, exploration, and mapping. From this project all three team members were able to grow their software development and game design skills, achieving goals like improved level design, improved asset pipelines while simultaneously aiming to craft an experience that will be unforgettable for players everywhere.
ContributorsPinho, Tyler (Co-author) / Le, Jefferson (Co-author) / Spence, Curtis (Co-author) / Nelson, Brian (Thesis director) / Walker, Erin (Committee member) / Kobayashi, Yoshihiro (Committee member) / Computer Science and Engineering Program (Contributor) / Computing and Informatics Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
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Description

When a sports performance is at its peak, it is akin to a musical performance in the sense that each player seems to perform their part effortlessly, creating a rhythmic flow of counterparts all moving as one. Rhythm and timing are vital elements in sports like basketball in which syncopated

When a sports performance is at its peak, it is akin to a musical performance in the sense that each player seems to perform their part effortlessly, creating a rhythmic flow of counterparts all moving as one. Rhythm and timing are vital elements in sports like basketball in which syncopated passing and shooting appear to facilitate accuracy. This study tests if shooting baskets “in rhythm,” as measured by the catch-to-release time, reliably enhances shooting accuracy. It then tests if an “in rhythm” timing is commonly detected and agreed upon by observers, and if observer timing ratings are related to shooting accuracy. Experiment 1 tests the shooting accuracy of two amateur basketball players after different delays between catching a pass and shooting the ball. Shots were taken from the three-point line (180 shots). All shots were recorded and analyzed for accuracy as a function of delay time, and the recordings were used to select stimuli varying in timing intervals for observers to view in Experiment 2. In Experiment 2, 24 observers each reviewed 17 video clips of the shots to test visual judgment of shooting-in-rhythm. The delay times ranged from 0.3 to 3.2 seconds, with a goal of having some of the shots taken too fast, some close to in rhythm, and some too slow. Observers rated if each shot occurs too fast, in rhythm slightly fast, in rhythm slightly slow, or too slow. In Experiment 1, shooters exhibited a significant cubic fit with better shooting performance in the middle of the timing distribution (1.2 sec optimal delay) between catching a pass and shooting. In Experiment, 2 observers reliably judged shots to be in rhythm centered at 1.1 ± 0.2 seconds, which matched the delay that leads to optimal performance for the shooters found in Experiment 1. The pattern of findings confirms and validates that there is a common “in rhythm” catch-to-shoot delay time of a little over 1 second that both optimizes shooter accuracy and is reliably recognized by observers.

ContributorsFlood, Cierra Elizabeth (Author) / McBeath, Michael (Thesis director) / Corbin, William (Committee member) / Department of Psychology (Contributor) / College of Integrative Sciences and Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description
Languages have long been studied through the rhythm class framework, which discriminates them into separate classes on the basis of shared rhythmic properties. Originally these differences were attributed to the isochronous timing of different prosodic units, such as stress intervals in “stress-timed” languages and syllables in “syllable-timed” languages.

Languages have long been studied through the rhythm class framework, which discriminates them into separate classes on the basis of shared rhythmic properties. Originally these differences were attributed to the isochronous timing of different prosodic units, such as stress intervals in “stress-timed” languages and syllables in “syllable-timed” languages. More recent work has turned to durational metrics as a means of evaluating rhythm class, by measuring the variability and proportion of segmental intervals in the speech stream. Both isochrony and durational metrics are no longer viewed as correlative with natural language rhythm, but durational metrics in particular have remained prevalent in the literature. So long as the conclusions of durational metrics are not overextended, their analysis can provide a useful mechanism for assessing the compatibility of a language with a given rhythm class by way of comparative analysis. This study therefore presents a durational-metric comparison of Scottish Gaelic, a language which has frequently been described as stress-timed but has never been empirically tested for rhythm class, with English, a prototypical and well-studied example of a stress-timed language. The Gaelic metric scores for %V (percentage of vocalic content), ΔV (standard deviation in vocalic interval length), and ΔC (standard deviation in consonantal interval length) (Ramus et al. 1999) are shown to be very similar to those measured for English, indicating that the language displays similar patterns of durational variability and segmental proportion typically ascribed to a rhythmically stress-timed language. This provides clear support for the classification of Scottish Gaelic as stress-timed.
ContributorsKellogg, Jackson (Author) / Pruitt, Kathryn (Thesis advisor) / Gelderen, Elly van (Committee member) / Peterson, Tyler (Committee member) / Arizona State University (Publisher)
Created2020