Matching Items (4)
Filtering by

Clear all filters

147686-Thumbnail Image.png
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
135081-Thumbnail Image.png
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
158424-Thumbnail Image.png
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
Description
This study focuses on the connection between musical rhythm and dyslexia. Dyslexia has long been a disability that has been studied, but not one that researchers have a particular or in-depth treatment for. There has been a long time of research on the connection between dyslexia and creativity. This has

This study focuses on the connection between musical rhythm and dyslexia. Dyslexia has long been a disability that has been studied, but not one that researchers have a particular or in-depth treatment for. There has been a long time of research on the connection between dyslexia and creativity. This has led to looking at how dyslexic students are often found in art schools and engage in creativity. This has led to a new wave of research into EEG and how dyslexia occurs, including what causes dyslexia. This connection is proposed through the temporal sampling deficit hypothesis that theorizes “neuroelectric oscillations that encode incoming information at different frequencies could explain the perceptual and phonological difficulties with syllables, rhymes and phonemes,” (Goswami, 2011). My research aims to go further into the theory that dyslexia is caused by phonological perception and rapid timing skills (Overy et al., 2001). Music has many of these underlying deficits within it, so my theory is that dyslexic people have rhythm deficits, therefore, music therapy would be helpful in learning dyslexia. This paper does not find a negative correlation between dyslexia and rhythm. The trend points to dyslexic participants responding to claps faster and more accurately. All participants made a trend of fewer errors and faster responses the second time they heard a clap pattern. This leads to an inconclusive conclusion that requires more investigation to confirm whether this is statistically significant.
ContributorsSarraf, Maya (Author) / Bristol, Rachel (Thesis director) / Peter, Beate (Committee member) / Kim, Yookyung (Committee member) / Barrett, The Honors College (Contributor) / School of Social and Behavioral Sciences (Contributor) / Department of Psychology (Contributor) / School of Humanities, Arts, and Cultural Studies (Contributor)
Created2024-05