Matching Items (25)
Description
This dissertation describes the development of a state-of-the-art immersive media environment and its potential to motivate high school youth with autism to vocally express themselves. Due to the limited availability of media environments in public education settings, studies on the use of such systems in special education contexts are rare. A study called Sea of Signs utilized the Situated Multimodal Art Learning Lab (SMALLab), to present a custom-designed conversational scenario for pairs of youth with autism. Heuristics for building the scenario were developed following a 4-year design-based research approach that fosters social interaction, communication, and self-expression through embodied design. Sea of Signs implemented these heuristics through an immersive experience, supported by spatial and audio-visual feedback that helped clarify and reinforce students' vocal expressions within a partner-based conversational framework. A multiple-baseline design across participants was used to determine the extent to which individuals exhibited observable change as a result of the activity in SMALLab. Teacher interviews were conducted prior to the experimental phase to identify each student's pattern of social interaction, communication, and problem-solving strategies in the classroom. Ethnographic methods and video coding were used throughout the experimental phase to assess whether there were changes in (a) speech duration per session and per turn, (b) turn-taking patterns, and (c) teacher prompting per session. In addition, teacher interviews were conducted daily after every SMALLab session to further triangulate the nature of behaviors observed in each session. Final teacher interviews were conducted after the experimental phase to collect data on possible transfer of behavioral improvements into students' classroom lives beyond SMALLab. Results from this study suggest that the activity successfully increased independently generated speech in some students, while increasing a focus on seeking out social partners in others. Furthermore, the activity indicated a number of future directions in research on the nature of voice and discourse, rooted in the use of aesthetics and phenomenology, to augment, extend, and encourage developments in directed communication skills for youth with autism.
ContributorsTolentino, Lisa (Author) / Paine, Garth (Thesis advisor) / Kozleski, Elizabeth B. (Thesis advisor) / Kelliher, Aisling (Committee member) / Megowan-Romanowicz, Colleen (Committee member) / Arizona State University (Publisher)
Created2013
Description
The fundamental concept that I have developed and applied throughout my college career is to try to discover innovative ways to combine the experimental production techniques that I learned in my classes with more traditional songwriting structures. In doing so, I explore the line that distinguishes the two from each other and instill a foreign, yet familiar feeling within the listener. With this approach in mind, I created audio for a variety of media and attempted to push myself in terms of genre and production, ultimately allowing myself to survey a multitude of instruments and audio effects outside of what I learned in my classes. In my portfolio, I have an organized layout of my audio work within the categories of film soundtracks, game audio, and original music, along with how to contact me and information about the licensing of my music. In learning how to create a professional online portfolio, I learned more about the business side of music and where I stand regarding how people listen to my music or use it within their own projects. The process of creating my portfolio taught me a lot about the relationships that I want to pursue with artists that I work with in the future. My portfolio can be found at: markusrennemann.weebly.com
ContributorsRennemann, Markus Horst Florian (Author) / Ingalls, Todd (Thesis director) / Paine, Garth (Committee member) / Barrett, The Honors College (Contributor) / School of Arts, Media and Engineering (Contributor)
Created2015-05
Description
This paper outlines the development of a software application that explores the plausibility and potential of interacting with three-dimensional sound sources within a virtual environment. The intention of the software application is to allow a user to become engaged with a collection of sound sources that can be perceived both graphically and audibly within a spatial, three-dimensional context. The three-dimensional sound perception is driven primarily by a binaural implementation of a higher order ambisonics framework while graphics and other data are processed by openFrameworks, an interactive media framework for C++. Within the application, sound sources have been given behavioral functions such as flocking or orbit patterns, animating their positions within the environment. The author will summarize the design process and rationale for creating such a system and the chosen approach to implement the software application. The paper will also provide background approaches to spatial audio, gesture and virtual reality embodiment, and future possibilities for the existing project.
ContributorsBurnett, Garrett (Author) / Paine, Garth (Thesis director) / Pavlic, Theodore (Committee member) / School of Humanities, Arts, and Cultural Studies (Contributor) / School of Arts, Media and Engineering (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Clarinet articulation is a process that uses the tongue to create an interruption in sound production either by contacting the reed or disrupting the air stream. This process occurs inside the mouth and is hidden from direct view. As a result, various solutions were developed in clarinet pedagogy to address the issue of teaching with no visual feedback. Clarinet pedagogy literature consists of language that makes it possible for other clarinetists to discuss, teach, and research various aspects of clarinet playing. The interdisciplinary application of theoretical concepts in linguistics and how they map onto the language of clarinet pedagogy offers a new perspective for understanding the teaching methods used for articulation. To provide insight into the relationship of language and clarinet pedagogy, an overview of several linguistic theories and concepts, such as Peircean semiotics, metalanguages, discursive strategies, and articulatory phonetics, is presented. Additionally, a brief explanation of articulation techniques (single, multiple, flutter, and slap articulation) and commonly used teaching strategies is outlined. The language used in clarinet pedagogy literature from resources by prominent clarinet pedagogues, such as the works of John Anderson, Joshua Gardner, Michèle Gingras, Eric C. Hansen, Howard Klug, Phillip Rehfeldt, Thomas Ridenour, Heather Roche, Robert Spring, and Rachel Yoder, is surveyed. Pedagogical insights from a linguistic analysis are used to create resources for teaching and/or correcting articulation. Since the interdisciplinary application of linguistics and clarinet pedagogy is an underexplored topic, this research also aims to serve as a basis for further interdisciplinary studies.
Contributorsde Alba, Francisco Javier (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Fossum, Dave (Committee member) / Caslor, Jason (Committee member) / Arizona State University (Publisher)
Created2021
Description
The importance of interactive electronic devices in the twenty-first century is a quickly expanding one, and the field of music technology is not exempt from this. Most traditional acoustic instruments pose challenges for individuals lacking fine motor skills, coordination, or grip strength. The author has responded to this issue as they experience it by developing a programmable interactive instrument system using a Mugic Motion System hardware, which includes a gyroscopic sensor, and Max/MSP, a visual programming environment which allows for customizable musical engagement for a variety of user types and requirements. This thesis explores the potential of interactive electronic devices to revolutionize the field of music as well as their potential in larger immersive environments, allowing creativity to reach a wider range of people regardless of physical limitations. The use of interactive sensor devices presents a not yet completely explored path for creating forms of sonic and multimedia interaction to a degree that has not yet become standard within either the musical field nor the emerging field of immersive environments and storytelling. The implications of a more fleshed out sensor-based system extend beyond the sound potential explored within this paper, and could allow interaction with visual aspects and motion based interactive art installations. This technology can also be applied as part of larger interactive systems, such as those found in theme parks and other large interactive attraction spaces. The author offers a novel approach to the democratization of music by leveraging the potential of interactive electronic devices for a population traditionally overlooked in music.
ContributorsMeconiates, Stacia (Author) / Temple, Alex (Thesis advisor) / Paine, Garth (Committee member) / Cechanowicz, Laura (Committee member) / Arizona State University (Publisher)
Created2023
Description
Sound and space are intimately and intricately interconnected, but it remains unclear in what ways sound and music call forth in listeners—cognitively and emotionally— sensations of space. This thesis approaches sonic evocations of space from two perspectives that, despite their commonalities, are often considered separately. The first is lived space, the types of expanses we experience it in daily life, the second is outer or extraplanetary space. Existing scholarship on the relationships between sound and space, including that of Edward S. Casey and Steven Feld (1982), Steve Larson (2012), Georgina Born (2013), and Gascia Ouzonian (2020), reach beyond the physical conceptions of sound and into the metaphorical and the cultural, creating a rich discourse about place, orientation, and perception. Informed by the seminal theories of Victor Zuckerkandl (1973), George Lakoff (1980), and Mark Johnson (1980, 2007), among others, this thesis explores embodied musical metaphor using an empirical cognition study in which twenty-six voluntary participants were asked to respond to successions of pitches drawn from popular science fiction film scores and to note any kind of motion and spatiality they felt. The results of this experiment demonstrate that melodic figures are tied to ideas of physical motion and that sizes of intervallic relationships matter. In all, this thesis shows that listeners’ sense of space is greatly informed by specific cues from their sonic environment, and that sound can be used to challenge or manipulate spatial perception, especially in multimedia applications.
ContributorsJordan, Nicholas Gabriel (Author) / Schmelz, Peter J (Thesis advisor) / Knowles, Kristina L (Thesis advisor) / Fossum, Dave (Committee member) / Arizona State University (Publisher)
Created2023
Description
This paper is based on research conducted during my ongoing collaboration as a participant-observer with the Cuyamungue Institute (CI) of New Mexico, a self-identified nonreligious organization that uses postures to help participants achieve ecstatic trance experiences via a ritual process that prominently features sonic support of trance by the sound of a rattle or drum. While the purpose of the practice—which the Institute has referred to in such terms as “Ecstatic Trance Postures (ETP)” and “Ritual Body Postures”—is ostensibly spiritual in nature, apparent benefits for physical and emotional health have been reported by participants and observed in empirical studies carried out in collaboration with the CI. With appropriate nuance, the Institute traditionally emphasizes the ways these benefits demonstrate the process’s spiritual efficacy more than how they are outcomes desirable on their own merit. As I have continued to work with the CI, the discourse has gradually shifted. At present, the leadership of the Institute give more consideration than before to emotional health benefits as specific goals of the practice, yet spiritual conceptions maintain a dominant presence in conversations and achieving a deep connection with the “alternate reality / spirit realm / unbounded universe” remains the primary objective.
ContributorsMalnory, Lawson (Author) / Fossum, Dave (Thesis advisor) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2022
Description
Following mixed method ethnographic research conducted between January 2020 and January 2022, this thesis discusses how United States all-female mariachi musicians, or mariacheras, express femininity in the mariachi femenil. Mariachis femeniles are all-female mariachis. Building upon Mary Lee Mulholland’s (2013) discussion of how mariacheras in Jalisco are often valued more for their physical appearance than for their musical skills, this thesis investigates how similar phenomena manifest in the United States’ professional mariachi femenil circuit. Applying a Chicana Feminisms lens to a collection of 28 mariachera plática-interviews, generational and transborder mariachi knowledge production, visual expressions of mariachi femininity, and aural feminine expressions in the mariachi setting are complicated. Each participant details what it means to be a mariachera, breaking down concepts of purity in the face of dichotomous cultural gender expectation and the genre’s visual expectations of how female musicians should present themselves in society. These sociocultural phenomena led these women in many ways to disidentify and resignify various pieces of the mariachi tradition to “carve out” their own space in the practice, expressing the concern they want to be respected as a musician, not as just a visual object. Ultimately, the “carved out” space allows mariacheras to perform a “different” sound of mariachi—a negotiation of strength, femininity, and balancing sociocultural expectations of the mariachera in and out of performance.
ContributorsFlores, Cameo Rachelle (Author) / Fossum, Dave (Thesis advisor) / Estrada, Emir (Committee member) / Feisst, Sabine (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
Description
The genre of world music and its market’s reliance on musical exoticism, othering, and the audience’s insatiable quest for musical authenticity have influenced and shaped the way artists construct and negotiate their musical representation. With the popularization of democratized music platforms such as Bandcamp, artists have greater autonomy in terms of artistic representation and musical distribution in the online world. Although the internet has in some ways disrupted the old power structures of the music industry, the old forms of world music marketing have been reinscribed into a new context. Old stereotypes and narratives of authenticity in world music have permeated the digital representation of artists and their music. Music recommendation algorithms also shape the way artists are represented in digital environments. Semantic descriptors such as social tags play a vital role in musical identification and recommendation systems implemented by streaming platforms. The use of social tags such as #worldmusic homogenizes diverse cultural sounds into a single umbrella genre. #World music also creates avenues for old stereotypes and narratives of authenticity to re-emerge. This re-emergence of the old tropes of world music creates less equitable recommendation and representational outcomes for musicians operating within the genre. In the age of streaming, where does world music belong? How do artists negotiate representation online? This thesis explores the dynamics of representation and the projections of “authenticity” between world music artists and record labels inside of Bandcamp’s digital ecosystem. By juxtaposing the traditional framework of “world music” marketing with new and evolving methods of distribution and artistic representation, it is possible to see how digital media are reshaping but also reproducing some of the old paradigms of world music. I also propose that a new framework needs to be established to study the impact digital streaming has on the genre of world music. This new framework, which I call “World Music 3.0,” will encompass how algorithms, tech companies, and the democratization of musical practices interact within a globalized community.
ContributorsCureno, Eric Leonel (Author) / Fossum, Dave (Thesis advisor) / Hayes, Lauren (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2021
ContributorsGardner, Josh (Performer) / Paine, Garth (Performer) / Arizona Contemporary Music Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2021-12-01