Matching Items (20)
Description
Advances in computational processing have made big data analysis in fields like music information retrieval (MIR) possible. Through MIR techniques researchers have been able to study information on a song, its musical parameters, the metadata generated by the song's listeners, and contextual data regarding the artists and listeners (Schedl, 2014). MIR research techniques have been applied within the field of music and emotions research to help analyze the correlative properties between the music information and the emotional output. By pairing methods within music and emotions research with the analysis of the musical features extracted through MIR, researchers have developed predictive models for emotions within a musical piece. This research has increased our understanding of the correlative properties of certain musical features like pitch, timbre, rhythm, dynamics, mel frequency cepstral coefficients (MFCC's), and others, to the emotions evoked by music (Lartillot 2008; Schedl 2014) This understanding of the correlative properties has enabled researchers to generate predictive models of emotion within music based on listeners' emotional response to it. However, robust models that account for a user's individualized emotional experience and the semantic nuances of emotional categorization have eluded the research community (London, 2001). To address these two main issues, more advanced analytical methods have been employed. In this article we will look at two of these more advanced analytical methods, machine learning algorithms and deep learning techniques, and discuss the effect that they have had on music and emotions research (Murthy, 2018). Current trends within MIR research, the application of support vector machines and neural networks, will also be assessed to explain how these methods help to address the two main issues within music and emotion research. Finally, future research within the field of machine and deep learning will be postulated to show how individuate models may be developed from a user or a pool of user's listening libraries. Also how developments of semi-supervised classification models that assess categorization by cluster instead of by nominal data, may be helpful in addressing the nuances of emotional categorization.
ContributorsMcgeehon, Timothy Makoto (Author) / Middleton, James (Thesis director) / Knowles, Kristina (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
This research project dug into mathematics in music, exploring the various ways a number series was used in the 20th century to create musical compositions. The Fibonacci Series (FS) is an infinite number series that is created by taking the two previous numbers to create the next, excluding 0 and 1 at the very start of the series. As the numbers grow larger, the ratios between the numbers of the FS approach the value of another mathematical concept known as the Golden Mean (GM). The GM is so closely related to the series that it is used interchangeably in terms of proportions and overall structure of musical pieces. This is similar to how both the FS and GM are found in aspects of nature, like to all too well-known conch shell spiral.
The FS in music was used in a variety of ways throughout the 20th century, primarily focusing on durations and overall structure in its use. Examples of this are found in Béla Bartók’s Music for Strings, Percussion, and Celeste (1936), Allegro barbaro (1911), Karlheinz Stockhausen’s Klavierstück IX (1955), and Luigi Nono’s il canto sospeso (1955). These works are analyzed in detail within my research, and I found every example to have a natural feel to them even if its use of the FS is carefully planned out by the composer. Bartók’s works are the least precise of my examples but perhaps the most natural ones. This imprecision in composition may be considered a more natural use of the FS in music, since nature is not always perfect either. However, in works such as Stockhausen’s, the structure is meticulously formatted in such that the precision is masked by a cycle as to appear more natural.
The conclusion of my research was a commissioned work for my instrument, the viola. I provided my research to composer Jacob Miller Smith, a DMA Music Composition student at ASU, and together we built the framework for the piece he wrote for me. We utilized the life cycle of the Black-Eyed Susan, a flower that uses the FS in its number of petals. The life cycle of a flower is in seven parts, so the piece was written to have seven separate sections in a palindrome within an overall ABA’ format. To utilize the FS, Smith used Fibonacci number durations for rests between notes, note/gesture groupings, and a mapping of 12358 as the set (01247). I worked with Smith during the process to make sure that the piece was technically suitable for my capabilities and the instrument, and I premiered the work in my defense.
The Fibonacci Series and Golden Mean in music provides a natural feel to the music it is present in, even if it is carefully planned out by the composer. More work is still to be done to develop the FS’s use in music, but the examples presented in this project lay down a framework for it to take a natural place in music composition.
The FS in music was used in a variety of ways throughout the 20th century, primarily focusing on durations and overall structure in its use. Examples of this are found in Béla Bartók’s Music for Strings, Percussion, and Celeste (1936), Allegro barbaro (1911), Karlheinz Stockhausen’s Klavierstück IX (1955), and Luigi Nono’s il canto sospeso (1955). These works are analyzed in detail within my research, and I found every example to have a natural feel to them even if its use of the FS is carefully planned out by the composer. Bartók’s works are the least precise of my examples but perhaps the most natural ones. This imprecision in composition may be considered a more natural use of the FS in music, since nature is not always perfect either. However, in works such as Stockhausen’s, the structure is meticulously formatted in such that the precision is masked by a cycle as to appear more natural.
The conclusion of my research was a commissioned work for my instrument, the viola. I provided my research to composer Jacob Miller Smith, a DMA Music Composition student at ASU, and together we built the framework for the piece he wrote for me. We utilized the life cycle of the Black-Eyed Susan, a flower that uses the FS in its number of petals. The life cycle of a flower is in seven parts, so the piece was written to have seven separate sections in a palindrome within an overall ABA’ format. To utilize the FS, Smith used Fibonacci number durations for rests between notes, note/gesture groupings, and a mapping of 12358 as the set (01247). I worked with Smith during the process to make sure that the piece was technically suitable for my capabilities and the instrument, and I premiered the work in my defense.
The Fibonacci Series and Golden Mean in music provides a natural feel to the music it is present in, even if it is carefully planned out by the composer. More work is still to be done to develop the FS’s use in music, but the examples presented in this project lay down a framework for it to take a natural place in music composition.
ContributorsFerry, Courtney (Author) / Knowles, Kristina (Thesis director) / Buck, Nancy (Committee member) / School of Music (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12
Description
This project examines the relationship between individuals' musical preferences and the amount of musical education they have received, as well as some other supporting variables. Data was collected from 43 participants regarding general and musical background information. Participants then listened to eight musical samples and answered a series of related questions. These sets of data were compared to investigate how musical preference varies with changes in background information, principally the level of musical education received. Musical preference was gauged in part according to a system which relied more on discrete musical features than common genre categorizations. The population studied was made up of honors students from Barrett, the Honors College at Arizona State University. The research questions addressed are: is musical preference dependent on level of musical education; if so, how; and what are some possible explanations for any relationships? This study was conducted in order to obtain a clearer understanding of the nature of musical preference which may be of use to musicologists and modern musicians alike. Results indicated that musical education does have an effect on musical preferences and listening habits, but that this effect is not correlated in any straightforward relationship, and there are likely more diverse issues at play.
ContributorsKauffman, Parker Stone (Author) / Mantie, Roger (Thesis director) / Knowles, Kristina (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Temporal Creative Entanglement and the Composer’s Search for a Unique Voice is about some of the creative challenges inherent in the composing process. Creative entanglement is when a composer gets caught up—entangled—in the creative process and it tarnishes their sense of how to appropriately assemble the formal structure of a piece. The word temporal means that I’m focusing on how a lot of creative entanglement happens because of process / product disparities related to time. Process / product disparity is the term I use to describe the enormous differences between the experience of composing and the experience of hearing the premiere of a work. And, I bring up the composer’s search for a unique voice because composers are especially vulnerable to creative entanglement when they are trying to write in a new style. I try to identify some different ways a composer can become entangled by discussing some specific ways that people subconsciously process music (musical expectations and information flow). I draw on the works of David Huron, Fred Lerdahl, and John Sloboda, among others, to paint a picture of the different mental processes that occur during composing and listening. I discuss how schematic, veridical, and dynamic expectations work in the mind of composer and the listener, and how these relate to creative entanglement. I also discuss how the conception of large-scale form fits into this topic. In the conclusion, I offer some thoughts on approaching composing from the perspective of creative entanglement. To close, I offer a perspective about artistic satisfaction and composing.
ContributorsClay, William (Author) / Bolanos, Gabriel (Thesis advisor) / Temple, Alex (Committee member) / Knowles, Kristina (Committee member) / Arizona State University (Publisher)
Created2021
Description
Everyone deserves the chance to explore their voice as an expression of individuality and musical fulfillment. There are many considerations for modern voice teachers who desire to create accessible and inclusive paths to vocal study. Inspired by interactions with prospective and beginning voice students in both individual and group class settings, this document examines several of the interests and perceptions that have been most frequently expressed by singers in my studio and classrooms. The application of both student-centered and community-centered approaches within varied learning environments may better meet the needs of diverse groups of singers and welcome more amateur musicians and community music makers as prospective voice students. Confronting and addressing potentially discouraging perceptions may empower more singers to pursue vocal study. Such perceptions include feelings of unworthiness, exposure to standards of unattainable perfection promoted by the use of voice-altering technology, and lack of perceived talent. With these considerations in mind, this study aims to facilitate the creation of a concise basic resource that will benefit the self-guided singer as well as voice teachers who work in individual and classroom settings. This document includes discussions on singing as an aspect of individual identity and community, various pedagogical models of singing instruction, and the impact of technology on the understanding of vocal function. A literature review examines the relevance and effectiveness of the resource material that is frequently used to guide beginning singers. Included are the survey results of “Individual Singer and Teacher Perspectives of Vocal Study,” which gathered perspectives on various topics, such as the use of beginner resource texts, singers’ feelings on talent and worthiness, the use of gender-inclusive techniques in the vocal studio, and the incorporation of somatic practices to vocal study. When provided with a variety of resources, voice teachers can be effective and nurturing guides on every singer’s path to vocal discovery and artistic musical expression. The ultimate goal of this study is to incorporate relevant research on pedagogical techniques and philosophies and the survey results into the design of such a resource—an inclusive and accessible eBook.
ContributorsBlair, Kirsten Ann (Author) / Weiss, Stephanie (Thesis advisor) / DeMaris, Amanda (Committee member) / Knowles, Kristina (Committee member) / Arizona State University (Publisher)
Created2022
Description
Many options for mouthpieces and reeds are available to clarinetists, which makes selecting the right equipment complicated. In addition to personal research, potential influences in this process included teachers, professors, and private instructors. To provide some clarity in the current trends impacting the selection of new equipment, a survey of clarinetists was conducted. All participants were asked what equipment they were currently using and to specify what elements of the purchase were most important. Aspects such as price, instructor influence, personal research, conferences, brand loyalty, new releases, and social media were ranked by level of importance. Additionally, questions were asked of participants who taught clarinet about what they recommended to their students at various skill levels. The opinions of clarinetists along with the analysis of the data confirmed which mouthpieces and reeds were being suggested for different skill levels. The results were analyzed by type of career with strong trends in the participants current equipment and their suggested equipment.
ContributorsDruesedow, Elizabeth Jane (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Knowles, Kristina (Committee member) / Caslor, Jason (Committee member) / Arizona State University (Publisher)
Created2021
Description
Music is a pervasive element of human culture that plays a significant role in our social interactions and goals. The current research regarding the evolutionary nature of music remains divisive, with several groups making competing claims about whether music is an evolved trait and, if it is, what function it may serve for survival and reproduction. In an attempt to further define the multiple dimensions of the evolution of music, this study focuses on a specific methodology for determining the relationship between improvisational musical ability, cognitive fitness, and sexual attraction. In Part 1 of this research, piano musicians completed working memory tests and provided 30-second recordings of improvisation. These recordings were heard by participants in Part 2 of the experiment, who rated both the music and a random facial image from an independent database paired with each song. The data revealed that perceived quality of music is positively associated with attractiveness, with a significant effect observed in males of moderate baseline attractiveness. Although the relationship between some working memory measures and musical improvisational ability proved not to be statistically significant, auditory working memory span yielded a marginally significant result. The overall results are consistent with a sexual selection theory of the evolution of musical improvisation and suggest appropriate avenues for future research.
ContributorsTesch, Anna (Author) / Patten, Kristopher (Thesis director) / Becker, Vaughn (Committee member) / Knowles, Kristina (Committee member) / Barrett, The Honors College (Contributor) / Department of Psychology (Contributor) / School of Life Sciences (Contributor) / School of International Letters and Cultures (Contributor)
Created2022-05
Description
Temporal Mandibular Joint Disorder (TMD) and Muscle Tension Dysphonia (MTD) are presently two of the most common vocal disorders in the world. These disorders can wreak havoc in anyone’s life; but are incredibly destructive in the lives of singers. When a classically-trained singer begins to notice problems in his or her voice, they typically go to their favored Professional Voice Instructor (PVI) for help. However, not all PVIs are familiar with these disorders and their symptoms, and what starts as a sincere wish to help their student can end with injury instead. This study surveys PVIs to determine what they know and do not know about TMD and MTD and if they have worked with medical professionals -- otolaryngologists and Speech Language Pathologists (SLP) - to assist their students. The study poses the questions of how prevalent the knowledge and treatments of TMD and MTD are with PVIs and how open PVIs are to ongoing education about these disorders. Included in this document is a brief summary of each disorder with illustrations as well as opinions from a Speech Language Pathologist.
ContributorsOsman, Amanda Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Knowles, Kristina (Committee member) / Mills, Robert (Committee member) / Workmon-Larsen, Megan (Committee member) / Arizona State University (Publisher)
Created2023
Description
Para Mi Alma is a composition for chamber wind ensemble comprised of an Introduction, two dance movements, and a concluding movement featuring the full ensemble in a chorale-like finale. This piece follows the narrative of an abusive relationship, and the emotional rollercoaster that one experiences during the self extrication and consequential rebirth of identity. Para Mi Alma (For My Soul) is scored for chamber wind ensemble with the following instrumentation: piccolo/flute, Bb clarinet, bass clarinet, bassoon; soprano, tenor, and baritone saxophone; trumpet, trumpet/flugelhorn, horn in F, tenor and bass trombone; double bass, and three percussionists - marimba/congas, auxiliary percussion (wind chimes, suspended cymbal, triangle, bass drum, snare drum, double cowbell, tam-tam), and timpani/timbales. The duration of this work is approximately 11’00”.
Each movement portrays a stage in the relationship, and the mental state of the person experiencing abuse. The Introduction begins with a piccolo solo and marimba accompaniment, and gradually builds to the full ensemble; this section of music illustrates the moment that relational ties to the transgressor are cut — a split second of clarity and space before the spiral of anxiety and overwhelming thoughts of self deprecation invade. Movement I is a salsa, representing the dance of two people entering into a relationship. The meter changes and hemiolas serve to upset the underlying groove and create rhythmic tension, while the surface of the music appears unscathed. Finally the dance is interrupted by an aggressive bass solo, which initiates the transition to Movement II. This transition serves to remind the listener of the Introduction, and the dissolution of the relationship; it is characterized by chaos and confused clusters of melodic lines and dissonant harmonies. Movement II is a tango, representative of the emotional extremes of heartbreak, anger, confusion, and shame. The conclusion of the Tango directly segues into Movement III, which features a short brass chorale before building to include the full ensemble. Movement III portrays the support system of family and friends, and personifies the collective effort that takes place in healing and growth.
Each movement portrays a stage in the relationship, and the mental state of the person experiencing abuse. The Introduction begins with a piccolo solo and marimba accompaniment, and gradually builds to the full ensemble; this section of music illustrates the moment that relational ties to the transgressor are cut — a split second of clarity and space before the spiral of anxiety and overwhelming thoughts of self deprecation invade. Movement I is a salsa, representing the dance of two people entering into a relationship. The meter changes and hemiolas serve to upset the underlying groove and create rhythmic tension, while the surface of the music appears unscathed. Finally the dance is interrupted by an aggressive bass solo, which initiates the transition to Movement II. This transition serves to remind the listener of the Introduction, and the dissolution of the relationship; it is characterized by chaos and confused clusters of melodic lines and dissonant harmonies. Movement II is a tango, representative of the emotional extremes of heartbreak, anger, confusion, and shame. The conclusion of the Tango directly segues into Movement III, which features a short brass chorale before building to include the full ensemble. Movement III portrays the support system of family and friends, and personifies the collective effort that takes place in healing and growth.
ContributorsVincent, Katelyn Rae (Author) / Rogers, Rodney (Thesis advisor) / Knowles, Kristina (Committee member) / Kocour, Michael (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT
Wind band directors in the State of Arizona are required by the Arizona Band and Orchestra Directors Association (ABODA) to choose at least one music selection from the “State Lists of Required Compositions” of Florida, Texas, and/or Virginia for their ABODA scholastic concert band festival presentation and adjudication. The works could also be used for school performance. Additionally, the Arizona State Department of Education requires Certified Wind Band Teachers to use the Arizona Academic Standards in the Arts Music – Performing Ensembles (updated in 2015) as source material for the standard that should be met by the conclusion of the academic year. This research explores the educational and pedagogical correlations between the state standards and an annotated list of select Wind Ensemble repertoire.
The Florida Bandmasters Association, Virginia Band and Orchestra Directors Association, and Texas’s University Interscholastic League’s lists of required compositions include thoughtfully selected titles that promote musical growth. A fourth list found in Richard Miles’ textbook series entitled Teaching Music Through Performance in Band (Volume 1-11) which promotes music education through rehearsal preparation and performance-based practices. This list will only include compositions that all four compilations selected. The list will convey the following information:
1. The average grade, title, composer and date of the composition
2. A brief program note about the composition
3. A description of each teaching standard covered by the selected repertoire
Additionally, the author has decided to add some works to the list to ensure the inclusion of race and gender diversity. These additional works may one day make the state required performance lists as time allows the selection process to catch up with the volume of repertoire added.
Wind band directors in the State of Arizona are required by the Arizona Band and Orchestra Directors Association (ABODA) to choose at least one music selection from the “State Lists of Required Compositions” of Florida, Texas, and/or Virginia for their ABODA scholastic concert band festival presentation and adjudication. The works could also be used for school performance. Additionally, the Arizona State Department of Education requires Certified Wind Band Teachers to use the Arizona Academic Standards in the Arts Music – Performing Ensembles (updated in 2015) as source material for the standard that should be met by the conclusion of the academic year. This research explores the educational and pedagogical correlations between the state standards and an annotated list of select Wind Ensemble repertoire.
The Florida Bandmasters Association, Virginia Band and Orchestra Directors Association, and Texas’s University Interscholastic League’s lists of required compositions include thoughtfully selected titles that promote musical growth. A fourth list found in Richard Miles’ textbook series entitled Teaching Music Through Performance in Band (Volume 1-11) which promotes music education through rehearsal preparation and performance-based practices. This list will only include compositions that all four compilations selected. The list will convey the following information:
1. The average grade, title, composer and date of the composition
2. A brief program note about the composition
3. A description of each teaching standard covered by the selected repertoire
Additionally, the author has decided to add some works to the list to ensure the inclusion of race and gender diversity. These additional works may one day make the state required performance lists as time allows the selection process to catch up with the volume of repertoire added.
ContributorsKoch, Paul Andrew (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Knowles, Kristina (Committee member) / Arizona State University (Publisher)
Created2019