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The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced

The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included.
ContributorsMinov, Jana (Author) / Russell, Timothy (Thesis advisor) / Levy, Benjamin (Committee member) / Schildkret, David (Committee member) / Rogers, Rodney (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2011
Description
Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of

Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end.
ContributorsBell, Jeremy, 1986- (Composer) / Rogers, Rodney (Thesis advisor) / Oldani, Robert (Committee member) / Levy, Benjamin (Committee member) / Arizona State University (Publisher)
Created2011
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Description
A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's

A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's Structures Ia . The purpose of this survey is to examine several systematic approaches to composition by prominent composers and their philosophy in adopting this type of approach. The next section of the paper introduces my own systematic approach to composition: the Take-Away System. The third provides several musical applications of the system, citing my work, Octulus for two pianos, as an example. The appendix details theorems and observations within the system for further study.
ContributorsHarbin, Doug (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
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Description
During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music

During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America.
ContributorsOcampo Cardona, Javier Andrés (Author) / McAllister, Timothy (Thesis advisor) / Spring, Robert (Committee member) / Hill, Gary (Committee member) / Pilafian, Sam (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2011
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Description

Animals encounter information from different resources simultaneously, integrating input from multiple sensory systems before responding behaviorally. When different cues interact with one another, they may enhance, diminish, or have no impact on their responses. In this project, we test how the presence of chemical cues affect the perception of visual

Animals encounter information from different resources simultaneously, integrating input from multiple sensory systems before responding behaviorally. When different cues interact with one another, they may enhance, diminish, or have no impact on their responses. In this project, we test how the presence of chemical cues affect the perception of visual cues. Zebrafish (Danio rerio) often use both chemical cues and visual cues to communicate with shoal mates, to assess predation risk, and to locate food. For example, zebrafish rely on both olfactory cues and visual cues for kin recognition, and they frequently use both chemical and visual cues to search for and to capture prey. In zebrafish, the terminal nerve (TN) constitutes the olfacto-visual centrifugal pathway and connects the olfactory bulb with the retina, thus allowing olfactory perception also to activate visual receptors. Past studies have found that the presence of an olfactory cue can modulate visual sensitivity in zebrafish through the terminal nerve pathway. Alternatively, given that zebrafish are highly social, the presence of social chemical cues may distract individuals from responding to other visual cues, such as food and predator visual cues. Foraging and predator chemical cues, including chemical food cues and alarm cues, may also distract individuals from responding to non-essential visual cues. Here, we test whether the response to a visual cue either increases or decreases when presented in concert with alanine, an amino acid that represents the olfactory cues of zebrafish prey. We found that the presence of chemical cues did not affect whether zebrafish responded to visual cues, but that the fish took longer to respond to visual cues when chemical cues were also present. These findings suggest that different aspects of behavior could be affected by the interaction between sensory modalities. We also found that this impact of delayed response was significant only when the visual cue<br/>was weak compared to the strength of the chemical cue, suggesting that the salience of interacting cues may also have an influence on determining the outcomes of the interactions. Overall, the interactive effects of chemicals on an animal’s response to visual cues may also have wide-ranging impacts on behavior including foraging, mating, and evading predators, and the interaction of cues may affect different aspects of the same behavior.

ContributorsPuffer, Georgie Delilah (Author) / Martins, Emilia (Thesis director) / Suriyampola, Piyumika (Committee member) / Gerkin, Richard (Committee member) / School of Life Sciences (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Humans use emotions to communicate social cues to our peers on a daily basis. Are we able to identify context from facial expressions and match them to specific scenarios? This experiment found that people can effectively distinguish negative and positive emotions from each other from a short description. However, further

Humans use emotions to communicate social cues to our peers on a daily basis. Are we able to identify context from facial expressions and match them to specific scenarios? This experiment found that people can effectively distinguish negative and positive emotions from each other from a short description. However, further research is needed to find out whether humans can learn to perceive emotions only from contextual explanations.

ContributorsCulbert, Bailie (Author) / Hartwell, Leland (Thesis director) / McAvoy, Mary (Committee member) / School of Life Sciences (Contributor) / School of Criminology and Criminal Justice (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Locusts are generalist herbivores meaning that they are able to consume a variety of plants. Because of their broad diet, and ability to respond rapidly to a favorable environment with giant swarms of voracious insects, they are dangerous pests. Their potential impacts on humans increase dramatically when individuals switch from

Locusts are generalist herbivores meaning that they are able to consume a variety of plants. Because of their broad diet, and ability to respond rapidly to a favorable environment with giant swarms of voracious insects, they are dangerous pests. Their potential impacts on humans increase dramatically when individuals switch from their solitarious phase to their gregarious phase where they congregate and begin marching and eventually swarming together. These swarms, often billions strong, can consume the vegetation of enormous swaths of land and can travel hundreds of kilometers in a single day producing a complex threat to food security. To better understand the biology of these important pests we explored the gut microbiome of the South American locust (Schistocerca cancellata). We hypothesized generally that the gut microbiome in this species would be critically important as has been shown in many other species. We extracted and homogenized entire guts from male S. cancellata, and then extracted gut microbiome genomic DNA. Genomic DNA was then confirmed on a gel. The initial extractions were of poor quality for sequencing, but subsequent extractions performed by collaborators during troubleshooting at Southern Illinois University Edwardsville proved more useful and were used for PCR. This resulted in the detections of the following bacterial genera in the gut of S. cancellata: Enterobacter, Enterococcus, Serratia, Pseudomonas, Actinobacter, and Weisella. With this data, we are able to speculate about the physiological roles that they hold within the locust gut generating hypotheses for further testing. Understanding the microbial composition of this species’ gut may help us better understand the locust in general in an effort to more sustainably manage them.

ContributorsGrief, Dustin (Author) / Overson, Rick (Thesis director) / Cease, Arianne (Committee member) / Peterson, Brittany (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Over 40% of adults in the United States are considered obese. Obesity is known to cause abnormal metabolic effects and lead to other negative health consequences. Interestingly, differences in metabolism and contractile performance between obese and healthy weight individuals are associated with differences in skeletal muscle fiber type composition between

Over 40% of adults in the United States are considered obese. Obesity is known to cause abnormal metabolic effects and lead to other negative health consequences. Interestingly, differences in metabolism and contractile performance between obese and healthy weight individuals are associated with differences in skeletal muscle fiber type composition between these groups. Each fiber type is characterized by unique metabolic and contractile properties, which are largely determined by the myosin heavy chain isoform (MHC) or isoform combination that the fiber expresses. In previous studies, SDS-PAGE single fiber analysis has been utilized as a method to determine MHC isoform distribution and single fiber type distribution in skeletal muscle. Herein, a methodological approach to analyze MHC isoform and fiber type distribution in skeletal muscle was fine-tuned for use in human and rodent studies. In the future, this revised methodology will be implemented to evaluate the effects of obesity and exercise on the phenotypic fiber type composition of skeletal muscle.

ContributorsOhr, Jalonna Rose (Author) / Katsanos, Christos (Thesis director) / Tucker, Derek (Committee member) / Serrano, Nathan (Committee member) / School of Life Sciences (Contributor) / School of Molecular Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05