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Full-Text Articles in Arts and Humanities
Imagery, Prayer, And Mind Wandering: Kataphatic Prayer, Martha M. O. Duah
Imagery, Prayer, And Mind Wandering: Kataphatic Prayer, Martha M. O. Duah
Honors Theses
Mind wandering—reduced attention to external events—during prayer could pose a problem for Christians. However, different types of prayer make different cognitive demands. Kataphatic prayer, a common type of evangelical Christian prayer, makes use of mental imagery in hopes of experiencing God in a richer sense. Because both mind wandering and kataphatic prayer require imagery, tying up imagery resources in kataphatic prayer should block mind wandering thereby improving focus. Participants in this study prayed as they normally do, viewed a visual task, or engaged in kataphatic prayer while self-monitoring for mind wandering.
The Art Of French Melodie: A Manual For Recital Preparation, Kristen Abraham
The Art Of French Melodie: A Manual For Recital Preparation, Kristen Abraham
Honors Theses
This is a documentation of my journey through the research, development and execution of a voice recital, with a focus on the creation of guidelines for how one may achieve success in a future recital. Moving through three phases: Thinking, Doing, and Reflecting, I highlight the important processes required to transition seamlessly through the phases. During the entirety of this project, I kept a journal of each step, documenting everything to maintain the integrity of the process, and organizing the information into sections to make the findings easier to understand, learn, and replicate. My end goal is to produce a …
Musical Borrowing In Las Cuatro Estaciones Portenas: Piazzolla, Desyatnikov, Vivaldi, Wayanne Watson
Musical Borrowing In Las Cuatro Estaciones Portenas: Piazzolla, Desyatnikov, Vivaldi, Wayanne Watson
Honors Theses
Leonid Desyatnikov arranged Astor Piazzolla's Las Cuatro Estaciones Portenas for violin and string orchestra, interspersing quotations from Vivaldi's Four Seasons throughout the new work. My score-based analysis of the arrangement investigates Desyatnikov's borrowing practice and connects his compositional techniques to musicological meanings. In addition to identifying levels of contrast value between the quotation and the surrounding arrangement, I examine alterations to the original content and context of the quotations and determine whether Desyatnikov maintains or transforms the quotations' identities. I combine identity and contrast value into an interpretive model of musical interaction, providing a more nuanced exploration of musical dominance.