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Khwaam Jam is an introspective installation of works that explore the perceptions of identity based on memory. Created through the exploration of my past and present, the works of Khwaam Jam utilize the principles and techniques of textile design and production while involving mixed media and new materials in a site-specific installation. This installation is intended to represent my memory on a large scale. The hanging pieces are the focal point of the exhibition and are the physical manifestation of my perception of the categorization and storage of my memories. Memories are the vessels through which we create our identity. An individual’s identity is not only created from the personal experiences of the individual, but also from the experiences of those linked to the individual, whether on an intimate or social level. This overlap of memories is what connects us and helps create both individual and social identities through a series of shared memories.

While footwear was originally meant to protect the feet and enable the wearer to span larger distances and rough materials, today shoes are often seen as a fashion statement and a sex symbol for women. In his book, Of Cigarettes, High Heels, and Other Interesting Things, Marcel Danesi examines how high heels have moved away from the original purpose of shoes and now “seem to contravene this function. They are uncomfortable and yet millions of women wear them." They have moved from practicality to a sign of femininity, sexuality, and power.

In/Retrospection is an audiovisual composition employing audio and video in an interactive form, written for a ten-piece orchestra, electronically generated audio, and video that interact with each other in a variety of ways. Not only is the use of overall interaction employed, but each element of the composition is given its own space to develop and take its place in the forefront of the listeners/viewers focus, thus shifting attention to various aspects of the composition. In this way, the composition is neither a video with accompanying audio or audio with accompanying video, but a combination of both forms. On top of this, the electroacoustic portion of the piece, employing both traditional orchestral instruments as well as electronically manipulated sounds and music, adds yet another level of interaction and attention-shifting mechanics to the composition. The constant shifting of the listener's/viewer's focus is the fundamental idea explored in In/Retrospection. / School of Music

Access to abstract permanently restricted to Ball State community only. / Access to thesis permanently restricted to Ball State community only / School of Music

The PhD investigates the creation of closeness and immediacy through composition, exploring the processes of capturing, processing and composing sound materials, their spatialisation both during production and performance, and the sound materials' contexts. It is suggested that closeness can be understood spatially, temporally and in addition as being familiar with sounds and musical languages; whereas immediacy adds the meaning of being involved at some level in the shaping or decoding of the meaning of sounds of a composition. In that sense closeness and immediacy together form entry-points for the listener to make him/her become engaged in the compositional narrative. Seven original acousmatic and mixed media works are presented in the portfolio. These are stone and metal, empty rooms, weave/unravel, skalna, pulses, beeps and triptych. The pieces rely on found sounds and their referential qualities, with both informing the compositional methodologies. They also borrow elements from soundscape composition, electronic music and film music. Over the development of the portfolio the inclusion of elements of other genres of music became a valuable source of inspiration and shaped the compositional methodology which lead to the development of a unique, personal style of composition. Three of the PhD’s compositions – pulses, beeps and triptych – investigate the musical opportunities of an acousmatic take on stems to improve the flexibility and perceived depth of spatialisation. The spatial layers of the compositions are split into parts of a soundfile. These parts can be mapped according to specific rules to the number of loudspeakers available. The portfolio pieces demonstrate that composing in spatial stems enhances spatial depth as close and distant sounds can be reproduced independently of each other on dedicated loudspeakers at the same time. The sounds of the distant loudspeakers merge with the acoustic properties of the performance space and therefore assist in making the composed spaces credible. In addition to the compositions, one original software tools are presented in the portfolio (PLib), as well as a substantial contribution to an existing tool (MANTIS Diffusion System). They aim to facilitate the production and performance of electroacoustic music. Their application and potential is briefly discussed in the commentary.

This thesis project will focus on the symbolism and artistic interpretation of how I perceive reality. This thesis project uses all artistic skills that I have acquired throughout my lifetime and combines them into one mixed digital media video. This is a mix between the two digital media formats 2D and 3D. Each animation and segment syncs with the music selected manually or technically. The process of creation for each segment and explaining which software I choose to use for each task. It also dives a little further, noting the artistic decisions and why. The symbolism used within the art piece is addressed and explained. Anything not discussed is open to personal interpretation and encourages the viewers to think individually further into the topics. The usage of this art style / art form is discussed and researched on where it can be found in usage outside of the music industry. Also, stating the popularity and accreditation this style receives from casually mass viewing. In summary, the art style of surrealism and abstract shapes in addition to the art form of mixed digital media, consumers indulge this art archetype worldwide. It can be useable within music visuals, ambient relaxation, modern art galleries, video games, and progressive advertising. Thus, making this art viable in multiple parts of the economy and creating consistent trends of revenue increasing. With the consistent growth of technology use, complimentary style to electronic music, and viable formatting for social media this art style is predicted to drastically grow in demand within the next coming years.

Grimaldi is a synesthetic work composed of aural and visual media including noise, tone, electronic devices, lighting and theatrical events. It is designed for solo saxophone with an accompanying ensemble of eight wind instruments and four percussion. The most important aspect of the piece is its texture, which consists of constantly changing and interacting aural and visual events. The compositional process of Grimaldi began with the selection of a form constructed of two equal arches of unequal subdivision, and the designation of texture for each section. After these selections were made, the theatrical elements were selected, based on a traditional story about the clown Joseph Grimaldi (1787-1836). By gradually refining these general selections into specific notation, and by considering them as a whole rather than individually, consistent relationships were maintained.

The artist discusses her Master of Fine Arts exhibition, Symbiosis, hosted by the Natural History Museum in Gray, Tennessee, from May 1st, through August 1st 2008. The exhibit includes works produced during the artist's three years of study at East Tennessee State University. The subject of the exhibition consists of drawings of the elephant's place in history through its relationship with humans. Topics explored include the elephant as victim, servant, god, prey, and ultimately as teacher. Discussion will also include artistic influences such as Sue Coe, Deborah Butterfield, Franz Marc, and Frank Noelker as well as theoretical influences by Carl G. Jung, James Hillman, and Jerome S. Bernstein.

The following thesis documents the collaboration process behind Idle Flux, a collaboration between Samuel A. Montgomery, a graduate composer at University of North Texas, and Emily Jensen, a graduate choreographer at Texas Woman's University. Comprising an 18-minute stereo fixed media composition and choreography for seven dancers, Idle Flux seeks to challenge the traditional spatial relationship between audience members and performers through restructuring seating and stage arrangements while featuring immersive sound design in multiple venues. This thesis considers multiple sources of inspiration, including Immersive Van Gogh® Exhibit Dallas, John Jasperse's Canyon, Zoe | Juniper's BeginAgain, Francisco López's installations, Alexander Ekman's A Swan Lake, Imagine Dragons' "Enemy," Son Lux's "Dream State (Dark Day)," and Ryan Lott's dance compositions. This thesis also examines the interdependent collaborative relationship between composer and choreographer by considering the issues of autonomy and creative control, examining previous collaborative models proposed or implemented by Van Stiefel, José Limón and Norman Lloyd, John Cage and Merce Cunningham, Doris Humphrey and Norman Lloyd. In addition, this thesis discusses the creative process and foundational concepts behind the fixed media composition, including the use of sound samples, exploration of timbre through synthesizers, development of motives and musical language, and the spatialization of sound in multiple venues. This thesis further considers the advantages and challenges associated with creating an immersive experience at each venue as well as an interdependent collaborative process that facilitates the autonomy and creative independence for both the composer and choreographer.