Synesthesia, or the ability to sense experiences in one modality and experience consistent imagery in another modality, has been systematically studied for over 100 years without yielding much information regarding the synesthete, the person reporting such a phenomenon. A group of 503 college students were sampled to determine the prevalence of reported synesthesia. Twenty-eight reported synesthetes were then matched by age, sex, major, and hand preference to people reporting never experiencing synesthesia. Both groups were then administered the Concept Mastery Test (Terman, 1947, 1950); the Betts Questionnaire Upon Mental Imagery--Sheehan Revision (Betts, 1909; Sheehand, 1967); the Individual Differences Questionnaire (Paivio, 1971); and the Adjective Check List (Gough, 1960). The results of the first study indicate that 7% of the sample of 503 volunteer college students in an introductory psychology course report consistent and spontaneous synesthetic experiences. Another 18% report similar experiences that either lack spontaneity and/or consistency or were influenced by a hallucinogenic drug. These results are consistent with research done on various populations by Calkins (1895), Rose (1909), and Bleuler and Lehmann (1881), but the frequencies are much lower and do not show the same gender differences as Marks' (1975) reporting of Uhlich's (1957) data showing 14% of male and 31% of females having synesthetic abilities. These differences may be due to different sampling techniques, differences in cultures, or differences in the definition of synesthesia. The results of the first experiment also indicated no significant correlation between reported synesthesia and gender, major field of study, handedness, or age. In conclusion, a portion of the adult population reports synesthetic perception. These people have higher CMT scores, use imagery and verbal abilities more in their life (as measured by the IDQ), and report more vivid visual imagery (as measured by the Betts).

Thesis (Ph. D.)--University of California, San Diego, 2003. / Vita. Includes bibliographical references (leaves 123-142).

No description available.

No description available.

Thesis (Ph.D.)--Brown University, 2005. / Vita. Thesis advisor: Hervé Vanel, Kermit S. Champa. Includes bibliographical references (leaves 264-275). Also available online.

This thesis discusses my new sound drawing practice and its development throughout the course of my practice-based PhD research at Brunel School of Arts. “Sound drawing” is a general term that I have chosen to use to describe a body of visual artworks that instigated the composition of soundscapes as well as the design of an audiovisual performance instrument. I will start by giving a clear picture of the musical and visual arts background that led up to my current sound drawing practice. Then I will go through the individual works created between 2008 and 2012 that have contributed the most to the development of sound drawing. I will discuss how performance sketches ... (2009) instigated the shift from composing graphic scores to sound drawing when I was confronted with drawing my graphic scores in real time. In 31 (sound) studies on paper (2010-2011), the sound drawing process began to mature through a closer examination of the visual imagery, drawing materials, physical gestures and the overall sound production. As I started to develop solo performance projects based on my sound drawing practice, I looked back to the compositions projection-reaction (2008-2009) and de (re)construction (2009) which suggested how I might return to using the medium of video. My most recent work, drawalineandlistentoit and R=15 (2012), seems to constitute a point where all the different strands in my works of the preceding four years come together to produce an intricate collaboration between sound, image and performer. Working with the sound drawings within a performance context, a registration of the sonic event occurs, a form of score is created – and at the same time sound is mixing and moving into the space through the audio software Plogue Bidule, while a visual projection is constructed in realtimev through the VPT software.

Thesis (Ph.D.)--Ohio University, November, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.S.)--Ohio University, August, 2009. / Title from PDF t.p. Includes bibliographical references.

This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.

This work seeks to explore the relationship between two arts: music and painting. The aim of this thesis is the creation and execution of an interdisciplinary performance in which music and painting dialogue live, "Painting music", to investigate how both arts relate and influence each other when they are part of a single artistic act and how performers and audience perceive this relationship. To do so, we will investigate interdisciplinary performances, synesthesia (union of perceptions) and the different ways in which painting and music can relate to each other.