Theses and Dissertations
This collection includes both ASU Theses and Dissertations, submitted by graduate students, and the Barrett, Honors College theses submitted by undergraduate students.
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- Genre: Masters Thesis
Description
Three Meditations on the Philosophy of Boethius is a musical piece for guitar, piano interior, and computer. Each of the three movements, or meditations, reflects one level of music according to the medieval philosopher Boethius: Musica Mundana, Musica Humana, and Musica Instrumentalis. From spatial aspects, through the human element, to letting sound evolve freely, different movements revolve around different sounds and sound producing techniques.
ContributorsDori, Gil (Contributor) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2013
Description
There is a lack of music therapy services for college students who have problems with depression and/or anxiety. Even among universities and colleges that offer music therapy degrees, there are no known programs offering music therapy to the institution's students. Female college students are particularly vulnerable to depression and anxiety symptoms compared to their male counterparts. Many students who experience mental health problems do not receive treatment, because of lack of knowledge, lack of services, or refusal of treatment. Music therapy is proposed as a reliable and valid complement or even an alternative to traditional counseling and pharmacotherapy because of the appeal of music to young women and the potential for a music therapy group to help isolated students form supportive networks. The present study recruited 14 female university students to participate in a randomized controlled trial of short-term group music therapy to address symptoms of depression and anxiety. The students were randomly divided into either the treatment group or the control group. Over 4 weeks, each group completed surveys related to depression and anxiety. Results indicate that the treatment group's depression and anxiety scores gradually decreased over the span of the treatment protocol. The control group showed either maintenance or slight worsening of depression and anxiety scores. Although none of the results were statistically significant, the general trend indicates that group music therapy was beneficial for the students. A qualitative analysis was also conducted for the treatment group. Common themes were financial concerns, relationship problems, loneliness, and time management/academic stress. All participants indicated that they benefited from the sessions. The group progressed in its cohesion and the participants bonded to the extent that they formed a supportive network which lasted beyond the end of the protocol. The results of this study are by no means conclusive, but do indicate that colleges with music therapy degree programs should consider adding music therapy services for their general student bodies.
ContributorsAshton, Barbara (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Davis, Mary (Committee member) / Arizona State University (Publisher)
Created2013
Description
Piano Quintet> is a three movement piece, inspired by music of Eastern Europe. Sunrise in Hungary starts with a legato song in the first violin unfolding over slow moving sustained harmonics in the rest of the strings. This is contrasted with a lively Hungarian dance which starts in the piano and jumps throughout all of the voices. Armenian Lament introduces a mournful melody performed over a subtly shifting pedal tone in the cello. The rest of the voices are slowly introduced until the movement builds into a canonic threnody. Evening in Bulgaria borrows from the vast repertoire of Bulgarian dances, including rhythms from the horo and rachenitsa. Each time that the movement returns to the primary theme, it incorporates aspects of the dance that directly preceded it. The final return is the crux of the piece, with the first violin playing a virtuosic ornaments run on the melody.
ContributorsGiese, Adam (Composer) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2014
Description
Sometimes difficult life events challenge our existing resources in such a way that routinized responses are inadequate to handle the challenge. Some individuals will persist in habitual, automatic behavior, regardless of environmental cues that indicate a mismatch between coping strategy and the demands of the stressor. Other individuals will marshal adaptive resources to construct new courses of action and reconceptualize the problem, associated goals and/or values. A mixed methods approach was used to describe and operationalize cognitive shift, a relatively unexplored construct in existing literature. The study was conducted using secondary data from a parent multi-year cross-sectional study of resilience with eight hundred mid-aged adults from the Phoenix metro area. Semi-structured telephone interviews were analyzed using a purposive sample (n=136) chosen by type of life event. Participants' beliefs, assumptions, and experiences were examined to understand how they shaped adaptation to adversity. An adaptive mechanism, "cognitive shift," was theorized as the transition from automatic coping to effortful cognitive processes aimed at novel resolution of issues. Aims included understanding when and how cognitive shift emerges and manifests. Cognitive shift was scored as a binary variable and triangulated through correlational and logistic regression analyses. Interaction effects revealed that positive personality attributes influence cognitive shift most when people suffered early adversity. This finding indicates that a certain complexity, self-awareness and flexibility of mind may lead to a greater capacity to find meaning in adversity. This work bridges an acknowledged gap in literature and provides new insights into resilience.
ContributorsRivers, Crystal T (Author) / Zautra, Alex (Thesis advisor) / Davis, Mary (Committee member) / Kurpius, Sharon (Committee member) / Arizona State University (Publisher)
Created2014
Description
The focus of this in-depth study is to look at the gestation, performance history, and reception of Giacomo Puccini's evening of three one-act operas called Il Trittico and differentiate the particular components, Il Tabarro, Suor Angelica, and Gianni Schicchi to analyze them for their individual stylistic elements of Italian Opera. These were the styles of verismo, pathos and sentimentality, and opera buffa. As substantiated by written criticism, the audience and the critics did not fully comprehend the hidden meaning behind the individual works of Il Trittico. Puccini, enigmatically, had chosen to present one last glimpse of outmoded Italian operatic traditions. In order to evaluate Il Trittico's importance in the history of Italian opera, this study will first review the musically changing landscape in Italy during the early to mid-nineteenth century, then the second part of the nineteenth and beginning of the twentieth-century when German, French, and eventually Russian music were starting to influence audience taste. Puccini who, over the course of his compositional life, absorbed and incorporated these different styles realized that long held Italian operatic tradition had reached a fork in the road. One path would ensure Italian composers a place in this new order and the other a stagnant dead end.
Even though Puccini's triptych garnered primarily negative reviews, the basis for this negativity was the perception that Il Trittico had broken with the historically traditional Italian musical styles. Though the present study acknowledges that break to a degree, it will also present a historically based rationale for the deviation, one left largely unnoticed by Puccini's critics. In the end, this author plans to realize their symbolic importance as a farewell to three uniquely Italian styles and a departure point for a new operatic tradition. Looking forward to the centenary of the work, this author seeks to illuminate how Puccini reached the pinnacle of firmly rooted genres of Italian opera. Ultimately this might help to unravel the enigma of Il Trittico while it continues to secure its rightful place as one of the masterpieces of the Puccini canon.
Even though Puccini's triptych garnered primarily negative reviews, the basis for this negativity was the perception that Il Trittico had broken with the historically traditional Italian musical styles. Though the present study acknowledges that break to a degree, it will also present a historically based rationale for the deviation, one left largely unnoticed by Puccini's critics. In the end, this author plans to realize their symbolic importance as a farewell to three uniquely Italian styles and a departure point for a new operatic tradition. Looking forward to the centenary of the work, this author seeks to illuminate how Puccini reached the pinnacle of firmly rooted genres of Italian opera. Ultimately this might help to unravel the enigma of Il Trittico while it continues to secure its rightful place as one of the masterpieces of the Puccini canon.
ContributorsScovasso, Stephen (Author) / Oldani, Robert W. (Thesis advisor) / Feisst, Sabine (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
THE PEACOCK FLIES SOUTHEAST is a work for Qudi and orchestra inspired by an ancient Chinese love story of the same title. The Qudi is also known as the "Chinese bamboo flute." It is similar to the Western piccolo. However, it has open tone holes with greater ability to bend pitches. The Qudi sounds one octave above the written music with arrange from A4 to G7.
ContributorsLi, Wanchen (Composer) (Composer) / DeMars, James (Thesis advisor) / Feisst, Sabine (Committee member) / Hackbarth, Glenn (Committee member) / Arizona State University (Publisher)
Created2014
Description
This composition was commissioned by the Orgelpark to be performed in Amsterdam in September 2011 during Gaudeamus Muziekweek. It will be performed by the vocal group VocaalLab Nederland. It is scored for four vocalists, organ, tanpura, and electronic sound. The work is a culmination of my studies in South Indian Carnatic rhythm, North Indian classical singing, and American minimalism. It is a meditation on the idea that the drone and pulse are micro/macro aspects of the same phenomenon of vibration. Cycles are created on the macroscale through a mathematically defined scale of harmonic/pitch relationships. Cycles are created on the microscale through the subdivision and addition of rhythmic pulses.
ContributorsAdler, Jacob (Composer) / Rockmaker, Jody (Thesis advisor) / Feisst, Sabine (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Arizona State University (Publisher)
Created2011
Description
Adverse childhood family environments have been found to have long-term effects on a child's well-being. Although no prior studies have examined the direct effects of childhood family adversities on nighttime blood pressure (BP) dip, parental death and divorce in childhood, have been associated with a variety of related psychological problems in adulthood. The current study examined the direct effects of parental death and divorce in childhood and quality of early family relationships on adult nighttime BP dip as well as the mediating role of three psychosocial factors (depression, hostility and social stress). One hundred and forty-three young adults were asked to complete self-reported measures of the three psychosocial factors and quality of family relationships. Study participants wore an ambulatory blood pressure (ABP) monitor over a 24-hr period in order to assess nocturnal BP dip. Although neither childhood family adversity nor quality of childhood family relationships directly predicted nighttime BP dipping, quality of early family relationships predicted all three psychosocial factors, and hostility was found to mediate the relationship between quality of childhood family relationships and nighttime systolic BP dip. Early family experiences play an important role in influencing nighttime cardiovascular functioning by influencing an individual's psychological functioning in young adulthood. Because nighttime non-dipping has been associated with increased risk for cardiovascular disease and other serious health conditions, the results of the present study have important clinical implications and provide specific psychosocial pathways that may be targeted in future programs designed to prevent and treat cardiovascular disease.
ContributorsTanaka, Rika (Author) / Luecken, Linda J. (Thesis advisor) / Wolchik, Sharlene (Committee member) / Davis, Mary (Committee member) / Arizona State University (Publisher)
Created2012
Description
In the early-twentieth-century United States, Jewish and European immigrant scholars, musicians, and composers dominated the academic, orchestral, film and popular music scenes. While some of these musicians immigrated voluntarily, others, having fled the genocide of the Holocaust, were forced into exile due to religious and political persecution. Musicians were often targeted by the Nazi regime for performing and advancing banned music, composing modernist works, or for their religious or political beliefs. The United States upheld strict, pre-World War Two immigration quotas and laws that limited relocation. Specialized rescue agencies arose to help these exiles settle in the United States.
Meanwhile in 1924, American composer Mark Brunswick (1902-1971) moved to Europe and later studied with Nadia Boulanger. He found his niche among members of the Second Viennese School. Brunswick returned to the United States in 1938 and founded the National Committee for Refugee Musicians (NCRM), originally called the Placement Committee for German and Austrian Musicians, to aid in the relocation and job placement of at-risk musicians and their families during World War Two.
This thesis briefly explores Brunswick’s life, and then more closely addresses the formation of the NCRM, its members, those who received aid, and partnering organizations. Finally, cases in point illustrate the varied ways in which the NCRM helped musicians in exile. Brunswick and the Committee played a major role in American musical history, yet no major studies have focused on them. With the NCRM’s assistance, many refugees thrived in and contributed to America’s musical landscape. By exploring letters, memoranda, and other unpublished archival documents, I will show how Brunswick and the NCRM affected U.S. musical life beginning in the 1930s. The positive effects of this germinal group endure today.
Meanwhile in 1924, American composer Mark Brunswick (1902-1971) moved to Europe and later studied with Nadia Boulanger. He found his niche among members of the Second Viennese School. Brunswick returned to the United States in 1938 and founded the National Committee for Refugee Musicians (NCRM), originally called the Placement Committee for German and Austrian Musicians, to aid in the relocation and job placement of at-risk musicians and their families during World War Two.
This thesis briefly explores Brunswick’s life, and then more closely addresses the formation of the NCRM, its members, those who received aid, and partnering organizations. Finally, cases in point illustrate the varied ways in which the NCRM helped musicians in exile. Brunswick and the Committee played a major role in American musical history, yet no major studies have focused on them. With the NCRM’s assistance, many refugees thrived in and contributed to America’s musical landscape. By exploring letters, memoranda, and other unpublished archival documents, I will show how Brunswick and the NCRM affected U.S. musical life beginning in the 1930s. The positive effects of this germinal group endure today.
ContributorsKurland, Jayme Michael (Author) / Norton, Kay (Thesis advisor) / Feisst, Sabine (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2015
Description
Following mixed method ethnographic research conducted between January 2020 and January 2022, this thesis discusses how United States all-female mariachi musicians, or mariacheras, express femininity in the mariachi femenil. Mariachis femeniles are all-female mariachis. Building upon Mary Lee Mulholland’s (2013) discussion of how mariacheras in Jalisco are often valued more for their physical appearance than for their musical skills, this thesis investigates how similar phenomena manifest in the United States’ professional mariachi femenil circuit. Applying a Chicana Feminisms lens to a collection of 28 mariachera plática-interviews, generational and transborder mariachi knowledge production, visual expressions of mariachi femininity, and aural feminine expressions in the mariachi setting are complicated. Each participant details what it means to be a mariachera, breaking down concepts of purity in the face of dichotomous cultural gender expectation and the genre’s visual expectations of how female musicians should present themselves in society. These sociocultural phenomena led these women in many ways to disidentify and resignify various pieces of the mariachi tradition to “carve out” their own space in the practice, expressing the concern they want to be respected as a musician, not as just a visual object. Ultimately, the “carved out” space allows mariacheras to perform a “different” sound of mariachi—a negotiation of strength, femininity, and balancing sociocultural expectations of the mariachera in and out of performance.
ContributorsFlores, Cameo Rachelle (Author) / Fossum, Dave (Thesis advisor) / Estrada, Emir (Committee member) / Feisst, Sabine (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022