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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 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
Description
A recent joint study by Arizona State University and the Arizona Department of Transportation (ADOT) was conducted to evaluate certain Warm Mix Asphalt (WMA) properties in the laboratory. WMA material was taken from an actual ADOT project that involved two WMA sections. The first section used a foamed-based WMA admixture, and the second section used a chemical-based WMA admixture. The rest of the project included control hot mix asphalt (HMA) mixture. The evaluation included testing of field-core specimens and laboratory compacted specimens. The laboratory specimens were compacted at two different temperatures; 270 °F (132 °C) and 310 °F (154 °C). The experimental plan included four laboratory tests: the dynamic modulus (E*), indirect tensile strength (IDT), moisture damage evaluation using AASHTO T-283 test, and the Hamburg Wheel-track Test. The dynamic modulus E* results of the field cores at 70 °F showed similar E* values for control HMA and foaming-based WMA mixtures; the E* values of the chemical-based WMA mixture were relatively higher. IDT test results of the field cores had comparable finding as the E* results. For the laboratory compacted specimens, both E* and IDT results indicated that decreasing the compaction temperatures from 310 °F to 270 °F did not have any negative effect on the material strength for both WMA mixtures; while the control HMA strength was affected to some extent. It was noticed that E* and IDT results of the chemical-based WMA field cores were high; however, the laboratory compacted specimens results didn't show the same tendency. The moisture sensitivity findings from TSR test disagreed with those of Hamburg test; while TSR results indicated relatively low values of about 60% for all three mixtures, Hamburg test results were quite excellent. In general, the results of this study indicated that both WMA mixes can be best evaluated through field compacted mixes/cores; the results of the laboratory compacted specimens were helpful to a certain extent. The dynamic moduli for the field-core specimens were higher than for those compacted in the laboratory. The moisture damage findings indicated that more investigations are needed to evaluate moisture damage susceptibility in field.
ContributorsAlossta, Abdulaziz (Author) / Kaloush, Kamil (Thesis advisor) / Witczak, Matthew W. (Committee member) / Mamlouk, Michael S. (Committee member) / Arizona State University (Publisher)
Created2011
Description
ABSTRACT This study evaluated the LoseIt Smart Phone app by Fit Now Inc. for nutritional quality among users during an 8 week behavioral modification weight loss protocol. All participants owned smart phones and were cluster randomized to either a control group using paper and pencil record keeping, a memo group using a memo function on their smart phones, or the LoseIt app group which was composed of the participants who owned iPhones. Thirty one participants completed the study protocol: 10 participants from the LoseIt app group, 10 participants from the memo group, and 11 participants from the paper and pencil group. Food records were analyzed using Food Processor by ESHA and the nutritional quality was scored using the Healthy Eating Index - 2005 (HEI-2005). Scores were compared using One-Way ANOVA with no significant changes in any category across all groups. Non-parametric statistics were then used to determine changes between combined memo and paper and pencil groups and the LoseIt app group as the memo and paper and pencil group received live counseling at biweekly intervals and the LoseIt group did not. No significant difference was found in HEI scores across all categories, however a trend was noted for total HEI score with higher scores among the memo and paper and pencil group participants p=0.091. Conclusion, no significant difference was detected between users of the smart phone app LoseIt and memo and paper and pencil groups. More research is needed to determine the impact of in-person counseling versus user feedback provided with the LoseIt smart phone app.
ContributorsCowan, David Kevin (Author) / Johnston, Carol (Thesis advisor) / Wharton, Christopher (Christopher Mack), 1977- (Committee member) / Mayol-Kreiser, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
Community Supported Agriculture programs (CSAs) have become a viable local source of fresh agricultural goods and represent a potentially new way to improve fruit and vegetable consumption among individuals and families. Studies concerning CSAs have focused mainly on characteristics of the typical CSA member and motivations and barriers to join a CSA program. The purpose of this study was to examine whether behavior and attitudinal differences existed between current CSA members and a nonmember control group. Specifically, ecological attitudes, eating out behaviors, composting frequency, and family participation in food preparation were assessed. This study utilized an online survey comprising items from previous survey research as well as newly created items. A total of 115 CSA member and 233 control survey responses were collected. CSA members were more likely to be older, have more education, and have a higher income than the control group. The majority of CSA members surveyed were female, identified as non-Hispanic and Caucasian, earned a higher income, and reported being the primary food shopper and preparer. The majority of members also noted that the amount and variety of fruits and vegetables they ate and served their family increased as a result of joining a CSA. CSA members were more ecologically minded compared to the control group. Frequency of eating out was not significantly different between groups. However, eating out behaviors were different between income categories. CSA members spent significantly more money at each meal eaten away from home and spent significantly more money on eating out each week. In both cases, controlling for income attenuated differences between groups. CSA members composted at a significantly higher rate and took part in other eco-friendly behaviors more often than the control group. Finally, no significant difference was evident between the two groups when analyzing family involvement in food preparation and meal decision-making. Overall, some significant attitudinal and behavioral differences existed between CSA members and non-CSA members. Further research is necessary to examine other distinctions between the two groups and whether these differences occur as a result of CSA membership.
ContributorsMacMillan Uribe, Alexandra L (Author) / Wharton, Christopher (Christopher Mack), 1977- (Thesis advisor) / Winham, Donna (Committee member) / Eakin, Hallie (Committee member) / Arizona State University (Publisher)
Created2011
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study examined attitudes and perspectives of classroom guitar students toward the reading of staff notation in music. The purpose of this qualitative research was to reveal these perceptions in the student's own words, and compare them to those of orchestra and band students of comparable experience. Forty-seven students from four suburban middle and high schools on the east coast were selected through purposeful sampling techniques. Research instruments included a Musical Background Questionnaire and a thirty-five question Student Survey. Follow-up interviews were conducted with students to clarify or expound upon collected data. Guitar, orchestra, and band teachers were interviewed in order to provide their perspectives on the issues discussed. The Student Survey featured a five-point Likert-type scale, which measured how much students agreed or disagreed with various statements pertaining to their feelings about music, note-reading, or their class at school. Collected data were coded and used to calculate mean scores, standard deviations, and percentages of students in agreement or disagreement with each statement. Interviews were audio recorded and transcribed into a word processing document for analysis. The study found that while a variety of perspectives exist within a typical guitar class, some students do not find note-reading to be necessary for the types of music they desire to learn. Other findings included a perceived lack of relevance toward the classical elements of the guitar programs in the schools, a lack of educational consistency between classroom curricula and private lesson objectives, and the general description of the struggle some guitarists experience with staff notation. Implications of the collected data were discussed, along with recommendations for better engaging these students.
ContributorsWard, Stephen Michael (Author) / Koonce, Frank (Thesis advisor) / Schmidt, Margaret (Thesis advisor) / Buck, Nancy (Committee member) / Rogers, Rodney (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study treats in some depth a contemporary solo piano work, "Arirang Variations" (2006) by Edward "Teddy" Niedermaier (b. 1983). Though Niedermaier is an American composer and pianist, he derives his inspiration for that work from four types of Korean arirang: "Arirang," "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang." The analysis of "Arirang Variations" focuses primarily on how the composer adapts arirang in each variation and develops them into his own musical language. A salient feature of Niedermaier's composition is his combination of certain contradictions: traditional and contemporary styles, and Western and Eastern musical styles. In order to discuss in detail the musical elements of arirang used in "Arirang Variations," scores of all the arirang Niedermaier references are included with the discussion of each. Unfortunately, sources concerning three of these were limited to a single book by Yon-gap Kim, Pukhan Arirang Yongu (A Study of North Korean Arirang), because "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang"are North Korean versions of arirang. Since arirang are the most important Korean folk song genre, basic information concerning such features of Korean traditional musical elements as scales, vocal techniques, rhythms and types of folk songs are provided along with an overview of the history and origins of arirang. Given that each arirang has distinctive characteristics that vary by region, the four best-known types of arirang are introduced to demonstrate these differences.
ContributorsPark, Hyunjin (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Levy, Benjamin (Committee member) / Thompson, Janice (Committee member) / Arizona State University (Publisher)
Created2011
Description
The infrastructure is built in Unsaturated Soils. However, the geotechnical practitioners insist in designing the structures based on Saturated Soil Mechanics. The design of structures based on unsaturated soil mechanics is desirable because it reduces cost and it is by far a more sustainable approach. The research community has identified the Soil-Water Characteristic Curve as the most important soil property when dealing with unsaturated conditions. This soil property is unpopular among practitioners because the laboratory testing takes an appreciable amount of time. Several authors have attempted predicting the Soil-Water Characteristic Curve; however, most of the published predictions are based on a very limited soil database. The National Resources Conservation Service has a vast database of engineering soil properties with more than 36,000 soils, which includes water content measurements at different levels of suctions. This database was used in this study to validate two existing models that based the Soil-Water Characteristic Curve prediction on statistical analysis. It was found that although the predictions are acceptable for some ranges of suctions; they did not performed that well for others. It was found that the first model validated was accurate for fine-grained soils, while the second model was best for granular soils. For these reasons, two models to estimate the Soil-Water Characteristic Curve are proposed. The first model estimates the fitting parameters of the Fredlund and Xing (1994) function separately and then, the predicted parameters are fitted to the Fredlund and Xing function for an overall estimate of the degree of saturation. Results show an overall improvement on the predicted values when compared to existing models. The second model is based on the relationship between the Soil-Water Characteristic Curve and the Pore-Size Distribution of the soils. The process allows for the prediction of the entire Soil-Water Characteristic Curve function and proved to be a better approximation than that used in the first attempt. Both models constitute important tools in the implementation of unsaturated soil mechanics into engineering practice due to the link of the prediction with simple and well known engineering soil properties.
ContributorsTorres Hernández, Gustavo (Author) / Zapata, Claudia (Thesis advisor) / Houston, Sandra (Committee member) / Witczak, Matthew (Committee member) / Arizona State University (Publisher)
Created2011
Description
Many of the works of Dominick Argento have been researched and analyzed, but his choral work Evensong: Of Love and Angels s has received limited attention thus far. Written in memoriam for his wife Carolyn Bailey Argento, Evensong draws its musical material from her initials C.B.A. These letters, translated into note names, form a conspicuous head motive that is present in each movement of the work, and it serves multiple functions: as a melodic feature, as the foundation for a twelve-tone row, and as a harmonic base. This paper provides an overview of the work's conception with specific relation to Argento's biographical details, compositional style, and work habits; a brief review of the critical reception of the work; and a succinct analysis of the form and cyclical materials found in each movement.
ContributorsPage, Carrie Leigh, 1980- (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
Everyday Arias for soprano and orchestra was composed largely in Arizona and completed in February 2011. The text was taken from a small collection of the composer's own poetry referencing her memories of life in rural Mississippi. Everyday Arias endeavors to elevate these prosaic experiences and settings to art, expressing the everyday as beautiful and worthy of artistic treatment. The primary compositional model for this work was Samuel Barber's Knoxville: Summer of 1915, but other influences included Charles Ives, Aaron Copland, Benjamin Britten, and Dominick Argento. Barber's and Argento's musical treatment of prose style seemed particularly appropriate to the goals of Everyday Arias. Ives and Copland used hymn tunes both to evoke certain associations of worship and as sources of interesting material. The vocal writing of all five composers was influential, but the orchestration techniques for winds are largely a product of studying Ives and Argento, while many string gestures are more obviously tied to Britten and - more historically - Debussy.The primary motive that weaves through the work features an ascending major second followed by a descending perfect fourth, in a long-short-long rhythmic pattern. As a melodic fragment, the motive is often inverted to a descending-ascending pattern, or distorted slightly by expanding the second interval to a perfect fifth, or used in retrograde. The motive was derived from the first measure of the melody "Toplady" (1830) by Thomas Hastings, better known as the hymn "Rock of Ages." In the first movement, the motive is used most frequently in sequences. The second movement treats the motive as a melodic element and as a unit in ostinati. The final movement humorously transforms it into a syncopated gesture to evoke ragtime.
ContributorsPage, Carrie Leigh (Composer) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2011