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- Genre: Doctoral Dissertation
- Status: Published
Description
A new arrangement of the Concerto for Two Horns in E-flat Major, Hob. VIId/6, attributed by some to Franz Joseph Haydn, is presented here. The arrangement reduces the orchestral portion to ten wind instruments, specifically a double wind quintet, to facilitate performance of the work. A full score and a complete set of parts are included. In support of this new arrangement, a discussion of the early treatment of horns in pairs and the subsequent development of the double horn concerto in the eighteenth century provides historical context for the Concerto for Two Horns in E-flat major. A summary of the controversy concerning the identity of the composer of this concerto is followed by a description of the content and structure of each of its three movements. Some comments on the procedures of the arrangement complete the background information.
ContributorsYeh, Guan-Lin (Author) / Ericson, John (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Pilafian, J. Samuel (Committee member) / Arizona State University (Publisher)
Created2011
Description
The United States is facing an emerging principal shortage. This study examines an intervention to deliver professional development for assistant principals on their way to becoming principals. The intervention intended to boost their sense of efficacy as if they were principals while creating a supportive community of professionals for ongoing professional learning. The community was designed much like a professional learning community (PLC) with the intent of developing into a community of practice (CoP). The participants were all elementary school assistant principals in a Title I district in a large metropolitan area. The researcher interviewed an expert set of school administrators consisting of superintendents and consultants (and others who have knowledge of what a good principal ought to be) about what characteristics and skills were left wanting in principal applicants. The data from these interviews provided the discussion topics for the intervention. The assistant principals met regularly over the course of a semester and discussed the topics provided by the expert set of school administrators. Participant interaction within the sessions followed conversation protocols. The researcher was also a participant in the group and served as the coordinator. Each session was recorded and transcribed. The researcher used a mixed methods approach to analyze the intervention. Participants were surveyed to measure their efficacy before and after the intervention. The session transcripts were analyzed using open and axial coding. Data showed no statistically significant change in the participants' sense of efficacy. Data also showed the participants became a coalescing community of practice.
ContributorsRichman, Bryan (Author) / Puckett, Kathleen (Thesis advisor) / Smith, Jeffery (Committee member) / Foulger, Teresa (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them separately in a music studio, then mixed them together into one recording. This document focuses on the critical investigation and description of the piece with a brief theoretical analysis, a discussion of performance difficulties, and guitar preparation. The composer approved the use and the scope of this project. Bryan Johanson is one of the leading contemporary composers for the guitar today. 13 Ways of Looking at 12 Strings is a unique guitar dictionary that takes us from Bach to Hendrix and highlights the unique capabilities of the instrument. It utilizes encoded messages, glass slides, metal mutes, explosive "riffs," rhythmic propulsion, improvisation, percussion, fugual writing, and much more. It has a great potential to make the classical guitar attractive to wider audiences, not limited only to guitarists and musicians. The main resources employed in researching this document are existing recordings of Johanson's other compositions and documentation of his personal views and ideas. This written document uses the composer's prolific and eclectic compositional output in order to draw conclusions and trace motifs. This project is a significant and original contribution in expanding the guitar's repertoire, and it uniquely contributes to bringing forth a significant piece of music.
ContributorsSavic, Nenad (Author) / Koonce, Frank (Thesis advisor) / Rotaru, Catalin (Committee member) / McLin, Katherine (Committee member) / Feisst, Sabine (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
Description
This dissertation explores the rhetorical significance of persecution claims produced by demonstrably powerful publics in contemporary American culture. This ideological criticism is driven by several related research questions. First, how do members of apparently powerful groups (men, whites, and Christians) come to see themselves as somehow unjustly marginalized, persecuted, or powerless? Second, how are these discourses related to the public sphere and counterpublicity? I argue that, despite startling similarities, these texts studied here are best understood not as counterpublicity but as a strategy of containment available to hegemonic publics. Because these rhetorics of persecution often seek to forestall movements toward pluralism and restorative justice, the analysis forwarded in this dissertation offers important contributions to ongoing theoretical discussions in the fields of public sphere theory and critical cultural theory and practical advice for progressive political activism and critical pedagogy.
ContributorsDuerringer, Christopher (Author) / Brouwer, Daniel (Thesis advisor) / Carlson, Cheree (Committee member) / McDonald, Kelly (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project was to commission, perform, and discuss a new work for an instrument pairing not often utilized, oboe and percussion. The composer, Alyssa Morris, was selected in June 2009. Her work, titled Forecast, was completed in October of 2009 and premiered in February of 2010, as part of a program showcasing music for oboe and percussion. Included in this document is a detailed biography of the composer, a description of the four movements of Forecast, performance notes for each movement, a diagram for stage set-up, the full score, the program from the premiere performance with biographies of all the performers involved, and both a live recording and MIDI sound file. The performance notes discuss issues that arose during preparation for the premiere and should help avoid potential pitfalls. TrevCo Music, publisher of the work, graciously allowed inclusion of the full score. This score is solely for use in this document; please visit the publisher's website for purchasing information. The commission and documentation of this composition are intended to add to the repertoire for oboe in an unusual instrument pairing and to encourage further exploration of such combinations.
ContributorsCreamer, Caryn (Author) / Schuring, Martin (Thesis advisor) / Hill, Gary (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Deviant bodies resisting online: examining the intersecting realities of women of color in Xbox Live
Description
Employing qualitative methods and drawing from an intersectional framework which focuses on the multiple identities we all embody, this dissertation focuses on oppressions and resistance strategies employed by women of color in Xbox live, an online gaming community. Ethnographic observations and narrative interviewing reveal that women of color, as deviants within the space, face intersecting oppressions in gaming as in life outside the gaming world. They are linguistically profiled within the space based off of how they sound. They have responded with various strategies to combat the discrimination they experience. Some segregate themselves from the larger gaming population and many refuse to purchase games that depict women in a hyper-sexualized manner or that present people of color stereotypically. For others, the solution is to "sit-in" on games and disrupt game flow by 'player-killing' or engage in other 'griefing' activities. I analyze this behavior in the context of Black feminist consciousness and resistance and uncover that these methods are similar to women who employ resistance strategies for survival within the real world.
ContributorsGray, Kishonna (Author) / Anderson, Lisa M. (Thesis advisor) / Cheong, Pauline (Committee member) / Lim, Merlyna (Committee member) / Arizona State University (Publisher)
Created2011
Description
The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included.
ContributorsMinov, Jana (Author) / Russell, Timothy (Thesis advisor) / Levy, Benjamin (Committee member) / Schildkret, David (Committee member) / Rogers, Rodney (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2011
Description
Dr. Jerold D. Ottley's twenty-five years leading the Mormon Tabernacle Choir resulted in many distinguished awards and recognitions for the ensemble. Included among these are two Platinum and three Gold records from the Recording Industry Association of America, an Emmy from the Academy of Television Arts and Sciences, and two Freedom Foundation Awards for service to the country. He conducted the Choir at two presidential inaugurations, Ronald Reagan's in 1981 and George H. W. Bush's in 1989, as well as performances at the 1984 Los Angeles Olympics Gala. He presided over eleven international tours to twenty-six countries and crisscrossed the United States for engagements in nearly every region of the country. Despite the awards, commendations, and increased recognition of the Choir, Ottley's greatest contributions were largely internal to the organization. Jerold Ottley is a skilled music educator, administrator, and emissary. Application of these proficiencies while at the helm of the Choir, led to what are, arguably, his three largest contributions: 1) as educator, he instituted in-service training for choir members, raising the level of their individual musicianship, thereby improving the technical level of the entire Choir; 2) as administrator, Ottley created policies and procedures that resulted in a more disciplined, refined ensemble; and 3) as emissary, he raised the ensemble's reputation among the general public and with music professionals. For the general public, he significantly broadened the Choir's repertoire and traveled frequently thereby reaching a wider audience. He secured greater respect among music professionals by inviting many of them to work directly with the Choir. The results were unparalleled. Ottley's twenty-five year tenure with the Choir is reflected in broader audiences, increased professional acceptance, added organizational discipline, and unprecedented musical proficiency. It is a notable legacy for a man who reportedly never felt comfortable as director of the Mormon Tabernacle Choir.
ContributorsArchibald, Lyle Jay (Author) / Gentry, Gregory (Thesis advisor) / Britton, David (Committee member) / DeMars, James (Committee member) / Doan, Jerry (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2011
Description
A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's Structures Ia . The purpose of this survey is to examine several systematic approaches to composition by prominent composers and their philosophy in adopting this type of approach. The next section of the paper introduces my own systematic approach to composition: the Take-Away System. The third provides several musical applications of the system, citing my work, Octulus for two pianos, as an example. The appendix details theorems and observations within the system for further study.
ContributorsHarbin, Doug (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
Description
Dangerous drinking on college campuses is a significant public health issue. Over the last decade, the National Institute on Alcohol Abuse and Alcoholism and the U.S. Department of Health and Human Services have called on universities, community leaders, policymakers, parents and students to work together to develop effective, research based alcohol prevention and/or intervention programs. Despite such calls, parent-based prevention programs are relatively rare on college campuses, and there is a paucity of research on the ways in which parents influence their emerging adult children's drinking behaviors. The present project is designed to help address this need. Grounded in social cognitive theory, this exploratory study focuses on alcohol communication and poses numerous questions regarding the alcohol messages exchanged between college students and their parents, as well as how such messages associate with college students' dangerous drinking. Undergraduate students ages 18 to 25 who were enrolled in communication classes were recruited for the study and asked to recruit a parent. The sample included 198 students and 188 parents, all of whom completed an online survey. Results indicated the majority of college students have had alcohol conversations with a parent since the student graduated from high school. Parents viewed such conversations as significantly more open, direct, and ongoing than did students; though both generally agreed on the content of their alcohol communication, reporting an emphasis on the negative aspects of drinking, particularly the dangers of drinking and driving and the academic consequences of too much partying. Frequent discussions of drinking risks had significant, positive associations with students' dangerous drinking, whereas parents' reports of discussing rules about alcohol had a significant negative association with students' alcohol consumption. There were strong significant associations between the types alcohol topics discussed and students' perception that their parents approved of their drinking, as well as parents' actual approval. Perceived approval had a significant, positive association with students' dangerous drinking; however, actual parental approval was not a significant predictor of students' drinking outcomes. Parents' alcohol consumption had a significant positive association with students' alcohol consumption. Implications for parents, public health practitioners, and future research are discussed.
ContributorsMenegatos, Lisa Marie (Author) / Floyd, Kory (Thesis advisor) / Lederman, Linda C. (Thesis advisor) / Valiente, Carlos (Committee member) / Arizona State University (Publisher)
Created2011