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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
Description
At the heart of this dissertation is a push for critical genealogy that intervenes into two major theoretical bodies of work in rhetoric and composition -- affect studies and queer latina rhetorics. Chapter one intervenes into emerging discourses on publics and affect studies from seamlessly recovering "the body" as an always-already Western body of rhetoric in the advent of this renewed interest in emotion, embodiment, and structures of affect as rhetorical concepts showing the long history of theorizing by queer mestizas. Chapter two focuses on one register of affect: anger, which articulated from the works of writers such as Maria Lugones and Gloria Anzaldúa offers a complex theory of agency for the subaltern subject. Chapter three links emotions like anger and melancholia to the corporeal rhetorics of skin and face, metaphors that are abundant in the queer mestiza and chicana writers under discussion, revealing the dramatic inner-workings of a the queer mestiza subject and the inter-subjective dynamics between the racialized and gendered performance of that body. By re-rooting affect in the queer colonized, yet resistant body, the link between the writing subject and colonial violence is made clear. Chapter four looks at the autoethnographic process of creating an affective archive in the form of queer racial melancholia, while Chapter five concludes by taking writing programs to task for their view of the writing archive, offering a radical new historiography by means of a queer chicana methodology.
ContributorsMartínez, Natalie A (Author) / Miller, Keith (Thesis advisor) / Roen, Duane (Committee member) / Baca, Damián (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
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
ABSTRACT For many years, difference scholars, such as Cornel West, Iris Marion Young, and Janet Atwill have been reminding humanities scholars that if social equity is ever to be realized, difference needs to be reconfigured and reframed. As Janet Atwill puts it, "difference can no longer be the anomaly, the enemy, or the problem to be solved. Difference is the condition" (212). While these scholars insightfully recognize that difference needs to be accepted, welcomed and loved rather than merely tolerated, they have not sufficiently addressed the perceptual change that must occur worldwide if difference as an intrinsic underlying condition of human existence is to be embraced. This project provides a point of departure for carrying out such a dramatic epistemic change by arguing that hierarchical thinking, not difference, is the real agent underwriting societal violence and discord. Hierarchical thinking delineates a more appropriate critical space than does difference for social justice inquiry, invention, and intervention. This project also rhetorically theorizes the realm of intersubjectivity and provides two novel contributions to contemporary rhetorical theory: 1) privilege as a rhetorical construct and 2) the untapped inventional potential of the postmodern understanding of intersubjectivity. To illustrate the embodied and performative aspects of hierarchical thinking, this work draws upon the writings of Lillian Smith, a white southerner (1897-1966) whose descriptive analyses of the Jim Crow South allude to large systems of privilege of which Jim Crow is merely representational. Illustrating the invidious nexus of privilege, Smith's writings describe the ways in which individuals embody and perform practices of exclusion and hate to perpetuate larger systems of privilege. Smith shows how privilege operates much as gender and power--fluidly and variously and dependent upon context. Viewing privilege as a rhetorical construct, operating dynamically, always in flux and at play, provides rhetoricians with a theoretically important move that un-yokes privilege from specific identities (e.g., white privilege). When viewed through this more dynamic and precise lens, we can readily perceive how privilege functions as a colonizing, ubiquitously learned, and variegated rhetorical practice of subordination and domination that, as a frame of analysis, offers a more fluid and accurate perspective than identity categories provide for discussions of oppression, social justice, and democratic engagement.
ContributorsHoliday, Judy (Author) / Goggin, Maureen D (Thesis advisor) / Long, Elenore (Committee member) / Miller, Keith (Committee member) / Arizona State University (Publisher)
Created2012
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26
ContributorsLee, Eunhwa (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-17