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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

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
Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of

Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end.
ContributorsBell, Jeremy, 1986- (Composer) / Rogers, Rodney (Thesis advisor) / Oldani, Robert (Committee member) / Levy, Benjamin (Committee member) / Arizona State University (Publisher)
Created2011
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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

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
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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

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
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Description

Before the COVID-19 pandemic, there was a great need for United States’ restaurants to “go green” due to consumers’ habits of frequently eating out. Unfortunately, COVID-19 has caused this initiative to lose traction. While the amount of customers ordering takeout has increased, there is less emphasis on sustainability.<br/>Plastic is known

Before the COVID-19 pandemic, there was a great need for United States’ restaurants to “go green” due to consumers’ habits of frequently eating out. Unfortunately, COVID-19 has caused this initiative to lose traction. While the amount of customers ordering takeout has increased, there is less emphasis on sustainability.<br/>Plastic is known for its harmful effects on the environment and the extreme length of time it takes to decompose. According to the International Union for Conservation of Nature (IUCN), almost 8 million tons of plastic end up in the oceans at an annual rate, threatening not only the safety of marine species but also human health. Modern food packaging materials have included a blend of synthetic ingredients, trickling into our daily lives and polluting the air, water, and land. Single-use plastic items slowly degrade into microplastics and can take up to hundreds of years to biodegrade.<br/>Due to COVID-19, restaurants have switched to takeout and delivery options to adapt to the new business environment and guidelines enforced by the Center of Disease Control (CDC) mandated guidelines. Some of these guidelines include: notices encouraging social distancing and mask-wearing, mandated masks for employees, and easy access to sanitary supplies. This cultural shift is motivating restaurants to search for a quick, cheap, and easy fix to adapt to the increased demand of take-out and delivery methods. This increases their plastic consumption of items such as plastic bags/paper bags, styrofoam containers, and beverage cups. Plastic is the most popular takeout material because of its price and durability as well as allowing for limited contamination and easy disposability.<br/>Almost all food products come in packaging and this, more often than not, is single-use. Food is the largest market out of all the packaging industry, maintaining roughly two-thirds of material going to food. The US Environmental Protection Agency reports that almost half of all municipal solid waste is made up of food and food packaging materials. In 2014, over 162 million tons of packaging material waste was generated in the states. This typically contains toxic inks and dyes that leach into groundwater and soil. When degrading, pieces of plastic absorb toxins like PCBs and pesticides, and then each piece will, in turn, release toxic chemicals like Bisphenol-A. Even before being thrown away, it causes negative effects for the environment. The creation of packaging materials uses many resources such as petroleum and chemicals and then releases toxic byproducts. Such byproducts include sludge containing contaminants, greenhouse gases, and heavy metal and particulate matter emissions. Unlike many other industries, plastic manufacturing has actually increased production. Demand has increased and especially in the food industry to keep things sanitary. This increase in production is reflective of the increase in waste. <br/>Although restaurants have implemented their own sustainable initiatives to combat their carbon footprint, the pandemic has unfortunately forced restaurants to digress. For example, Just Salad, a fast-food restaurant chain, incentivized customers with discounted meals to use reusable bowls which saved over 75,000 pounds of plastic per year. However, when the pandemic hit, the company halted the program to pivot towards takeout and delivery. This effect is apparent on an international scale. Singapore was in lock-down for eight weeks and during that time, 1,470 tons of takeout and food delivery plastic waste was thrown out. In addition, the Hong Kong environmental group Greeners Action surveyed 2,000 people in April and the results showed that people are ordering out twice as much as last year, doubling the use of plastic.<br/>However, is this surge of plastic usage necessary in the food industry or are there methods that can be used to reduce the amount of waste production? The COVID-19 pandemic caused a fracture in the food system’s supply chain, involving food, factory, and farm. This thesis will strive to tackle such topics by analyzing the supply chains of the food industry and identify areas for sustainable opportunities. These recommendations will help to identify areas for green improvement.

ContributorsDeng, Aretha (Co-author) / Tao, Adlar (Co-author) / Vargas, Cassandra (Co-author) / Printezis, Antonios (Thesis director) / Konopka, John (Committee member) / Department of Supply Chain Management (Contributor) / School of International Letters and Cultures (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description

The aim of this project was to create an original sound design and score for the ASU SOMDT production of HEDDATRON, by Elizabeth Meriwether. Composition and sound design was done primarily with a modular synthesizer. All audio editing was done in Reaper, and the cues were programmed in Qlab.

ContributorsJansen, Troy Sherk (Author) / Max, Bernstein (Thesis director) / Lance, Gharavi (Committee member) / School of Music, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

In the United States, clinical testing is monitored by the federal and state governments, held to standards to ensure the safety and efficacy of these tests, as well as maintaining privacy for patients receiving a test. In order for the ABCTL to lawfully operate in the state of Arizona, it

In the United States, clinical testing is monitored by the federal and state governments, held to standards to ensure the safety and efficacy of these tests, as well as maintaining privacy for patients receiving a test. In order for the ABCTL to lawfully operate in the state of Arizona, it had to meet various legal criteria. These major legal considerations, in no particular order, are: Clinical Laboratory Improvement Amendments compliance; FDA Emergency Use Authorization (EUA); Health Insurance Portability and Accountability Act compliance; state licensure; patient, state, and federal result reporting; and liability. <br/>In this paper, the EUA pathway will be examined and contextualized in relation to the ABCTL. This will include an examination of the FDA regulations and policies that affect the laboratory during its operations, as well as a look at the different authorization pathways for diagnostic tests present during the COVID-19 pandemic.

ContributorsJenkins, Landon James (Co-author) / Espinoza, Hale Anna (Co-author) / Filipek, Marina (Co-author) / Ross, Nathaniel (Co-author) / Salvatierra, Madeline (Co-author) / Compton, Carolyn (Thesis director) / Rigoni, Adam (Committee member) / Stanford, Michael (Committee member) / School of Life Sciences (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Analyzing Incident Rates of COVID-19 Before and After Stay-At-Home Orders Throughout the Southwestern U.S. with Respect to Limited Mobility Models

ContributorsTilleman, Karl Benson (Author) / Albuquerque, Fabio Suzart de (Thesis director) / Powers, Brian (Committee member) / College of Integrative Sciences and Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Sex, Love, & Dating During the COVID-19 Pandemic is a creative thesis project that addresses two main issues: 1) the overall lack of resources and information available to the public about how to proceed with respect to sex, love, and dating during a global pandemic; and 2) my inability as

Sex, Love, & Dating During the COVID-19 Pandemic is a creative thesis project that addresses two main issues: 1) the overall lack of resources and information available to the public about how to proceed with respect to sex, love, and dating during a global pandemic; and 2) my inability as director of Devils in the Bedroom (an on-campus sexual health club at ASU) to get condoms and other sexual health materials into the hands of students while in quarantine. A resource was developed, an informational pamphlet on the three main topics (sex, love, and dating), as well as a program to distribute the materials by mail, the sexual health care packages.

ContributorsAnaya, Kiana Martina (Author) / SturtzSreetharan, Cindi (Thesis director) / Le, Tuong-Vi (Committee member) / School of Social Transformation (Contributor) / School of Human Evolution & Social Change (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

The ASU Biodesign Clinical Testing Laboratory began in March 2020 after the severe acute respiratory syndrome, coronavirus 2, began spreading throughout the world. ASU worked towards implementing  its own efficient way of testing for the virus, in order to assist the university but also keep the communities around it safe.

The ASU Biodesign Clinical Testing Laboratory began in March 2020 after the severe acute respiratory syndrome, coronavirus 2, began spreading throughout the world. ASU worked towards implementing  its own efficient way of testing for the virus, in order to assist the university but also keep the communities around it safe. By developing its own strategy for COVID-19 testing, ASU was on the forefront of research by developing new ways to test for the virus. This process began when research labs at ASU were quickly converted into clinical testing laboratories, which used saliva testing to develop swift COVID-19 diagnostic tests for the Arizona community. The lab developed more accurate and time efficient results, while also converting Nasopharyngeal tests to saliva tests. Not only did this allow for fewer amounts of resources required, but more individuals were able to get tested at faster rates. The ASU Biodesign Clinical Testing Laboratory (ABCTL) was able to accomplish this through the adaptation of previous machines and personnel to fit the testing needs of the community. In the future, the ABCTL will continue to adapt to the ever-changing needs of the community in regards to the unprecedented COVID-19 pandemic. The research collected throughout the past year following the breakout of the COVID-19 pandemic is a reflection of the impressive strategy ASU has created to keep its communities safe, while continuously working towards improving not only the testing sites and functions, but also the ways in which an institution approaches and manages an unfortunate impact on diverse communities.

ContributorsMajhail, Kajol (Co-author) / Smetanick, Jennifer (Co-author) / Anderson, Laura (Co-author) / Ruan, Ellen (Co-author) / Shears, Scott (Co-author) / Compton, Carolyn (Thesis director) / Magee, Mitch (Committee member) / School of Life Sciences (Contributor) / School of Human Evolution & Social Change (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05