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Arnold Schoenberg's 1908-09 song cycle, Das Buch der hängenden Gärten [The Book of the Hanging Gardens], opus 15, represents one of his most decisive early steps into the realm of musical modernism. In the midst of personal and artistic crises, Schoenberg set texts by Stefan George in a style he called "pantonality," and described his composition as radically new. Though stylistically progressive, however, Schoenberg's musical achievement had certain ideologically conservative roots: the composer numbered among turn-of-the-century Viennese artists and thinkers whose opposition to the conventional and the popular--in favor of artistic autonomy and creativity--concealed a reactionary misogyny. A critical reading of Hanging Gardens through the lens of gender reveals that Schoenberg, like many of his contemporaries, incorporated strong frauenfeindlich [anti-women] elements into his work, through his modernist account of artistic creativity, his choice of texts, and his musical settings. Although elements of Hanging Gardens' atonal music suggest that Schoenberg valued gendered-feminine principles in his compositional style, a closer analysis of the work's musical language shows an intact masculinist hegemony. Through his deployment of uncanny tonal reminiscences, underlying tonal gestures, and closed forms in Hanging Gardens, Schoenberg ensures that the feminine-associated "excesses" of atonality remain under masculine control. This study draws upon the critical musicology of Susan McClary while arguing that Schoenberg's music is socially contingent, affected by the gender biases of his social and literary milieux. It addresses likely influences on Schoenberg's worldview including the philosophy of Otto Weininger, Freudian psychoanalysis, and a complex web of personal relationships. Finally, this analysis highlights the relevance of Schoenberg's world and its constructions of gender to modern performance practice, and argues that performers must consider interrelated historical, textual, and musical factors when interpreting Hanging Gardens in new contexts.
ContributorsGinger, Kerry Anne (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mook, Richard (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver and Greil Marcus unearthed and promoted her music and called for further research on this enigmatic figure. In other publications, Wiley is frequently given only passing mention in long lists of talented female blues singer-guitarists, or briefly discussed in descriptions of songsters. Her music is lauded in the liner notes of the myriad compilation albums that have re-released her recordings. However, prior to this study, Marcus's three-page profile is the longest work written about Wiley; other contributions range between one sentence and two paragraphs in length. None really answers the question: who was Geechie Wiley? This thesis begins by documenting my attempt to piece together all information presently available on Geechie Wiley. A biographical chapter, supplemented with a discussion of the blues songster, follows. I then discuss my methodology and philosophy for transcription. This is followed by a critical and comparative analysis of the recordings, using the transcriptions as supplements. Finally, my fifth chapter presents conclusions about Wiley's life, career, and disappearance. My transcriptions of Wiley's six songs are found in the first appendix. Reproductions of Paramount Records advertisements are located in the final appendix. In these ways, this thesis argues that Wiley's work traces the transformation of African-American music from the general secular music of the songsters to the iconic blues genre.
ContributorsCordeiro, AnneMarie Youell (Author) / Norton, Kay (Thesis advisor) / Mook, Richard (Committee member) / Sunkett, Mark (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project was to: (1) describe a brief history of Salvation Army works for euphonium and piano that are relevant to the larger euphonium repertoire, and (2) produce a professional-quality compact disc recording of these works for study and reference. Part I of this project is an annotated bibliography discussing selected works for euphonium and piano written exclusively by Salvation Army composers. Each bibliographic entry is accompanied by a brief annotation, including information on each composer, hymn tunes used in each work, and difficulties encountered in performance. Part II of this project consists of a professional-level recording of these works. The recording and bibliography is intended to serve as a reference guide for students and teachers of Salvation Army euphonium literature, and is also intended to serve as a pedagogical tool utilized in the development of high school and university-level euphonium students. Five solos and one duet with piano accompaniment were selected for this project, works that represent a wide variety of Salvation Army compositional styles. The works also cover a wide range of technical and musical challenges, and are appropriate for study by both undergraduate and graduate students of music. All of the works are currently in publication as of this writing. The following works are included in this project: "The Song of the Brother" by Erik Leidzén, "Ransomed" by George Marshall, "Ochills" by Ernest Rance, "The Better World" by Norman Bearcroft, "Symphonic Rhapsody for Euphonium" by Edward Gregson, and "Timepiece" by Norman Bearcroft.
ContributorsDraper, Andrew (Author) / Pilafian, Samuel (Thesis advisor) / Hickman, David (Committee member) / Mook, Richard (Committee member) / Humphreys, Jere (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2012
Description
For my creative project, I began an art press that produces small-run vinyl records and artist's books. Initially, the venture began as a means to circumvent record pressing facilities as a vinyl record-cutting service. By the end of this project, the focus shifted to encompass more visual art products than just vinyl records. The project began with vinyl records because I saw a need in the market; in the past decade, the industry has grown dramatically, but the dozen record pressing plants in the country cannot keep up with the demand. Because record pressing companies prioritize large orders, it is difficult for many small bands and independent record labels to produce work on this medium. This is due to the long lead times, high prices, and large minimum order sizes. I located a man in Germany, who invented a machine that makes high-quality, lathe-cut records. I named the project Blushing Soup, as homage to my father, who passed during my first semester of college. It is through his passing that I was able to secure funds to pursue this venture. I brought on a partner, who was more familiar with art and audio recording than myself. In the summer of 2015, we met with this inventor to learn how to use his machine. By October of 2015, a machine of our own had arrived. In early November, Blushing Soup won a grant from the Scottsdale Museum of Contemporary Art. During this time, we released two vinyl records for local bands. For a culminating project, I coordinated a Record Store Day compilation album consisting of six bands featuring. After securing all of the music, the machine started having problems, which forced me to cancel this release. Recognizing the delicacy of the machine, prompted a shift in the aim of Blushing Soup. During this process, I started learning printmaking processes, and I realized that Blushing Soup could function as more than a record cutting service; we could be an art press. In the last few month of this project, I started making artist's books. By the end of April 2016, Blushing Soup will have released vinyl records for two bands, as well as produced four handmade books. This creative project centered around the process of creating art through lathe cutting and printmaking; the objective was not to maximize profits but rather refocus the consumption of art (in a sustainable practice).
ContributorsStringer, Shelby Manning (Author) / Essig, Linda (Thesis director) / Peck, Sidnee (Committee member) / School of Art (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This project explores the promise and peril of networked self-portraits, focusing on comparisons between artists Andy Warhol and Cindy Sherman, celebrity and reality star Kim Kardashian, Democratic presidential candidate and former first lady Hillary Clinton, and artists Rafia Santana and Alexandra Marzella. I defined selfies as networked self-portraits using a front-facing camera. My introduction is more or less a literature review of photographic theory and art history texts, but all the significant themes brought up in that are relevant to the rest of my arguments. The arguments draw from feminist visual theory including Laura Mulvey, art history texts, as well as critical race theorists like Franz Fanon. While I chose four artists in my examination, I used them as a jumping off point to talk about how identity can be networked and what it means for small slices of life to be photographed and spread via social media. I decided to include feminist visual theory to inform my exploration of female bodies, especially how mediation sets up normative behaviors and representations. I used race theory to talk about visibility of people of color, especially in contrast to the white artists I talked about in my thesis. By way of Kardashian and Clinton, I explored the idea of celebrity and visual culture, as well as motherhood and what femininity could look like in the 21st century. I tend not to make any sweeping conclusions about the best way to network femininity using selfies, but rather explore the different challenges that women face when they place historically-policed bodies into what could be a digital utopia online.
ContributorsNorthfelt, Peter (Author) / Dove-Viebahn, Aviva (Thesis director) / Thornton, Leslie (Committee member) / Department of English (Contributor) / School of Public Affairs (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The Walt Disney Company has been a worldwide phenomenon for over half a century. Disney's animated films in particular impact a large number of individuals around the world. The fact that they rerelease popular films every few years lends to the lasting influence these movies will hold in the lives of children to come. It is important to examine the messages Disney animated films can teach children in regards to women's roles, United States history, and racial difference. This essay examines these topics as they appear in Disney's Snow White and the Seven Dwarves, The Little Mermaid, Pocahontas, and The Lion King. Lastly, it examines the potential impact these films can leave on children and suggests ways in which adults can help children analyze what they see in the media.
ContributorsMonnig, Elizabeth Ann (Author) / Baker, Aaron (Thesis director) / Sandlin, Jennifer (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-12
Description
This thesis examines contemporary cinematic adaptations of the Ovidian Pygmalion story. The films Blade Runner (1981), Lars and the Real Girl (2007), Ruby Sparks (2012), and Her (2013) are analyzed. This thesis seeks to understand why this particular myth is so resonant in today's popular culture and what this relevance reveals about modern society. The roles of female subjugation, sexualization, and relationship with technology will be major areas of concern. Research includes film criticism, Ovidian scholarship, and new advances in computer technology.
ContributorsStory, Sara Katherine (Author) / Corse, Taylor (Thesis director) / Ellis, Lawrence (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor)
Created2015-05
Description
The Undoing Project is an ongoing educational feminist YouTube channel that serves as an introduction to feminism and feminist theory. The objective for this project is to present feminist theory and feminist ideology in an accessible and entertaining way. Through this project I sought to accomplish three goals: to challenge the negative image of feminism, bridge the gap between the language of academia and the public, and to acknowledge and unlearn ingrained prejudices. The videos focus on theory, history, legislation, current events, and pop culture. The initial project consists of ten videos addressing the feminist wave models, a brief history of the feminist movement, and discussions of concepts like hegemony, intersectionality, masculinity, femininity, and race.
ContributorsBuchholtz, Kaylee Marie (Author) / Brian, Jennifer (Thesis director) / Grzanka, Patrick (Committee member) / Brouwer, Dan (Committee member) / Barrett, The Honors College (Contributor) / College of Public Service and Community Solutions (Contributor) / School of Social Transformation (Contributor) / Department of English (Contributor)
Created2015-05
Description
Theory Jam is a series of online, education videos that teach music theory in a fun, engaging way. Our project is a response to the growing need for successful online education content. It incorporates strategies for creating effective educational video content and engages with contemporary debates in the field of music theory surrounding the purpose of a music theory education.
ContributorsCannatelli, Joshua Bryce (Co-author) / Daval, Charles Joseph (Co-author) / Miller, April (Thesis director) / Scott, Jason (Committee member) / Tobias, Evan (Committee member) / Department of English (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
When communist leader Ceaușescu was overthrown in the Romanian revolution of 1989, Romania reinstated reproductive freedoms that had been denied under communist policy. This study looks at reproductive health in Romania in 2013, examining the progress in reproductive healthcare made since 1989 while looking at lingering barriers to resources and education. Thirty-five pharmacists were surveyed to collect information on pricing and accessibility of contraceptives in pharmacies. In addition, interviews were conducted with the director of Societatea de Educatie Contraceptiva si Sexuala (SECS), a reproductive clinic healthcare provider, a professor of philosophy and feminism at Babeș-Bolyai University, and four young Romanian women.
ContributorsZack, Lauren (Author) / Katsulis, Yasmina (Thesis director) / Orlich, Ileana (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor) / Department of Psychology (Contributor) / Department of English (Contributor) / College of Public Programs (Contributor) / Sandra Day O'Connor College of Law (Contributor)
Created2014-05