Matching Items (678)
Filtering by
- All Subjects: Songs (High voice) with piano
ContributorsWasbotten, Leia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-30
Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsYi, Joyce (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-22
Description
This study examined instructional and attitudinal changes influencing faculty members in a proprietary college after the parent company divorced itself from day-to-day leadership decisions during a "teach-out." A teach-out is the process of school closure, when the college stops enrolling new students, but teaches out currently enrolled students. It explores the strongest influences on faculty members during the teach-out process; how faculty members negotiate their work and how the changes appeared to impact students. Study findings revealed that the strongest influences were fellow faculty members. Several rose as leaders and essentially became educator activists starting a movement focused on what they believed to be an essential component of education and what had been missing previously, namely, creativity. They were supported in this endeavor by local leadership who served as "uplinks" and silently gave power to the movement. Students and the organization became beneficiaries of the renewed engagement of their instructors, which led to increased retention and placement rates. This study sought to understand the marked shift in the organizational culture and climate that governed faculty work life through the framework of organizational discourse as well as from a social justice context of freedom from oppression. Through the use of phenomenology and qualitative methods, including autoethnography, this study found that the structure of the teach-out effectively created a space for transformational leaders to emerge and become educator activists. This initial study provides a promising model for faculty engagement that appears to have positive outcomes for individual faculty members, students and the organization.
ContributorsGordon, Danielle (Author) / Swadener, Beth B (Thesis advisor) / Gee, James P (Committee member) / Sandlin, Jennifer (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsCummiskey, Hannah (Performer) / Kim, Olga (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-23
ContributorsEvans, Emily (Performer) / Sherrill, Amanda (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
Description
“OUT.” is a song cycle for bass and piano that follows the coming out process of a young homosexual who has been raised in a politically and religiously conservative corner of American culture. This character was taught from a very young age that anything or anyone of a queer nature was inherently wrong and should be avoided and scorned. The story arc captured in this seven-movement work is only a small portion of what the character ultimately goes through as they mature. This portion of their narrative has been isolated with the hope of embodying a queer character of strength, and this piece begins with the character knowing, understanding, and having already come to terms with their own sexuality. The story outlined in this song cycle is one of hardship that ultimately leads to triumph, as a demonstration that overcoming queer suppression is an achievable goal.
ContributorsGreenhalgh, Jedd (Author) / Suzuki, Kotoka (Thesis advisor) / Rockmaker, Jody (Committee member) / Roumain, Daniel B (Committee member) / Arizona State University (Publisher)
Created2019
Description
Despite the societal importance of activism, the understanding of activist intentions remained limited (Liebert, Leve, & Hu, 2011; Klar & Kasser, 2009). The current study used the Theory of Planned Behavior (TPB) to examine two structural models of low-risk activist intentions and high-risk activist intentions (Ajzen, 1991). The traditional TPB model was tested against a hybrid commitment model that also assessed past activist behaviors and activist identity. Participants (N = 383) were recruited through social media, professional list-serves, and word of mouth. Results indicated a good model fit for both the traditional TPB model (CFI = .98; RMSEA = .05; SRMR = .03; χ2(120) = 3760.62, p < .01) and the commitment model (CFI = .97; RMSEA = .05; SRMR = .04; χ2(325) = 7848.07, p < .01). The commitment model accounted for notably more variance in both low-risk activist intentions (78.9% in comparison to 26.5% for the traditional TPB model) and high-risk activist intentions (58.9% in comparison to 11.2% for the traditional TPB model). Despite this, the traditional TPB model was deemed the better model as the higher variance explained in the commitment model was almost entirely due to the inclusion of past low-risk activist behaviors and past high-risk activist behaviors. A post-hoc analysis that incorporated sexual orientation and religious affiliation as covariates into the traditional model also led to a good-fitting model (CFI = .98; RMSEA = .04; SRMR = .04; χ2(127) = 217.18, p < .01) and accounted for increased variance in low-risk activist intentions (29.7%) and high-risk activist intentions (18.7%) compared to the traditional model. The merits of each of the structural models and the practical implications for practice and research were discussed
ContributorsJew, Gilbert (Author) / Tran, Alisia (Thesis advisor) / Tracey, Terence (Committee member) / Capielo Rosario, Cristalís (Committee member) / Arizona State University (Publisher)
Created2019