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- 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 dissertation addresses the issue of sexuality in the Church of Jesus Christ of Latter-day Saints (LDS), also known as the Mormon Church, on both the institutional and individual levels. It traces the ways that the LDS Church's early persecution over polygamy, and the enduring effects of this history - both within and outside the Church - have helped to shape contemporary Mormon policies and public actions related to sexuality and marriage. Despite its relative success in achieving assimilation with the larger American society, the LDS Church continues to be associated with the practice of polygamy, creating a need for the Church to prove its adherence to traditional marriage and sexual norms. This work analyzes Mormon involvement in recent political campaigns against same-sex marriage, especially the campaign to pass Proposition 8 in California. This political participation has provided LDS leaders with significant opportunities to reshape their Church's public image, to improve relationships between Mormons and other conservative Christian communities, and to position the Church in a particular way in the American religious landscape. The dissertation also examines official LDS policies related to homosexuality and homosexual persons, and individual accounts of gay and lesbian Mormons and former Mormons (and those that do not identify as gay but experience same-sex attraction), found in personal blogs, Youtube videos, and published volumes. Elements of Mormon theology related to marriage, gender, premortality, and revelation, combined with aspects of LDS Church history, structure, and culture, make the experiences of these individuals unique among those of gays and lesbian in conservative Christian communities.
ContributorsWertman, Ann (Author) / Fessenden, Tracy (Thesis advisor) / Wenger, Tisa (Committee member) / Bush, Laura (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
In my Honors Thesis, I endeavor to complicate and to respond to conventional debates over historical periodization and the problem of what it means to be "modern." I understand the modern as a conceptual product of discourses surrounding religion, science, and industry. Specifically, the modern era has been defined as one in which the forms of rationalization associated with quantitative and experimental scientific methods and large-scale, technologically sophisticated industrial production have surpassed the "irrational" superstitions associated with religion. Critical responses to this definition have largely had the goal of supplanting it with another way of conceiving of the historical discontinuity between the "modern" and the "non-modern." In three essays, I aim to complicate the terms (religion, science, and industry) in which these debates have been conducted and to relate them to one another both historically and conceptually. As opposed to the goal of re-defining the modern, my goal in these essays is to complicate the existing definitions and to reveal and challenge the ideological motives of historical periodization. I illuminate the connections of the modern conception of "religion" to a colonial system of power, between scientific development and changes in economic and religious thinking, and between contemporary technological and industrial projects to an "enchanted" view of the world. In tracing these connections, I am indebted to conventional discourses of modernization, Max Weber's theory of "disenchantment," and recent scholarship on the use of materialist methods in the study of history. In these essays, I move beyond the critical project of "re-imagining" the modern, and illuminate some of the ideological commitments of that project that I consider untenable. In addition to a more sophisticated historical understanding of the meaning of religion, science, and industry, what I aim to achieve in my thesis is a better framing of some of the largest problems faced by contemporary humanity, including the looming risks of ecological, economic, and geopolitical collapse. In this framing, I situate these risks in the context of their connection to strategies of historical periodization, and argue that managing them will require a radically new view of religion, science, industry, and the roles that they play in producing historical discontinuity.
ContributorsNeibergall, William (Author) / Bennett, Gaymon (Thesis director) / Suk, Mina (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The following paper is a translation of National Zhengzhi University Professor Li Fengmao’s original Chinese article. This translation was completed with the express approval of Professor Li, and under the direction of Professor Stephen R. Bokenkamp.
Quanzhen Daoism (“The Way of Complete Perfection”) is a sect of Daoism founded by master Wang Chongyang (王重陽 1113-1170) in the twelfth century AD. The tradition is, in essence, the systemization and formalization of traditional Daoist practices through the implementation of Confucian and Buddhist infrastructure. Synthesizing Confucian practices of study and copying of classics, proper human relationships, and master-student succession, and Buddhist chujia (出家 “to leave the household”) and large public monastic systems, Quanzhen Daoism established systematic mechanisms which facilitated the zealous advancement of practitioners.
The Quanzhen sect formalized the Daoist tradition of “famous mountains and enlightened teachers” and integrated the respective practices of residing in a monastery and participating in fangdao (訪道) as required components of personal cultivation, constituting “monastery residence” and “travel” experiences. These two components complemented each other and eventually came to form the integral experiences of Quanzhen cultivation. The establishment of a uniform “household system,” inter-monastery exchange system, “Pure Rules,” “Collection of Orthodox Chants,” “percept transmission system,” and “name assignment system” streamlined the acclimation process for both entering the household of religion and participating in required ceremonies during travel.
Ultimately, the systemized infrastructure established by Quanzhen Daoism allowed for the formation of a complete ordered society outside of the secular world. This Quanzhen world, in turn, provided the framework for large-scale, practical implementation of Daoist techniques, the most ideologically significant of which are participation in arduous travel and actualization of “an irregular accordance with the Dao.”
Quanzhen Daoism (“The Way of Complete Perfection”) is a sect of Daoism founded by master Wang Chongyang (王重陽 1113-1170) in the twelfth century AD. The tradition is, in essence, the systemization and formalization of traditional Daoist practices through the implementation of Confucian and Buddhist infrastructure. Synthesizing Confucian practices of study and copying of classics, proper human relationships, and master-student succession, and Buddhist chujia (出家 “to leave the household”) and large public monastic systems, Quanzhen Daoism established systematic mechanisms which facilitated the zealous advancement of practitioners.
The Quanzhen sect formalized the Daoist tradition of “famous mountains and enlightened teachers” and integrated the respective practices of residing in a monastery and participating in fangdao (訪道) as required components of personal cultivation, constituting “monastery residence” and “travel” experiences. These two components complemented each other and eventually came to form the integral experiences of Quanzhen cultivation. The establishment of a uniform “household system,” inter-monastery exchange system, “Pure Rules,” “Collection of Orthodox Chants,” “percept transmission system,” and “name assignment system” streamlined the acclimation process for both entering the household of religion and participating in required ceremonies during travel.
Ultimately, the systemized infrastructure established by Quanzhen Daoism allowed for the formation of a complete ordered society outside of the secular world. This Quanzhen world, in turn, provided the framework for large-scale, practical implementation of Daoist techniques, the most ideologically significant of which are participation in arduous travel and actualization of “an irregular accordance with the Dao.”
ContributorsMarin, Zachary Mark (Author) / Bokenkamp, Stephen R. (Thesis director) / Spring, Madeline (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Life Sciences (Contributor)
Created2014-05