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- Creators: Arizona State University
- Creators: Oeth, John
DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014
Description
Research in microbial biofuels has dramatically increased over the last decade. The bulk of this research has focused on increasing the production yields of cyanobacteria and algal cells and improving extraction processes. However, there has been little to no research on the potential impact of viruses on the yields of these phototrophic microbes for biofuel production. Viruses have the potential to significantly reduce microbial populations and limit their growth rates. It is therefore important to understand how viruses affect phototrophic microbes and the prevalence of these viruses in the environment. For this study, phototrophic microbes were grown in glass bioreactors, under continuous light and aeration. Detection and quantification of viruses of both environmental and laboratory microbial strains were measured through the use of a plaque assay. Plates were incubated at 25º C under continuous direct florescent light. Several environmental samples were taken from Tempe Town Lake (Tempe, AZ) and all the samples tested positive for viruses. Virus free phototrophic microbes were obtained from plaque assay plates by using a sterile loop to scoop up a virus free portion of the microbial lawn and transferred into a new bioreactor. Isolated cells were confirmed virus free through subsequent plaque assays. Viruses were detected from the bench scale bioreactors of Cyanobacteria Synechocystis PCC 6803 and the environmental samples. Viruses were consistently present through subsequent passage in fresh cultures; demonstrating viral contamination can be a chronic problem. In addition TEM was performed to examine presence or viral attachment to cyanobacterial cells and to characterize viral particles morphology. Electron micrographs obtained confirmed viral attachment and that the viruses detected were all of a similar size and shape. Particle sizes were measured to be approximately 50-60 nm. Cell reduction was observed as a decrease in optical density, with a transition from a dark green to a yellow green color for the cultures. Phototrophic microbial viruses were demonstrated to persist in the natural environment and to cause a reduction in algal populations in the bioreactors. Therefore it is likely that viruses could have a significant impact on microbial biofuel production by limiting the yields of production ponds.
ContributorsKraft, Kyle (Author) / Abbaszadegan, Morteza (Thesis advisor) / Alum, Absar (Committee member) / Fox, Peter (Committee member) / Arizona State University (Publisher)
Created2014
Description
Multi-media votive sculpture, made from wax, papier-mâché, wood, terra cotta and textiles, is a long-neglected subject of study in early modern Italian art history. This dissertation focuses on an unparalleled seventeenth-century manuscript, the Libro dei miracoli, which reproduces in watercolor a number of the lost multi-media votive statues that once populated the church of S. Maria della Quercia in Viterbo. The names of votaries, along with a description of their miracles, accompany the watercolors and present an invaluable source of information that allows for this first comprehensive study of votary identity. Abundant archival material maintained by S. Maria della Quercia, situated within larger historical events and cultural trends, informs this dissertation which explores the democratic nature behind votive statuary effigies. The offerings granted male and female members of most socio-economic classes in early modern Italy the extraordinary opportunity to act as patrons of art. Moreover, the sculptures, and watercolors after them, were individualized representations of votaries that can be considered a form of portraiture available to rich and poor alike.
ContributorsAdams, Jennifer (Author) / Codell, Julie (Thesis advisor) / Wolfthal, Diane (Thesis advisor) / Vitullo, Juliann (Committee member) / Arizona State University (Publisher)
Created2012
Description
Among the many paradigm shifts brought about in the seventeenth century was an increased dissociation between the subject and time as a lived, shared experience. Clockwork Subjects in the Seventeenth Century: Shakespeare, Herbert, and Milton investigates how changes in the social understanding and experience of time, concurrent with changes in timekeeping technologies, were reflected in the literature of the period. This dissertation is closely concerned with the phenomenon of time from the perspective of the subject and the various ways subjects represent themselves as beings in time. Chapter One provides a theoretical introduction, establishing a Heideggerian framework of temporality and ontology, while emphasizing the characteristics of clock-time as time that is movable and separable from what Heidegger would term “originary time.” Chapter Two analyzes metaphors of hearing in Richard II in relation to the play’s pivotal conceit, in which a dethroned Richard compares himself to broken clockwork; exploring temporality in tandem with the phenomenon of hearing, I argue that aural captivation distorts Richard’s perception of his placement in a larger historical framework. Chapter Three employs a reading of Augustinian time George Herbert’s poems, “Even-song” and “Church-monuments,” analyzing the soul’s experience of time in contrast to temporal metaphors that ask, with Augustine, whether time can be measured by and within the self. Chapter Four, analyzing Milton’s Samson Agonistes, explores Samson’s attempt to act and interpret divine intent while in the middle of history, paralleling early modern efforts to construct an interpretive framework for nature and time.
ContributorsDowner, Jennifer (Author) / Hawkes, David (Thesis advisor) / Ryner, Bradley (Committee member) / Fox, Cora (Committee member) / Arizona State University (Publisher)
Created2018
Description
The English Renaissance anthem Christ rising again is a valuable addition to the study of sacred English music during the first one hundred years of the English Reformation (c. 1530s-c.1630s) and provides insight into the theological and musical perspective of English reformers, humanists, and composers. The text of Christ rising again is the only anthem text that was set by the following prominent composers active during the English Reformation: John Sheppard (c.1515-1563), Christopher Tye (c.1505-1573), Thomas Tallis (c. 1505-1585), William Byrd (c.1540-1623), and Thomas Tomkins (1572-1656), as well as an unfinished setting by Thomas Weelkes (c.1576-1623) as well as complete settings by less prominent English composers. The anthem's text and musical settings are analyzed in terms of their place within the liturgical services of the Church of England, context within the ceremonies surrounding the Easter sepulchre, theological interpretation of the scriptural passages that comprise the anthem's text by Renaissance humanists and theologians, and performance forces available to composers. This study found that the anthem was an integral part of the Easter sepulchre procession during the first English version of the Easter Matins service found in the 1549 Book of Common Prayer. Its function later changed as the sepulchre procession was eliminated from the 1552 revised version of the Book of Common Prayer and the anthem was moved to later within the Easter Morning Prayer service. Analysis of various commentaries and interpretations by contemporary theologians and humanists who influenced the English Reformation is provided to demonstrate the interpretation and meaning associated with specific musical settings by various composers. Finally, an examination of Renaissance English performing forces is provided, particularly centered on the institutions of the Chapel Royal and Lincoln Cathedral, both significant institutions that employed prominent English composers during the examined era.
ContributorsOlsen, Ryan Allen (Author) / Gentry, Gregory (Thesis advisor) / Saucier, Catherine (Thesis advisor) / Doan, Jerry (Committee member) / Schildkret, David (Committee member) / Scmidt, Marg (Committee member) / Arizona State University (Publisher)
Created2010
ContributorsFriar, Tyson Levell (Performer) / Glemser, Tim (Performer) / ASU Library. Music Library (Publisher)
Created2003-05-01
ContributorsOeth, John (Performer) / ASU Library. Music Library (Publisher)
Created2015-02-10
ContributorsSmith, Andrew Lesley (Performer) / Oeth, John (Performer) / ASU Library. Music Library (Publisher)
Created2016-04-21
ContributorsOeth, John (Performer) / Smith, Andrew (Performer) / ASU Library. Music Library (Publisher)
Created2016-04-03
ContributorsOeth, John (Performer) / ASU Library. Music Library (Publisher)
Created2015-10-04