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Description
This thesis explores the conceptual span and plausibility of emergence and its applicability to the problem of mental causation. The early parts of the project explicate a distinction between weak and strong emergence as described by Jaegwon Kim. They also consider Kim's objections regarding the conceptual incoherence of strong emergence and the otiose nature of weak emergence. The paper then explores Mark Bedau's in-between conception of emergence and ultimately finds that middle conception to be both coherent and useful. With these three emergence distinctions in hand, the thesis goes on to explore Evan Thompson's recent work - Mind in Life (2010). In that work, Thompson advances a strong emergence approach to mind, whereby he concludes the incipient stages of cognition are found at the most basic levels of life, namely - biologic cells. Along the way, Thompson embraces holism and a nonfundamental
onhierarchical physics in order to counter Jaegwon Kim's objections to the notion of downward causation needed for strong emergence. The thesis presents arguments against Thompson's holism and nonfundamental physics, while supporting his assertion regarding the incipient stages of cognition. It then combines an important distinction between mental causation and the experience of mental causation with Thompson's notion of incipient cognition to arrive at a dual realms approach to understanding mental causation.
onhierarchical physics in order to counter Jaegwon Kim's objections to the notion of downward causation needed for strong emergence. The thesis presents arguments against Thompson's holism and nonfundamental physics, while supporting his assertion regarding the incipient stages of cognition. It then combines an important distinction between mental causation and the experience of mental causation with Thompson's notion of incipient cognition to arrive at a dual realms approach to understanding mental causation.
ContributorsFournier, Thomas (Author) / Kobes, Bernard W (Thesis advisor) / Reynolds, Steven L (Committee member) / Armendt, Brad (Committee member) / Arizona State University (Publisher)
Created2013
Description
Saying, "if Mary had watered Sam's plant, it wouldn't have died," is an ordinary way to identify Mary not watering Sam's plant as the cause of its death. But there are problems with this statement. If we identify Mary's omitted action as the cause, we seemingly admit an inordinate number of omissions as causes. For any counterfactual statement containing the omitted action is true (e.g. if Hillary Clinton had watered Sam's plant, it wouldn't have died). The statement, moreover, is mysterious because it is not clear why one protasis is more salient than any alternatives such as "if Sam hadn't gone to Bismarck." In the burgeoning field of experimental metaphysics, some theorists have tried to account for these intuitions about omissive causes. By synthesizing this data and providing a few experiments, I will suggest that judgments - and maybe metaphysics - about omissive causes necessarily have a normative feature. This understanding of omissive causes may be able to adequately resolve the problems above.
ContributorsHenne, Paul (Author) / Kobes, Bernard W (Thesis advisor) / Pinillos, Nestor A (Thesis advisor) / Reynolds, Steven (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
Description
The primary objective of this study was to develop the Perceived Control of the Attribution Process Scale (PCAPS), a measure of metacognitive beliefs of causality, or a perceived control of the attribution process. The PCAPS included two subscales: perceived control of attributions (PCA), and awareness of the motivational consequences of attributions (AMC). Study 1 (a pilot study) generated scale items, explored suitable measurement formats, and provided initial evidence for the validity of an event-specific version of the scale. Study 2 achieved several outcomes; Study 2a provided strong evidence for the validity and reliability of the PCA and AMC subscales, and showed that they represent separate constructs. Study 2b demonstrated the predictive validity of the scale and provided support for the perceived control of the attribution process model. This study revealed that those who adopt these beliefs are significantly more likely to experience autonomy and well-being. Study 2c revealed that these constructs are influenced by context, yet they lead to adaptive outcomes regardless of this contextual-specificity. These findings suggest that there are individual differences in metacognitive beliefs of causality and that these differences have measurable motivational implications.
ContributorsFishman, Evan Jacob (Author) / Nakagawa, Kathryn (Committee member) / Husman, Jenefer (Committee member) / Graham, Steve (Committee member) / Moore, Elsie (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26