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ContributorsWard, Geoffrey Harris (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsMatthews, Eyona (Performer) / Yoo, Katie Jihye (Performer) / Roubison, Ryan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsHoeckley, Stephanie (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-24
Description
The ways in which human relationships are managed via language is a topic of particular interest in the area of sociolinguistics where work into the study of such topics as politeness, impoliteness, and rapport management have attempted to shed light on this phenomenon. This study examines two segments of extended discourse by President Alvaro Uribe of Colombia at the 2008 Summit of the Rio Group where he addressed a gathering of Rio Group members comprising heads of state from Latin American and Caribbean nations. Faced with serious accusations about his nation's military actions into Ecuador a few days before the meeting in question, Uribe engaged the group through two extended statements where he defended his government's actions. In these two segments of discourse Uribe changed his tone; it is this change that the present study attempts to describe in terms of modification to the effects of his discourse on the relationship between himself and the other interlocutors. To this end, an analysis is done classifying Uribe's utterances as polite, per Brown and Levinson's politeness model, and impolite, per Culpeper's impoliteness model. Additionally, Spencer Oatey's model of rapport management is used to classify Uribe's utterances according to their effect on the components of rapport. These classifications are examined alongside an analysis of factors related to rapport management such as frame, purpose of the exchange, and participants, for the purpose of understanding how these many factors work together to generate a changed effect to rapport. Of greatest significance in this study is the relationship between (im)politeness strategies and components of rapport. This dynamic provided an interesting way of examining (im)politeness in a new context, one that factored-in the effects of (im)politeness to the relationship between interlocutors. The study, as described above, showed that Uribe's change in tone was indeed a change to approach to rapport management characterized by an initial focus on the transactional and relational goals rapport component in the first of two segments, that then changed in the second part to a focus on face and association rights.
ContributorsBambaren, Anamaria (Author) / García Fernandez, Carmen (Thesis advisor) / Cerron-Palomino, Alvaro (Committee member) / Adams, Karen L. (Committee member) / Arizona State University (Publisher)
Created2011
Description
Although pragmatic analyses based on empirical data have been conducted throughout most of the Spanish-speaking world, Central America remains the most underrepresented region. This study examines the pragmatic strategies used by female Spanish speakers of Nicaragua and Panama in an advice-giving context. The data consists of eighteen role-plays recorded in Masaya, Nicaragua and Panama City, Panama in June and July of 2011. In the role-play situation, the interlocutor (fixed-role) requests advice from the participant, her best friend, regarding a serious issue in her marriage. The participant's advice-giving strategies are classified according to a categorization adapted from Blum-Kulka's request strategy taxonomy. This allows for a statistical analysis of how these strategies correspond to the three elements of Spencer Oatey's rapport management approach: behavioral expectations, face sensitivities and interactional wants. The results indicate strong similarities between participants from Nicaragua and Panama, both electing to respect all components of the association principle and to violate the equity principle, especially its autonomy control component. These results suggest that, at least in this advice-giving context between intimates, both Nicaraguan and Panamanian Spanish speakers prefer to impose their opinions and suggestions rather than respect the person's right to be treated fairly (i.e. equity principle) as well as to maintain a rapport-enhancing orientation rather than preserve their right to associate with others (i.e. association principle). The results of the pragmatic analysis show similarities with other research on directives in the Spanish-speaking world, including empirical studies in the Dominican Republic, Cuba, Venezuela and Spain. Specifically, these cultures are all associated with direct strategies and less mitigation, positive politeness, conventional indirectness and high involvement.
ContributorsPlatz, Ryan (Author) / García, Carmen (Thesis advisor) / Cerron-Palomino, Alvaro (Committee member) / Lafford, Barbara (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsMcClain, Katelyn (Performer) / Buringrud, Deanna (Contributor) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
ContributorsHur, Jiyoun (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-01
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05