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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
Description
Within the media there is an abundance of reports that claim tourists are being harassed, kidnapped and even killed in some instances as a result of their representation of their country's political ideology and international relations. A qualitative study was undertaken in Bolivia to determine how a tourist avoids or copes with the fear of severe political retribution or harassment in a country whose political environment is largely opposed to that of the traveler's home country. Interviews were conducted in multiple regions of Bolivia, and the data were coded. The results show that tourists experience political retribution on a much smaller scale than initially thought, usually through non-threatening social encounters. The overall themes influencing traveler behaviors are the (Un)Apologetic American, the George W. Bush foreign policy era, avoiding perceived unsafe countries or regions, and Bolivian borders. Respondents, when asked to reflect upon their behavioral habits, do not usually forthrightly deny their country of origin but merely adapt their national identities based on their familial origins, dual citizenship, language abilities or lack thereof, familiarity with the world/regional politics or lack thereof and associating oneself with a popular region in the United States (e.g. New York), rather than the US as a whole. Interestingly, none of the Americans interviewed candidly deny their American nationality or express future intention to deny their nationality. The Americans did express feeling "singled out" at the Bolivian borders which leads to the management implication to implement an automated receipt when purchasing a Bolivian visa and improving the Ministry of Tourism website that would more clearly state visa requirements. Additionally, the image of Bolivia as a culturally and politically homogeneous country is discussed.
ContributorsCastellanos, Cassandra (Author) / Timothy, Dallen J. (Thesis advisor) / Catlaw, Thomas J (Committee member) / Nyaupane, Gyan P (Committee member) / Arizona State University (Publisher)
Created2013
Description
The Fundación del Estado para el Sistema Nacional de Orquestas Juveniles e Infantiles de Venezuela (FESNOJIV), also known as El Sistema, is an internationally recognized social phenomenon. By promoting social reform and development through music education, El Sistema is enriching the lives of thousands of impoverished youth in Venezuela by providing a nurturing environment for children in government-sponsored orchestras, choirs, and bands. In this thesis, I contend that the relationship between music education and social reform cultivates sociocultural ideas and expectations that are transmitted through FESNOJIV's curriculum to the participating youth and concert attendees. These ideas and El Sistema's live and recorded performances engage both the local Venezuelan community and the world-at-large. Ultimately, I will show that FESNOJIV has been instrumental in creating, promoting, and maintaining a national Venezuelan identity that is associated with pride and musical achievement.
ContributorsPalmer, Katherine (Author) / Solís, Ted (Thesis advisor) / Norton, Kay (Committee member) / Haefer, J. Richard (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
Description
Because of its ability to harbor social values, norms, and beliefs, heritage has always been utilized as an ideological vehicle. One prominent example of politicizing heritage is Chinese red tourism, comprised of state-promoted tours to revolutionary memorial sites. It is expected to generate political, economic, and social benefits, particularly to reinforce the legitimate leadership of the Chinese Communist Party. Statistics show that dramatic market growth in red tourism has occurred over the past decade. Yet it is still heavily driven by the government and thus whether long-term sustainability can be achieved is still questionable.
This dissertation explores the dynamics of red tourism from the perspective of a meaning-making process, where tourism discourses circulate among the processes of production, transmission, and consumption. The results reveal that higher-level government primarily assumes the leading role, whereas local government is largely excluded from strategy making processes and primarily responsible for implementation and operation. Some dissonance exists between higher and lower-level governments in their goals and involvement in red tourism development. Second, intermediaries are not altruistic and attempt to maximize their own benefits. While site interpreters may provide officially authorized narratives, their primary focus is hosting higher-up administrative visitors. On the contrary, tour guides are more customer-oriented, which may lead to officially undesirable interpretations. Third, driven by multiple motives, tourists have increasingly diverse attitudes towards red heritage and participate in various political and non-political activities. A considerable degree of congruence was found between tourists' participation, motivation, memories, and perception. Quantitative results indicate that the majority of tourists have learned about the political significance and/or content of red heritage, and developed more positive attitudes towards, and support for, the CCP and the government, to a certain extent.
This dissertation contributes to current research by adopting a systematic and emic perspective to explore the dynamics of red tourism. Several conceptual frameworks were developed inductively to describe the meaning-making process. Mixed methods were used to learn about tourists' consumption and perceptions of red heritage. Implications regarding enhancing the effectiveness of the meaning-making process, limitations of the study, and potential directions for future research are also discussed.
This dissertation explores the dynamics of red tourism from the perspective of a meaning-making process, where tourism discourses circulate among the processes of production, transmission, and consumption. The results reveal that higher-level government primarily assumes the leading role, whereas local government is largely excluded from strategy making processes and primarily responsible for implementation and operation. Some dissonance exists between higher and lower-level governments in their goals and involvement in red tourism development. Second, intermediaries are not altruistic and attempt to maximize their own benefits. While site interpreters may provide officially authorized narratives, their primary focus is hosting higher-up administrative visitors. On the contrary, tour guides are more customer-oriented, which may lead to officially undesirable interpretations. Third, driven by multiple motives, tourists have increasingly diverse attitudes towards red heritage and participate in various political and non-political activities. A considerable degree of congruence was found between tourists' participation, motivation, memories, and perception. Quantitative results indicate that the majority of tourists have learned about the political significance and/or content of red heritage, and developed more positive attitudes towards, and support for, the CCP and the government, to a certain extent.
This dissertation contributes to current research by adopting a systematic and emic perspective to explore the dynamics of red tourism. Several conceptual frameworks were developed inductively to describe the meaning-making process. Mixed methods were used to learn about tourists' consumption and perceptions of red heritage. Implications regarding enhancing the effectiveness of the meaning-making process, limitations of the study, and potential directions for future research are also discussed.
ContributorsZhao, Shengnan (Author) / Timothy, Dallen J. (Thesis advisor) / Chhabra, Deepak (Committee member) / Lee, Woojin (Committee member) / Nyaupane, Gyan (Committee member) / Li, Wei (Committee member) / Arizona State University (Publisher)
Created2014
Description
Geirr Tveitt (1908-1981) was a central figure of the national movement in Norwegian cultural life during the 1930s. He studied composition with masters such as Arthur Honegger, Heitor Villa-Lobos, and Nadia Boulanger, achieving international acclaim for many of his works. However, his native Norway was slow to follow this praise, as post-World War II intellectuals disregarded anything that resembled nationalism. Tveitt's music was considered obsolete. He became isolated and withdrawn and died in 1981 after a house fire destroyed the manuscripts of nearly three hundred opuses, leaving only a handful of works, some of which were not yet published. Tveitt was raised in a remote part of Norway where the folk tradition was strong. Because of his close ties with the Hardanger community, he was able to bring to light many undiscovered folk tunes and exceptional practices. Tveitt utilizes this first-hand knowledge in his works for solo piano, and successfully combines them with his roots in both Germanic and Nordic traditions, eventually becoming a well-known and respected composer to the Norwegian people. However, he remains virtually unknown to the rest of the world. All of his music was deeply influenced by folk traditions and instruments. Techniques such as planing, drones, modal scales and passages, ornamentation, and simple melodies are pervasive in each piece, and are often the building blocks of main themes and motives. Because of the ambiguity of the status of many works, this paper examines only his published works for solo piano. Discussions of each piece will focus on folk influences within each work, including basic form, texture, and pianistic concerns.
ContributorsHunter, Karali (Author) / Meir, Baruch (Thesis advisor) / Carpenter, Ellon (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Drawing from Foucault's notion of heterotopias, my dissertation identifies and examines three distinct but related events that resignified (re-imagined) Chile during 2010, the year of its Bicentenary, namely: the Rescue of the 33 Miners trapped in the San José mine, the Chilean Military Parade performed in celebration of Chilean Independence, and the Mapuche Hunger Strike of 32 indigenous people accused of terrorism by the Chilean State. My central hypothesis states that these three events constitute heterotopias with strong performative components that, by enacting a utopian and a dystopian nation, denounce the flaws of Chilean society. I understand heterotopias as those recursive systems that invert, perfect or contest the society they mirror. In other words: heterotopias are discursive constructions and material manifestations of social relations that dispute, support, or distort cultural assumptions, structures, and practices currently operating in the representational spaces of a given society. In addition to following the six heterotopological principles formulated by Foucault, these case studies have performance as the central constituent that defines their specificity and brings the heterotopias into existence. Due to the performative nature of these heterotopias, I have come to call them performance heterotopias, that is, sets of behaviors that enact utopias in the historical world, the place in which we live, the site in which "the erosion of our lives, our time and our history occurs," as Foucault puts it. Here, performance would act as the interface, the point of interaction, and suture between the conceived, the perceived and the representational spaces each heterotopia articulates. Thus, a performance heterotopia would be a particular type of heterotopia which is enacted through performance. A relevant aspect that emerged from my research is that heterotopic places not only mirror, contest, and compensate their own host society, but also refer to, and intersect with other contemporaneous heterotopias enacted in that society. In my conclusion I suggest that such interactions also happen between heterotopias that emerge in different countries and cultures. If so, the mapping of utopias enacted in the macro socio geographies of Latin American countries could offer new perspectives to understand the sociopolitical processes that are underway in the region.
ContributorsBravo Goldsmith, Néstor (Author) / Underiner, Tamara (Thesis advisor) / Melo, Carla (Committee member) / Foster, David W (Committee member) / Arizona State University (Publisher)
Created2011
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