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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
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
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
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
This dissertation critically examines whether and how the practices involved in the crafting of the European Union may be said to go beyond modern statecraft. European integration should in part be seen as an attempt to transcend the modern state. Among many of the early proponents of European integration, the nation state had become associated with militarism, jingoism and ultimately, at least partly, to the blamed for the many devastating wars on the European continent, and even a normative order that made the Holocaust possible. Most other studies that have dealt with the EU's alleged difference from the modern state have employed an understanding of the state which confers a certain ontological standing and status onto its purported object of study. This dissertation argues that a critical approach to European integration needs to go beyond such a representationalist, ontologizing understanding of a political entity. Instead, in order to start addressing the question of state violence that European integration emerged as a response to, the crafting of the Europe Union needs to be problematized in relation to practices of statecraft. The dissertation also contends that previous engagements of European integration in relation to the modern state have neglected engaging the broader normative horizon in which the modern Westphalian state is inscribed. The first chapter puts forward a way of understanding modern statecraft. The subsequent chapters examine four different legitimation discourses of European integration against such an understanding: EU's failed Constitutional Treaty, EU's foreign policy discourse, European integration theory, and an instance of European migration policy. The dissertation concludes that the crafting of Europe in many ways resembles the crafting of the modern state. In fact, the crafting of the European Union is plagued by similar ethical dilemmas as the modern state, and ultimately animated by a similar desire to either expel or interiorize difference.
ContributorsBorg, Stefan (Author) / Doty, Roxanne L. (Thesis advisor) / Ashley, Richard K. (Committee member) / Thomas, George M. (Committee member) / Arizona State University (Publisher)
Created2012