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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
Recognition memory was investigated for naturalistic dynamic scenes. Although visual recognition for static objects and scenes has been investigated previously and found to be extremely robust in terms of fidelity and retention, visual recognition for dynamic scenes has received much less attention. In four experiments, participants view a number of clips from novel films and are then tasked to complete a recognition test containing frames from the previously viewed films and difficult foil frames. Recognition performance is good when foils are taken from other parts of the same film (Experiment 1), but degrades greatly when foils are taken from unseen gaps from within the viewed footage (Experiments 3 and 4). Removing all non-target frames had a serious effect on recognition performance (Experiment 2). Across all experiments, presenting the films as a random series of clips seemed to have no effect on recognition performance. Patterns of accuracy and response latency in Experiments 3 and 4 appear to be a result of a serial-search process. It is concluded that visual representations of dynamic scenes may be stored as units of events, and participant's old
ew judgments of individual frames were better characterized by a cued-recall paradigm than traditional recognition judgments.
ew judgments of individual frames were better characterized by a cued-recall paradigm than traditional recognition judgments.
ContributorsFerguson, Ryan (Author) / Homa, Donald (Thesis advisor) / Goldinger, Stephen (Committee member) / Glenberg, Arthur (Committee member) / Brewer, Gene (Committee member) / Arizona State University (Publisher)
Created2014
Description
Single molecule identification is one essential application area of nanotechnology. The application areas including DNA sequencing, peptide sequencing, early disease detection and other industrial applications such as quantitative and quantitative analysis of impurities, etc. The recognition tunneling technique we have developed shows that after functionalization of the probe and substrate of a conventional Scanning Tunneling Microscope with recognition molecules ("tethered molecule-pair" configuration), analyte molecules trapped in the gap that is formed by probe and substrate will bond with the reagent molecules. The stochastic bond formation/breakage fluctuations give insight into the nature of the intermolecular bonding at a single molecule-pair level. The distinct time domain and frequency domain features of tunneling signals were extracted from raw signals of analytes such as amino acids and their enantiomers. The Support Vector Machine (a machine-learning method) was used to do classification and predication based on the signal features generated by analytes, giving over 90% accuracy of separation of up to seven analytes. This opens up a new interface between chemistry and electronics with immediate implications for rapid Peptide/DNA sequencing and molecule identification at single molecule level.
ContributorsZhao, Yanan, 1986- (Author) / Lindsay, Stuart (Thesis advisor) / Nemanich, Robert (Committee member) / Qing, Quan (Committee member) / Ros, Robert (Committee member) / Zhang, Peiming (Committee member) / Arizona State University (Publisher)
Created2014
Description
Emotion recognition through facial expression plays a critical role in communication. Review of studies investigating individuals with traumatic brain injury (TBI) and emotion recognition indicates significantly poorer performance compared to controls. The purpose of the study was to determine the effects of different media presentation on emotion recognition in individuals with TBI, and if results differ depending on severity of TBI. Adults with and without TBI participated in the study and were assessed using the The Awareness of Social Inferences Test: Emotion Evaluation Test (TASIT:EET) and the Facial Expressions of Emotion-Stimuli and Tests (FEEST) The Ekman 60 Faces Test (E-60-FT). Results indicated that individuals with TBI perform significantly more poorly on emotion recognition tasks compared to age and education matched controls. Additionally, emotion recognition abilities greatly differ between mild and severe TBI groups, and TBI participants performed better with the static presentation compared to dynamic presentation.
ContributorsBrown, Cassie Anne (Author) / Wright, Heather H (Thesis advisor) / Stats-Caldwell, Denise (Committee member) / Ingram, Kelly (Committee member) / Arizona State University (Publisher)
Created2011
Description
Single molecules in a tunnel junction can now be interrogated reliably using chemically-functionalized electrodes. Monitoring stochastic bonding fluctuations between a ligand bound to one electrode and its target bound to a second electrode ("tethered molecule-pair" configuration) gives insight into the nature of the intermolecular bonding at a single molecule-pair level, and defines the requirements for reproducible tunneling data. Importantly, at large tunnel gaps, there exists a regime for many molecules in which the tunneling is influenced more by the chemical identity of the molecules than by variability in the molecule-metal contact. Functionalizing a pair of electrodes with recognition reagents (the "free analyte" configuration) can generate a distinct tunneling signal when an analyte molecule is trapped in the gap. This opens up a new interface between chemistry and electronics with immediate implications for rapid sequencing of single DNA molecules.
ContributorsChang, Shuai (Author) / Lindsay, Stuart (Thesis advisor) / Ros, Robert (Committee member) / Zhang, Peiming (Committee member) / Tao, Nongjian (Committee member) / Shumway, John (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsCummiskey, Hannah (Performer) / Kim, Olga (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-23
Description
The life of Jean-Michel Basquiat is often misinterpreted in artistic discourse. From a social justice perspective, Basquiat's work is not merely art. Despite the symbolism and subject matter open for analysis, Basquiat articulated the self in relation to nuances of race, socio-economy, and historical scripts based upon real relations and conditions. Of the genre of Neo-Expressionism without a disciplined schooling in art, Jean-Michel is categorized as 'primitive' in style and form, labeled the "first black artist." Beyond the art world's possessive confines and according to post-colonial aesthetics, Jean-Michel articulates the existence of a learning self. With a pedagogical lens, a process of becoming an "artist" deepened Basquiat's expressions of self in relation to a “white” art world, which typically restricted the artist to specific categories and definitional parameters.
While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self.
While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self.
ContributorsDiffie, Dillon (Author) / Lauderdale, Pat (Thesis advisor) / Vicenti Carpio, Myla (Committee member) / Swadener, Beth Blue (Committee member) / Arizona State University (Publisher)
Created2017