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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
Description
The Himalaya are the archetypal example of a continental collision belt, formed by the ongoing convergence between India and Eurasia. Boasting some of the highest and most rugged topography on Earth, there is currently no consensus on how climatic and tectonic processes have combined to shape its topographic evolution. The Kingdom of Bhutan in the eastern Himalaya provides a unique opportunity to study the interconnections among Himalayan climate, topography, erosion, and tectonics. The eastern Himalaya are remarkably different from the rest of the orogen, most strikingly due to the presence of the Shillong Plateau to the south of the Himalayan rangefront. The tectonic structures associated with the Shillong Plateau have accommodated convergence between India and Eurasia and created a natural experiment to test the possible response of the Himalaya to a reduction in local shortening. In addition, the position and orientation of the plateau topography has intercepted moisture once bound for the Himalaya and created a natural experiment to test the possible response of the range to a reduction in rainfall. I focused this study around the gently rolling landscapes found in the middle of the otherwise extremely rugged Bhutan Himalaya, with the understanding that these landscapes likely record a recent change in the evolution of the range. I have used geochronometric, thermochronometric, and cosmogenic nuclide techniques, combined with thermal-kinematic and landscape evolution models to draw three primary conclusions. 1) The cooling histories of bedrock samples from the hinterland of the Bhutan Himalaya show a protracted decrease in erosion rate from the Middle Miocene toward the Pliocene. I have attributed this change to a reduction in shortening rates across the Himalayan mountain belt, due to increased accommodation of shortening across the Shillong Plateau. 2) The low-relief landscapes of Bhutan were likely created by backtilting and surface uplift produced by an active, blind, hinterland duplex. These landscapes were formed during surface uplift, which initiated ca. 1.5 Ma and has totaled 800 m. 3) Millennial-scale erosion rates are coupled with modern rainfall rates. Non-linear relationships between topographic metrics and erosion rates, suggest a fundamental difference in the mode of river incision within the drier interior of Bhutan and the wetter foothills.
ContributorsAdams, Byron A (Author) / Whipple, Kelin X (Thesis advisor) / Hodges, Kip V (Thesis advisor) / Heimsath, Arjun M (Committee member) / Arrowsmith, Ramon (Committee member) / Hurtado, Jose M (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
Description
Quantifying the temporal and spatial evolution of active continental rifts contributes to our understanding of fault system evolution and seismic hazards. Rift systems also preserve robust paleoenvironmental records and are often characterized by strong climatic gradients that can be used to examine feedbacks between climate and tectonics. In this thesis, I quantify the spatial and temporal history of rift flank uplift by analyzing bedrock river channel profiles along footwall escarpments in the Malawi segment of the East Africa Rift. This work addresses questions that are widely applicable to continental rift settings: (1) Is rift-flank uplift sufficiently described by theoretical elliptical along-fault displacement patterns? (2) Do orographic climate patterns induced by rift topography affect rift-flank uplift or morphology? (3) How do uplift patterns along rift flanks vary over geologic timescales? In Malawi, 100-km-long border faults of alternating polarity bound half-graben sedimentary basins containing up to 4km of basin fill and water depths up to 700m. Orographically driven precipitation produces climatic gradients along footwall escarpments resulting in mean annual rainfall that varies spatially from 800 to 2500 mm. Temporal oscillations in climate have also resulted in lake lowstands 500 m below the modern shoreline. I examine bedrock river profiles crossing the Livingstone and Usisya Border Faults in northern Malawi using the channel steepness index (Ksn) to assess importance of these conditions on rift flank evolution. River profiles reveal a consistent transient pattern that likely preserves a temporal record of slip and erosion along the entire border fault system. These profiles and other topographic observations, along with known modern and paleoenvironmental conditions, can be used to interpret a complete history of rift flank development from the onset of rifting to present. I interpret the morphology of the upland landscape to preserve the onset of extensional faulting across a relict erosion surface. The linkages of individual faults and acceleration of slip during the development of a continuous border fault is suggested by an analysis of knickpoint elevations and Ksn. Finally, these results suggest that the modern observed climate gradient only began to significantly affect denudation patterns once a high relief rift flank was established.
ContributorsRobinson, Scott M (Author) / Heimsath, Arjun M (Thesis advisor) / Whipple, Kelin X (Thesis advisor) / Arrowsmith, Ramon J (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
ContributorsLee, Eunhwa (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-17