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- All Subjects: Clarinet and piano music
ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
Description
Social media platforms such as Twitter, Facebook, and blogs have emerged as valuable
- in fact, the de facto - virtual town halls for people to discover, report, share and
communicate with others about various types of events. These events range from
widely-known events such as the U.S Presidential debate to smaller scale, local events
such as a local Halloween block party. During these events, we often witness a large
amount of commentary contributed by crowds on social media. This burst of social
media responses surges with the "second-screen" behavior and greatly enriches the
user experience when interacting with the event and people's awareness of an event.
Monitoring and analyzing this rich and continuous flow of user-generated content can
yield unprecedentedly valuable information about the event, since these responses
usually offer far more rich and powerful views about the event that mainstream news
simply could not achieve. Despite these benefits, social media also tends to be noisy,
chaotic, and overwhelming, posing challenges to users in seeking and distilling high
quality content from that noise.
In this dissertation, I explore ways to leverage social media as a source of information and analyze events based on their social media responses collectively. I develop, implement and evaluate EventRadar, an event analysis toolbox which is able to identify, enrich, and characterize events using the massive amounts of social media responses. EventRadar contains three automated, scalable tools to handle three core event analysis tasks: Event Characterization, Event Recognition, and Event Enrichment. More specifically, I develop ET-LDA, a Bayesian model and SocSent, a matrix factorization framework for handling the Event Characterization task, i.e., modeling characterizing an event in terms of its topics and its audience's response behavior (via ET-LDA), and the sentiments regarding its topics (via SocSent). I also develop DeMa, an unsupervised event detection algorithm for handling the Event Recognition task, i.e., detecting trending events from a stream of noisy social media posts. Last, I develop CrowdX, a spatial crowdsourcing system for handling the Event Enrichment task, i.e., gathering additional first hand information (e.g., photos) from the field to enrich the given event's context.
Enabled by EventRadar, it is more feasible to uncover patterns that have not been
explored previously and re-validating existing social theories with new evidence. As a
result, I am able to gain deep insights into how people respond to the event that they
are engaged in. The results reveal several key insights into people's various responding
behavior over the event's timeline such the topical context of people's tweets does not
always correlate with the timeline of the event. In addition, I also explore the factors
that affect a person's engagement with real-world events on Twitter and find that
people engage in an event because they are interested in the topics pertaining to
that event; and while engaging, their engagement is largely affected by their friends'
behavior.
- in fact, the de facto - virtual town halls for people to discover, report, share and
communicate with others about various types of events. These events range from
widely-known events such as the U.S Presidential debate to smaller scale, local events
such as a local Halloween block party. During these events, we often witness a large
amount of commentary contributed by crowds on social media. This burst of social
media responses surges with the "second-screen" behavior and greatly enriches the
user experience when interacting with the event and people's awareness of an event.
Monitoring and analyzing this rich and continuous flow of user-generated content can
yield unprecedentedly valuable information about the event, since these responses
usually offer far more rich and powerful views about the event that mainstream news
simply could not achieve. Despite these benefits, social media also tends to be noisy,
chaotic, and overwhelming, posing challenges to users in seeking and distilling high
quality content from that noise.
In this dissertation, I explore ways to leverage social media as a source of information and analyze events based on their social media responses collectively. I develop, implement and evaluate EventRadar, an event analysis toolbox which is able to identify, enrich, and characterize events using the massive amounts of social media responses. EventRadar contains three automated, scalable tools to handle three core event analysis tasks: Event Characterization, Event Recognition, and Event Enrichment. More specifically, I develop ET-LDA, a Bayesian model and SocSent, a matrix factorization framework for handling the Event Characterization task, i.e., modeling characterizing an event in terms of its topics and its audience's response behavior (via ET-LDA), and the sentiments regarding its topics (via SocSent). I also develop DeMa, an unsupervised event detection algorithm for handling the Event Recognition task, i.e., detecting trending events from a stream of noisy social media posts. Last, I develop CrowdX, a spatial crowdsourcing system for handling the Event Enrichment task, i.e., gathering additional first hand information (e.g., photos) from the field to enrich the given event's context.
Enabled by EventRadar, it is more feasible to uncover patterns that have not been
explored previously and re-validating existing social theories with new evidence. As a
result, I am able to gain deep insights into how people respond to the event that they
are engaged in. The results reveal several key insights into people's various responding
behavior over the event's timeline such the topical context of people's tweets does not
always correlate with the timeline of the event. In addition, I also explore the factors
that affect a person's engagement with real-world events on Twitter and find that
people engage in an event because they are interested in the topics pertaining to
that event; and while engaging, their engagement is largely affected by their friends'
behavior.
ContributorsHu, Yuheng (Author) / Kambhampati, Subbarao (Thesis advisor) / Horvitz, Eric (Committee member) / Krumm, John (Committee member) / Liu, Huan (Committee member) / Sundaram, Hari (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
ContributorsBurton, Charlotte (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-08
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
Description
Internet sites that support user-generated content, so-called Web 2.0, have become part of the fabric of everyday life in technologically advanced nations. Users collectively spend billions of hours consuming and creating content on social networking sites, weblogs (blogs), and various other types of sites in the United States and around the world. Given the fundamentally emotional nature of humans and the amount of emotional content that appears in Web 2.0 content, it is important to understand how such websites can affect the emotions of users. This work attempts to determine whether emotion spreads through an online social network (OSN). To this end, a method is devised that employs a model based on a general threshold diffusion model as a classifier to predict the propagation of emotion between users and their friends in an OSN by way of mood-labeled blog entries. The model generalizes existing information diffusion models in that the state machine representation of a node is generalized from being binary to having n-states in order to support n class labels necessary to model emotional contagion. In the absence of ground truth, the prediction accuracy of the model is benchmarked with a baseline method that predicts the majority label of a user's emotion label distribution. The model significantly outperforms the baseline method in terms of prediction accuracy. The experimental results make a strong case for the existence of emotional contagion in OSNs in spite of possible alternative arguments such confounding influence and homophily, since these alternatives are likely to have negligible effect in a large dataset or simply do not apply to the domain of human emotions. A hybrid manual/automated method to map mood-labeled blog entries to a set of emotion labels is also presented, which enables the application of the model to a large set (approximately 900K) of blog entries from LiveJournal.
ContributorsCole, William David, M.S (Author) / Liu, Huan (Thesis advisor) / Sarjoughian, Hessam S. (Committee member) / Candan, Kasim S (Committee member) / Arizona State University (Publisher)
Created2011