Matching Items (6)
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- All Subjects: American History
- Creators: Hirt, Paul
- Creators: Holbrook, Amy
Description
This dissertation explores how the written word and natural and cultural landscapes entwine to create a place, the process by which Arizona's landscapes affected narratives written about the place and how those narratives created representations of Arizona over time. From before Arizona became a state in 1912 to the day its citizens celebrated one hundred years as a state in 2012, words have played a role in making it the place it is. The literature about Arizona and narratives drawn from its landscapes reveal writers' perceptions, what they believe is important and useful, what motivates or attracts them to the place. Those perceptions translated into words organized in various ways create an image of Arizona for readers. I explore written works taken at twenty-five year intervals--1912 and subsequent twenty-five year anniversaries--synthesizing narratives about Arizona and examining how those representations of the place changed (or did not change). To capture one hundred years of published material, I chose sources from several genres including official state publications, newspapers, novels, poetry, autobiography, journals, federal publications, and the Arizona Highways magazine. I chose sources that would have been available to the reading public, publications that demonstrated a wide readership. In examining the words about Arizona that have been readily available to the English-reading public, the importance of the power of the printed word becomes clear. Arizona became the place it is in the twenty-first century, in part, because people with power--in the federal and state governments, boosters, and business leaders--wrote about it in such a way as to influence growth and tourism sometimes at the expense of minority groups and the environment. Minority groups' narratives in their own words were absent from Arizona's written narrative landscape until the second half of the twentieth century when they began publishing their own stories. The narratives about Arizona changed over time, from literature dominated by boosting and promotion to a body of literature with many layers, many voices. Women, Native American, and Hispanic narratives, and environmentalists' and boosters' words created a more complex representation of Arizona in the twenty-first century, and more accurately reflected its cultural landscape, than the Arizona represented in earlier narratives.
ContributorsEngel-Pearson, Kimberli (Author) / Pyne, Stephen (Thesis advisor) / Hirt, Paul (Thesis advisor) / Adamson, Joni (Committee member) / Arizona State University (Publisher)
Created2014
Description
As an organist, church musician, and educator, Clifford Demarest (1874-1946) was a prominent figure in New York during the first half of the twentieth century. However, prior to this thesis, Demarest's place within the history of American music, like that of many of his contemporaries, was all but neglected. This research reveals Clifford Demarest as an influential figure in American musical history from around 1900 to his retirement in 1937. Led by contemporary accounts, I trace Demarest's musical influence through his three musical careers: professional organist, church musician, and educator. As a prominent figure in the fledgling American Guild of Organists, Demarest was dedicated to the unification of its members and the artistic legitimacy of the organist profession. As the organist and choir director of the Church of the Messiah, later the Community Church of New York (1911-1946, inclusive), Demarest played an integral part in the liberal atmosphere fostered by the congregation's minister, John Haynes Holmes (1879-1964). Together Holmes and Demarest directly influenced the nascent National Association for the Advancement of Colored People and supported luminaries of the Harlem Renaissance. Influential figures such as Langston Hughes (1902-1967), Augustus Granville Dill (1881-1956), Egbert Ethelred Brown (1875-1956), and Countee Cullen (1903-1946) were inspired by the liberal environment in the Church of the Messiah; however, prior to this research, their connections to the church were unexplored. As the music supervisor of Tenafly High School and later, for the state of New Jersey, Demarest influenced countless students through his passion for music. His compositions for student orchestras are among the earliest to elevate the artistic standards of school music ensembles during the first four decades of the twentieth century. Archival sources such as church records, letters, and newspaper editorials, are synthesized with current research to characterize Demarest's place in these three professional orbits of the early twentieth century. His story also represents those of countless other working musicians from his era that have been forgotten. Therefore, this research opens an important new research field – a window into the dynamic world of the American organist.
ContributorsHicks, Glen W (Author) / Saucier, Catherine (Thesis advisor) / Norton, Kay (Thesis advisor) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2014
Description
ABSTRACT The Orpheus Male Chorus of Phoenix occupies and maintains an historical place in the musical and civic history of the City of Phoenix and the State of Arizona. Organized in November, 1929, the Orpheus Male Chorus of Phoenix (OMC) is the only performing arts organization in Phoenix that can claim eighty-one years of continuous performance. The chorus gained popularity locally, nationally, and internationally in its first five decades. The breadth of the chorus's recognition began to decline in the latter part of the 20th century, but the chorus still retains a loyal following of audience members. This study focuses on the first fifty years of the OMC, especially the period from 1946 to 1979, the years the chorus was under the direction of Ralph Hess. Through his leadership the group's popularity and recognition reached a peak, thanks largely to his emphasis on civic responsibility, ties to service organizations, and musical ability and showmanship. No scholarly publications exist regarding this organization. Several boxes of memorabilia housed in the Arizona Historical Society Museum in Tempe, Arizona, serve as the primary source of material for this study. Concert programs supply information about concert repertoire, advertising, and chorus history. Newspaper articles from local and international press offer reviews, announcements, and media perceptions of the chorus. Information illustrating the abundant civic engagement of the OMC appears in proclamations and awards from local, state, national, and international personalities. This objective information helps propel the story forward, as do the personal letters and stories contained within the collection. Because many documents from the latter part of the 1970s are missing, the primary source information becomes more anecdotal and subjective. This study illustrates some of the ways in which the OMC went beyond mere survival to occupy a significant place in the musical life of Phoenix. Engagement in civic and social functions and support for non-profit organizations established the chorus as more than just a musical ensemble. Their pursuit under Hess of "Cultural Citizenship" earned them international recognition as civic leaders and ambassadors of goodwill.
ContributorsButler, Robert C (Author) / Schildkret, David (Thesis advisor) / Holbrook, Amy (Committee member) / Doan, Jerry (Committee member) / Arizona State University (Publisher)
Created2010
Description
The Grand Canyon is one of the most well-recognized natural features in the world, but it is also a cultural landscape. The way that the interpretation of this natural and cultural landscape has changed over time reveals a great deal about what values Americans place on scenic areas (especially national parks), how they want to experience them, what stories they want to be told there, and what cultural values were important in America at the time. This dissertation traces how the interpretation of Grand Canyon has changed over time from its earliest history until the present day, particularly focusing on National Park Service (NPS) interpretation of the site. It argues that the process involved in developing NPS interpretation at Grand Canyon National Park involved give and take between the local and national levels of the NPS, but also relied heavily on public engagement and interests. It also explores two sub themes, examining the degree to which Native American perspectives have been incorporated into Grand Canyon National Park interpretation, and how important individual personalities have been in shaping interpretation at the Park. Ultimately, the dissertation reveals that interpretation was a complex act, based upon dynamic interrelationships between author and audience, between professional objectives and public and private pressures, and between what messages the NPS wanted to convey and what visitors told the NPS they wanted to hear.
ContributorsGerke, Sarah Ruth (Author) / Hirt, Paul (Thesis advisor) / Warren-Findley, Janelle (Committee member) / Sargent Wood, Linda (Committee member) / Arizona State University (Publisher)
Created2010
Description
Located in Southwest Alaska on the Bering Sea, Bristol Bay covers the area of land and water that lies north of the Alaska Peninsula. The Bristol Bay region consists of more than 40 million acres and is home to approximately 7,400 people of mostly Alaska Native descent. Many Natives still maintain a subsistence lifestyle. The region’s Indigenous inhabitants include Aleuts, Eskimos, and Indians. Bristol Bay’s Indigenous cultures developed around the abundant salmon runs. The Bristol Bay watershed, with its extensive lake and river systems, provides the ideal breeding grounds for all five species of Pacific salmon. As a keystone species, salmon directly or indirectly impact many species in the ecosystem. This dissertation focuses on the ecology and environment, culture, and economy in the Bristol Bay salmon fishery from its beginnings in 1884 until the present. The arrival of Euro-Americans altered the human/salmon relationship as Alaska Natives entered the commercial salmon fishery. The commercial fishery largely marginalized Alaska Natives and they struggle to remain relevant in the fishery. Participation in the subsistence fishery remains strong and allows Bristol Bay Natives to continue their cultural traditions. On a global scale, the sustainable Bristol Bay’s salmon harvest provides over half of the world’s wild sockeye salmon. Salmon cultures once existed throughout the Atlantic and Pacific. With the decline of salmon, few viable salmon cultures remain today. I argue that because of the ecological, cultural, and economic factors, salmon in Bristol Bay deserve protection from competing resource development and other factors that threaten the valuable fishery. The unique ecology of Bristol Bay needs clean water to continue its bountiful production. As a member of the Bristol Bay community, I include my own experiences in the salmon fishery, incorporating “writing from home” as one of my primary methodologies. I also include ethnohistory and oral history methodologies. I conducted interviews with elders in the Bristol Bay community to incorporate Indigenous experiences as Natives faced changes brought on by the commercial salmon fishery.
ContributorsGroat, Bridget Lee (Author) / Fixico, Donald L (Thesis advisor) / Bauer, William (Committee member) / Hirt, Paul (Committee member) / Riding In, James (Committee member) / Arizona State University (Publisher)
Created2019
Description
Although one finds much scholarship on nineteenth-century music in America, one finds relatively little about music in the post-Civil-War frontier west. Generalities concerning small frontier towns of regional importance remain to be discovered. This paper aims to contribute to scholarship by chronicling musical life in the early years of two such towns in northern Arizona territory: Prescott and Flagstaff. Prescott, adjacent to Fort Whipple, was founded in 1864 to serve as capital of the new territory. Primarily home to soldiers and miners, the town was subject to many challenges of frontier life. Flagstaff, ninety miles to the north-northwest, was founded about two decades later in 1883 during the building of the Atlantic & Pacific Railroad, which connected the town to Albuquerque, New Mexico in the east and southern California in the west. Although the particular resources of each town provided many different musical opportunities, extant newspaper articles from Prescott's Arizona Miner and Flagstaff's Arizona Champion describe communities in which musical concerts, dances and theatrical performances provided entertainment and socializing for its citizens. Furthermore, music was an important part of developing institutions such as the church, schools, and fraternal lodges, and the newspapers of both towns advertised musical instruments and sheet music. Both towns were home to amateur musicians, and both offered the occasional opportunity to learn to dance or play an instrument. Although territorial Arizona was sometimes harsh and resources were limited, music was valued in these communities and was a consistent presence in frontier life.
ContributorsJohnson, Amber V (Author) / Oldani, Robert W. (Thesis advisor) / Holbrook, Amy (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2011