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- All Subjects: Songs (High voice) with piano
ContributorsWasbotten, Leia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-30
Description
A void exists in public administration, criminology, and criminal justice research as it relates to the study of power in American policing agencies. This has significant ramifications for academia and practitioners in terms of how they view, address, study, and interpret behaviors/actions in American policing agencies and organizations in general. In brief, mainstream research on power in organizations does not take into account relationships of power that do not act directly, and immediately, on others. By placing its emphasis on an agency centric perspective of power, the mainstream approach to the study of power fails to recognize indirect power relationships that influence discourse, pedagogy, mechanisms of communication, knowledge, and individual behavior/actions. In support of a more holistic inquiry, this study incorporates a Foucauldian perspective of power along with an ethnographical methodology and methods to build a greater understanding of power in policing organizations. This ethnography of an American policing organization illuminates the relationship between the exercise of power and the objectification of the subject through the interplay of relationships of communication, goal oriented activities, and relationships of power. Specifically, the findings demonstrate that sworn officers and civilian employees are objectified distinctly and dissimilarly. In summary, this study argues that the exercise of power in this American policing organization objectifies the civilian employee as a second class citizen.
ContributorsBentley, Paul C (Author) / Catlaw, Thomas (Thesis advisor) / Musheno, Michael (Committee member) / Lucio, Joanna (Committee member) / Arizona State University (Publisher)
Created2013
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
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
Embodied Continuity documents the methodology of Entangled/Embraced, a dance performance piece presented December, 2011 and created as an artistic translation of research conducted January-May, 2011 in the states of Karnataka and Kerala, South India. Focused on the sciences of Ayurveda, Kalaripayattu and yoga, this research stems from an interest in body-mind connectivity, body-mind-environment continuity, embodied epistemology and the implications of ethnography within artistic practice. The document begins with a theoretical grounding covering established research on theories of embodiment; ethnographic methodologies framing research conducted in South India including sensory ethnography, performance ethnography and autoethnography; and an explanation of the sciences of Ayurveda, Kalaripayattu and yoga with a descriptive slant that emphasizes concepts of embodiment and body-mind-environment continuity uniquely inherent to these sciences. Following the theoretical grounding, the document provides an account of methods used in translating theoretical concepts and experiences emerging from research in India into the creation of the Entangled/Embraced dance work. Using dancer and audience member participation to inspire emergent meanings and maintain ethnographic consciousness, Embodied Continuity demonstrates how concepts inspiring research interests, along with ideas emerging from within research experiences, in addition to philosophical standpoints embedded in the ethnographic methodologies chosen to conduct research, weave into the entire project of Entangled/Embraced to unite the phases of research and performance, ethnography and artistry.
ContributorsRamsey, Ashlee (Author) / Vissicaro, Pegge (Thesis advisor) / Standley, Eileen (Committee member) / Dove, Simon (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsMatthews, Eyona (Performer) / Yoo, Katie Jihye (Performer) / Roubison, Ryan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
Description
Over the past few decades, businesses globally have advanced in incorporating the principles of sustainability as they strive to align economic outcomes with growing and complex social and environmental demands and opportunities. This transition is conditioned by the maturity, scale, and geographical location of a business (among other factors), with particular challenges placed on small enterprises in middle- to low-income communities. Within this context, the overarching research question of this dissertation is why and how business incubation processes may foster sustainable enterprises at the middle and base of the socioeconomic pyramid (MoP/BoP). To explore this question, in this project I used as a case study the experience of a network of social business incubators operated by Tecnologico de Monterrey, a private, non-profit, multi-campus university system in Mexico. Centering on its campus in Guadalajara and in order to understand if and how MoP/BoP businesses address sustainability, I developed a current state assessment of incubator processes, analyzing during two semesters the activities of incubated entrepreneurs and their goals, motivations, and outcomes. The general expectation at the outset of the study was that Tec's social business incubation process, in both its design and implementation, focuses on the economic viability and outcomes of incubated projects and hence does not promote entrepreneur commitment to sustainability goals and practices. The general approach of the research project involved a qualitative, in-depth ethnographic assessment of participants. Data were collected by means of the following research tools: (a) archival and documentary review, (b) participant observation, (c) surveys of participants (entrepreneurs and advisors/mentors), and (d) semi-structured interviews of participants. The overall design of the research was inspired by the transitions management approach and by the intervention research method, while qualitative results were assessed under the grounded theory approach. Results of the research are reported under three general categories: (a) analysis of entrepreneur goals, motivations, and outcomes, (b) identification of social and environmental opportunities, and (c) review of the role of social networks and broader support structures. While results confirmed the general expectation of the study, it was possible to establish (based on the interaction with the entrepreneurs and other actors) that there is both interest and commitment to identify and explore opportunities in social and environmental issues. Thus, the dissertation concludes with a proposal for potential future interventions in this social incubator, exploring a new vision and strategies for a transition to a more sustainability-oriented approach. Finally, key recommendations define the most critical elements of an agenda for transition in the social incubation process at Campus Guadalajara and provide input for other efforts.
ContributorsWood, Mark Williams (Author) / Redman, Charles L. (Thesis advisor) / Wiek, Arnim (Committee member) / Basile, George M (Committee member) / Arizona State University (Publisher)
Created2014
Description
Museums are gaining increasing attention throughout the world for their ability to foster social inclusion, intercultural dialogue, and collaboration in practices of heritage management, exhibition, and interpretation. This dissertation aims to contribute a critical perspective on museums as agents of social change through an exploration of new museological practices in contemporary China. Through an ethnography of the ecomuseum, I unravel the assumptions and expectations of implementing a Western concept based on notions of community participation, empowerment, and the democratization of heritage in the context of a transforming China.
In my ethnographic account of the multifaceted politics faced by ecomuseums, I question how power and authority are mediated through these civic institutions and how central aspects of museum and heritage practices are being redressed in Chinese society. This study exposes how ecomuseums in China are a result of global processes and positioned as part of a heritage protection movement and museum development boom to promote cultural nationalism, a "civilized" China, and state edicts of rural development in impoverished ethnic minority regions. Detailing the implications of government-led ecomuseum development in ethnic villages in southwest China, and the specific case of Huaili ecomuseum, in Guangxi, I interrogate the institutionalization of heritage and cultural landscapes through processes of exhibition, museumification, and the revaluing of culture. I explore the ecomuseum as a social space of cross-cultural encounter and friction through which local actors grapple with conditions of cultural governance and the entanglements cultural difference and a national heritage discourse. In my critical analysis of collected ethnographic narratives over 15 months of fieldwork from state-directed interest groups, Chinese technocrats, and villager informants involved in the institutionalization of heritage, I present the complex arrangements and interactions that take place through the ecomuseum context and how subject positionalities shift and claims to heritage, identity, and voice are negotiated, regulated, and contested. This study contributes to the anthropology of China and museum and heritage studies, and aims to push new directions in the study of community heritage and museums, in offering a critical perspective of the political nature of ecomuseums in non-Western contexts, such as China.
In my ethnographic account of the multifaceted politics faced by ecomuseums, I question how power and authority are mediated through these civic institutions and how central aspects of museum and heritage practices are being redressed in Chinese society. This study exposes how ecomuseums in China are a result of global processes and positioned as part of a heritage protection movement and museum development boom to promote cultural nationalism, a "civilized" China, and state edicts of rural development in impoverished ethnic minority regions. Detailing the implications of government-led ecomuseum development in ethnic villages in southwest China, and the specific case of Huaili ecomuseum, in Guangxi, I interrogate the institutionalization of heritage and cultural landscapes through processes of exhibition, museumification, and the revaluing of culture. I explore the ecomuseum as a social space of cross-cultural encounter and friction through which local actors grapple with conditions of cultural governance and the entanglements cultural difference and a national heritage discourse. In my critical analysis of collected ethnographic narratives over 15 months of fieldwork from state-directed interest groups, Chinese technocrats, and villager informants involved in the institutionalization of heritage, I present the complex arrangements and interactions that take place through the ecomuseum context and how subject positionalities shift and claims to heritage, identity, and voice are negotiated, regulated, and contested. This study contributes to the anthropology of China and museum and heritage studies, and aims to push new directions in the study of community heritage and museums, in offering a critical perspective of the political nature of ecomuseums in non-Western contexts, such as China.
ContributorsNitzky, William (Author) / Hjorleifur Jonsson (Thesis advisor) / Isaac, Gwyneira (Thesis advisor) / Tsuda, Takeyuki (Committee member) / Eder, James (Committee member) / Arizona State University (Publisher)
Created2014