Matching Items (621)
Filtering by
- All Subjects: Clarinet and piano music
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
Description
The &ldquoMormon; Colonies” in Chihuahua, northern Mexico, boast a sizable population of women originally from the United States who have immigrated to these small Mexican towns. This ethnographic study of the immigrant women in the area focuses on questions of citizenship and belonging, and bolsters the scholarship on U.S. American immigrants in Mexico. Using data from 15 unstructured interviews, the women&rsquos; experiences of migration provide a portrait of U.S. American immigrants in a Mexican religious community. Analysis of this data using grounded theory has revealed that these U.S. American women have created a third social space for themselves, to a large degree retaining their original culture, language, and political loyalty. Their stories contribute to the literature on transnational migration, providing an account of the way migrants of privilege interact with their society of settlement.
ContributorsNielsen, Vanessa (Author) / Mean, Lindsey (Thesis advisor) / Téllez, Michelle (Committee member) / Gruber, Diane (Committee member) / Arizona State University (Publisher)
Created2013
Description
Owen Middleton (b. 1941) enjoys an established and growing reputation as a composer of classical guitar music, but his works for piano are comparatively little known. The close investigation offered here of Middleton's works for piano reveals the same impressive craftsmanship, compelling character, and innovative spirit found in his works for guitar. Indeed, the only significant thing Middleton's piano music currently lacks is the well-deserved attention of professional players and a wider audience. Middleton's piano music needs to be heard, not just discussed, so one of this document's purposes is to provide a recorded sample of his piano works. While the overall repertoire for solo piano is vast, and new works become established in that repertoire with increasing difficulty, Middleton's piano works have a significant potential to find their way into the concert hall as well as the private teaching studio. His solo piano music is highly effective, well suited to the instrument, and, perhaps most importantly, fresh sounding and truly original. His pedagogical works are of equal value. Middleton's piano music offers something for everyone: there one finds daring virtuosity, effusions of passion, intellectual force, colorful imagery, poetry, humor, and even a degree of idiomatic innovation. This study aims to reveal key aspects of the composer's musical style, especially his style of piano writing, and to provide pianists with helpful analytical, technical, and interpretive insights. These descriptions of the music are supported with recorded examples, selected from the works for solo piano written between 1962 and 1993: Sonata for Piano, Childhood Scenes, Katie's Collection, and Toccata for Piano. The complete scores of the recorded works are included in the appendix. A chapter briefly describing the piano pieces since 1993 concludes the study and invites the reader to further investigations of this unique and important body of work.
ContributorsMoreau, Barton Andrew (Author) / Hamilton, Robert (Thesis advisor) / Holbrook, Amy (Committee member) / Campbell, Andrew (Committee member) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsBurton, Charlotte (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-08
Description
This dissertation examines U. S. American intergenerational witnesses to the Holocaust, particularly how addressees turned addressors maintain an ethical obligation to First Generation witnesses while creating an affective relation to this history for new generations. In response to revisionism and the incommunicability of the Holocaust, a focus on (accurate) First Generation testimony emerged that marginalizes that of intergenerational witnesses. The risk of such a position is that it paralyzes language, locking the addressee into a movement always into the past. Using examples of intergenerational witnesses (moving from close to more distant relationships), this project argues that there is a possibility for ethical intergenerational response. There are two major discussion arcs that the work follows: self-reflexivity and the use of the Banality of Evil as a theme. Self-reflexivity in intergenerational witnessing calls attention to the role of the author as transgenerational witness, an act that does not seek to appropriate the importance or position of the Holocaust survivor because it calls attention to a subjective site in relation to the survivor and the communities of memory created within the text. The other major discussion arc moves from traditional depictions of the Banality of Evil to ones that challenge the audience to consider the way evil is conceptualized after the Holocaust and its implications in contemporary life. In these ways, intergenerational witnesses move from addressee to addressors, continuing to stress the importance of this history through the imperative to pass Holocaust testimony onward into the future.
ContributorsDean, Sarah C (Author) / Foster, David W (Thesis advisor) / Sadowski-Smith, Claudia (Committee member) / Reyes, Angelita (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsDruesedow, Elizabeth (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Ambivalent Blood examines the unsettled status of religious language in the semiotic construction of HIV/AIDS in America. Since public discourse about HIV/AIDS began in 1981, a variety of religious grammars have been formulated, often at cross-purposes, to assign meaning to the epidemic. The disease's complex interaction with religion has been used to prophesize looming apocalypses, both religious and national, demand greater moral solicitude among the citizenry, forge political advantage within America's partisan political landscape, mobilize empathy and compassion for those stricken by the disease, and construct existential meaning for those who have already been consigned to physical and social death. Several studies fruitfully have explored specific registers of religious discourse and the AIDS epidemic, particularly in regard to processes of social stigmatization and combating its very effects. However, assumptions about the secular aims of scientific inquiry as well as the presumably secular trajectory of American national culture have dampened a more robust consideration of religion within the history of HIV/AIDS. In most synoptic histories of AIDS, religion is constructed as either a wincing footnote to the Religious Right or as an occasional and bland example of salubrious Christian charity posed against the backdrop of disease and death. Ambivalent Blood seeks to extend such analysis beyond a digestible footnote by disinterring the often polysemous and ambivalent interaction of HIV/AIDS and religious discourses within American culture. Though not a historiographic work, the current project illuminates the complicated ways in which religious and HIV/AIDS discourses coalesced around the very definition of America itself. Like the Cold War that preceded and the Global War on Terror that followed, the AIDS crisis precipitated significant and contested recourse to the religious imaginary in the effort to forge conceptions of Americanness and citizen belonging.
ContributorsCleworth, Brandon (Author) / Fessenden, Tracy (Thesis advisor) / Cady, Linell (Committee member) / Martinez, Jacqueline (Committee member) / Arizona State University (Publisher)
Created2012
Description
The performance of Charles Ives's art songs can be challenging to even the most experienced singers, but to beginning singers, they may be even more so, due to such twentieth-century aspects as polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. However, Ives used previously existing material, often familiar hymn tunes, as the foundation for many of his art songs. If beginning students first are exposed to this borrowed material, such as a simple hymn tune, which should be well within even the most experienced singer's comfort range, they can then learn this tune first, as a more simplistic reference point, and then focus on how Ives altered the tunes, rather then having to learn what seems like an entirely new melody. In this way, Ives's art songs can become more accessible to less-experienced singers. This paper outlines a method for researching and learning the borrowed materials in Ives's songs that utilize them, and reviews materials already commonly used by voice teachers to help beginning students learn their music. By combining this method, which focuses on the borrowed materials, with standard practices teachers can then help their beginning students more easily learn and perform Ives's art songs. Four songs, from the set "Four Hymn Tune Settings" by Charles Ives are used to illustrate this method.
ContributorsRuhleder, Kathleen (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Carpenter, Ellon (Committee member) / May, Judy (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT
This dissertation examines contemporary U.S. women writing about war, with primarily women subjects and protagonists, from 1991-2013, in fiction, memoir, and media. The writers situate women at the center of war texts and privilege their voices as authoritative speakers in war, whether as civilians and soldiers trying to survive or indigenous women preparing for the possibility of war. I argue that these authors are rewriting scripts of war to reflect gendered experiences and opening new ways of thinking about war. Women Rewriting Scripts of War argues that Leslie Marmon Silko’s novel Almanac of the Dead juxtaposes an indigenous Story concept against a white industrialized national “Truth,” and indigenous women characters will resort to war if needed to oppose it. Silko’s and the other texts here challenge readers to unseat assumptions about the sovereignty of the U.S. and other countries, about the fixedness of gender, of capitalism, and of how humans relate to each other‒and how we should. I argue in Essay 3 that the script of “the body” or “the soldier” in military service can be expanded by moving toward language and concepts from feminist and queer theory and spectrums of gender and sexuality. This can contribute to positive change for all military members. In each of the texts, there are some similarities in connections with others. Connections enable solidarity for change, possibilities for healing, and survival; indeed, without connections with others to work together, survival is not possible. Changes to established economic structures become necessary for women in Barbara Kingsolver’s novel The Poisonwood Bible; I argue that women engaging in alternative modes of economy subvert the dominant economic constraints, gender hierarchies, and social isolation during and after war in the Congo. In Essay 5, I explore two fictional texts about the U.S. wars in Iraq and Afghanistan, Helen Benedict's novel Sand Queen and Katey Schultz’s short story collection Flashes of War. The connections in these women’s texts about war are not idealized, and they function as the antithesis to the fragmentation and isolation of postmodern texts.
This dissertation examines contemporary U.S. women writing about war, with primarily women subjects and protagonists, from 1991-2013, in fiction, memoir, and media. The writers situate women at the center of war texts and privilege their voices as authoritative speakers in war, whether as civilians and soldiers trying to survive or indigenous women preparing for the possibility of war. I argue that these authors are rewriting scripts of war to reflect gendered experiences and opening new ways of thinking about war. Women Rewriting Scripts of War argues that Leslie Marmon Silko’s novel Almanac of the Dead juxtaposes an indigenous Story concept against a white industrialized national “Truth,” and indigenous women characters will resort to war if needed to oppose it. Silko’s and the other texts here challenge readers to unseat assumptions about the sovereignty of the U.S. and other countries, about the fixedness of gender, of capitalism, and of how humans relate to each other‒and how we should. I argue in Essay 3 that the script of “the body” or “the soldier” in military service can be expanded by moving toward language and concepts from feminist and queer theory and spectrums of gender and sexuality. This can contribute to positive change for all military members. In each of the texts, there are some similarities in connections with others. Connections enable solidarity for change, possibilities for healing, and survival; indeed, without connections with others to work together, survival is not possible. Changes to established economic structures become necessary for women in Barbara Kingsolver’s novel The Poisonwood Bible; I argue that women engaging in alternative modes of economy subvert the dominant economic constraints, gender hierarchies, and social isolation during and after war in the Congo. In Essay 5, I explore two fictional texts about the U.S. wars in Iraq and Afghanistan, Helen Benedict's novel Sand Queen and Katey Schultz’s short story collection Flashes of War. The connections in these women’s texts about war are not idealized, and they function as the antithesis to the fragmentation and isolation of postmodern texts.
ContributorsStamper, Cambria A (Author) / Clarke, Deborah (Thesis advisor) / Hogue, Cynthia (Committee member) / Fonow, Mary Margaret (Committee member) / Arizona State University (Publisher)
Created2015
Description
The purpose of this paper is to explore what can broadly be described as the "American cultural narrative" by investigating and analyzing a particular element of American culture, the tragic play. In this paper, fifth-century Athenian and twentieth-century American tragedies are placed side by side, investigated, and analyzed with the hope of discovering aspects of the genre that are unique to American playwrights and might teach us something about the way in which we, as Americans, are separated culturally from others. The paper begins by analyzing the nature of the tragic genre before detailing how it has played a similar role here in the United States as it played in fifth-century Athens. Then, by analyzing primary texts, I seek to identify those unique aspects of the American form of the genre that reveal new insight into the American cultural narrative. The paper concludes by suggesting that the greatest insight that the tragic genre has to offer is that personal redemption and individualism are unique to American tragedy, suggesting that they might be unique aspects of the American cultural narrative.
ContributorsFernandez, Michael Anthony (Author) / O'Neill, Joseph (Thesis director) / Lynch, John (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05