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- Genre: Academic theses
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
This dissertation analyzes two regional systems of involuntary servitude (Indian captive slavery and Mexican debt peonage) over a period spanning roughly two centuries. Following a chronological framework, it examines the development of captive slavery in the Southwest beginning in the early 1700s and lasting through the mid-1800s, by which time debt peonage emerged as a secondary form of coerced servitude that augmented Indian slavery in order to meet increasing demand for labor. While both peonage and captive slavery had an indelible impact on cultural and social systems in the Southwest, this dissertation places those two labor systems within the context of North American slavery and sectional agitation during the antebellum period. The existence of debt bondage and Indian captivity in New Mexico had a significant impact on America's judicial and political institutions during the Reconstruction era.
Debt peonage and Indian slavery had a lasting influence on American politics during the period 1846 to 1867, forcing lawmakers to acknowledge the fact that slavery existed in many forms. Following the Civil War, legislators realized that the Thirteenth Amendment did not cast a wide enough net, because peonage and captive slavery were represented as voluntary in nature and remained commonplace throughout New Mexico. When Congress passed a measure in 1867 explicitly outlawing peonage and captive slavery in New Mexico, they implicitly acknowledged the shortcomings of the Thirteenth Amendment. The preexistence of peonage and Indian slavery in the Southwest inculcated a broader understanding of involuntary labor in post-Civil War America and helped to expand political and judicial philosophy regarding free labor. These two systems played a crucial role in America's transition from free to unfree labor in the mid-1800s and contributed to the judicial and political frameworks that undermined slavery.
Debt peonage and Indian slavery had a lasting influence on American politics during the period 1846 to 1867, forcing lawmakers to acknowledge the fact that slavery existed in many forms. Following the Civil War, legislators realized that the Thirteenth Amendment did not cast a wide enough net, because peonage and captive slavery were represented as voluntary in nature and remained commonplace throughout New Mexico. When Congress passed a measure in 1867 explicitly outlawing peonage and captive slavery in New Mexico, they implicitly acknowledged the shortcomings of the Thirteenth Amendment. The preexistence of peonage and Indian slavery in the Southwest inculcated a broader understanding of involuntary labor in post-Civil War America and helped to expand political and judicial philosophy regarding free labor. These two systems played a crucial role in America's transition from free to unfree labor in the mid-1800s and contributed to the judicial and political frameworks that undermined slavery.
ContributorsKiser, William S., 1986- (Author) / Fixico, Donald L. (Thesis advisor) / Simpson, Brooks (Committee member) / Schermerhorn, Calvin (Committee member) / Lockard, Joe (Committee member) / Arizona State University (Publisher)
Created2016
Description
This dissertation seeks to understand two universal experiences that have pervaded human society since man first climbed out of the trees: violence and trauma. Using theories gleaned from the Holocaust and other twentieth century atrocities, this work explores narratives of violent action and traumatic reaction as they occurred among peoples of the nineteenth-century American Southwest. By examining the stories of individuals and groups of Apaches, Ethnic Mexicans, Euro-Americans, and other diverse peoples within the lens of trauma studies, a new narrative emerges within US-Mexico borderlands history. This narrative reveals inter-generational legacies of violence among cultural groups that have lived through trauma and caused trauma within others. For both victims and perpetrators alike, trauma and violence can transform into tools of cultural construction and adaptation.
Part I of this work establishes the concept of ethnotrauma-- a layered experience of collective trauma among minority populations under racial persecution. By following stories of Mescalero, Chiricahua, and Warm Springs Apaches in the nineteenth-century Southwest, this dissertation reveals how Apaches grappled with ethnotrauma through generations during times of war, imprisonment, and exile. These narratives also reveal how Apaches overcame these legacies of pain through communal solidarity and cultural continuity. Part II explores the concept of perpetrator trauma. By following stories of Mexican norteños, Mexican-Americans on the US-Mexico border, and American settlers, the impact of trauma on violators also comes to light. The concept perpetrator trauma in this context denotes the long-term cultural impacts of committing violence among perpetrating communities. For perpetrating groups, violence became a method of affirming and, in some cases, reconstructing group identity through opposition to other groups. Finally, at the heart of this work stands two critical symbols-- Geronimo, victim and villain, and the land itself, hostile and healing-- that reveal how cycles of violence entangled ethnotrauma and perpetrator trauma within individuals struggling to survive and thrive in a savage land.
Part I of this work establishes the concept of ethnotrauma-- a layered experience of collective trauma among minority populations under racial persecution. By following stories of Mescalero, Chiricahua, and Warm Springs Apaches in the nineteenth-century Southwest, this dissertation reveals how Apaches grappled with ethnotrauma through generations during times of war, imprisonment, and exile. These narratives also reveal how Apaches overcame these legacies of pain through communal solidarity and cultural continuity. Part II explores the concept of perpetrator trauma. By following stories of Mexican norteños, Mexican-Americans on the US-Mexico border, and American settlers, the impact of trauma on violators also comes to light. The concept perpetrator trauma in this context denotes the long-term cultural impacts of committing violence among perpetrating communities. For perpetrating groups, violence became a method of affirming and, in some cases, reconstructing group identity through opposition to other groups. Finally, at the heart of this work stands two critical symbols-- Geronimo, victim and villain, and the land itself, hostile and healing-- that reveal how cycles of violence entangled ethnotrauma and perpetrator trauma within individuals struggling to survive and thrive in a savage land.
ContributorsWatkinson, Margery Hunt (Author) / Fixico, Donald (Thesis advisor) / Cichopek-Gajraj, Anna (Committee member) / Meeks, Eric (Committee member) / Arizona State University (Publisher)
Created2020