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Description
The Cave Creek Complex fires of June and July of 2005 north of Phoenix, Arizona, U.S.A. burned 248,310 acres of Sonoran desert, primarily on the Tonto National Forest, USFS. The fires consumed multiple stands of the keystone species Carnegiea gigantea, the saguaro cactus. Restoration efforts in late spring 2007 involved the monitoring of 200 transplanted saguaro cacti over a two year period for overall establishment and success. Observation of local saguaro distribution suggests that soil factors might influence saguaro growth. Therefore, soil samples were collected from each transplant location and analyzed for percentage coarse fragments, texture, pH and electrical conductivity as soil collection and analysis of these variables are relatively inexpensive and expedient. Regression analysis was used to determine which, if any of these soil characteristics significantly correlated with plant growth. The results of this study found significant correlation between saguaro transplant growth and the soil variables of clay content and pH, but no correlation between saguaro growth and coarse fragment percentages or electrical conductivity.
ContributorsElliott, Todd (Author) / Green, Douglas (Thesis advisor) / Steele, Kelly (Committee member) / Alford, Eddie (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
Description
Following the Restoration of the English monarchy in 1660, musical culture gradually began to thrive under the support of royal patronage and the emerging middle class. The newly crowned Charles II brought with him a love of French music acquired during his time in exile at the court of his cousin, the young Louis XIV. Organ builders, most notably Bernard Smith and Renatus Harris, brought new life to the instrument, drawing from their experience on the Continent to build larger instruments with colorful solo stops, offering more possibilities for performers and composers. Although relatively few notated organ works survive from the Restoration period, composers generated a niche body of organ repertoire exploring compositional genres inspired by late 17th-century English instruments.
The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.
The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.
ContributorsWhitten, Emma (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Worldwide, riverine floodplains are among the most endangered landscapes. In response to anthropogenic impacts, riverine restoration projects are considerably increasing. However, there is a paucity of information on how riparian rehabilitation activities impact non-avian wildlife communities. I evaluated herpetofauna abundance, species richness, diversity (i.e., Shannon and Simpson indices), species-specific responses, and riparian microhabitat characteristics along three reaches (i.e., wildland, urban rehabilitated, and urban disturbed) of the Salt River, Arizona. The surrounding uplands of the two urbanized reaches were dominated by the built environment (i.e., Phoenix metropolitan area). I predicted that greater diversity of microhabitat and lower urbanization would promote herpetofauna abundance, richness, and diversity. In 2010, at each reach, I performed herpetofauna visual surveys five times along eight transects (n=24) spanning the riparian zone. I quantified twenty one microhabitat characteristics such as ground substrate, vegetative cover, woody debris, tree stem density, and plant species richness along each transect. Herpetofauna species richness was the greatest along the wildland reach, and the lowest along the urban disturbed reach. The wildland reach had the greatest diversity indices, and diversity indices of the two urban reaches were similar. Abundance of herpetofauna was approximately six times lower along the urban disturbed reach compared to the two other reaches, which had similar abundances. Principal Component Analysis (PCA) reduced microhabitat variables to five factors, and significant differences among reaches were detected. Vegetation structure complexity, vegetation species richness, as well as densities of Prosopis (mesquite), Salix (willow), Populus (cottonwood), and animal burrows had a positive correlation with at least one of the three herpetofauna community parameter quantified (i.e., herpetofauna abundance, species richness, and diversity indices), and had a positive correlation with at least one herpetofauna species. Overall, rehabilitation activities positively influenced herpetofauna abundance and species richness, whereas urbanization negatively influenced herpetofauna diversity indices. Based on herpetofauna/microhabitat correlations established, I developed recommendations regarding microhabitat features that should be created in order to promote herpetofauna when rehabilitating degraded riparian systems. Recommendations are to plant vegetation of different growth habit, provide woody debris, plant Populus, Salix, and Prosopis of various ages and sizes, and to promote small mammal abundance.
ContributorsBanville, Mélanie Josianne (Author) / Bateman, Heather L (Thesis advisor) / Brady, Ward (Committee member) / Stromberg, Juliet (Committee member) / Arizona State University (Publisher)
Created2011
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
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26