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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
Description
Climate and its influence on hydrology and weathering is a key driver of surface processes on Earth. Despite its clear importance to hazard generation, fluvial sediment transport and erosion, the drawdown of atmospheric CO2 via the rock cycle, and feedbacks between climate and tectonics, quantifying climatic controls on long-term erosion rates has proven to be one of the grand problems in geomorphology. In fact, recent attempts addressing this problem using cosmogenic radionuclide (CRN) derived erosion rates suggest very weak climatic controls on millennial-scale erosion rates contrary to expectations. In this work, two challenges are addressed that may be impeding progress on this problem.
The first challenge is choosing appropriate climate metrics that are closely tied to erosional processes. For example, in fluvial landscapes, most runoff events do little to no geomorphic work due to erosion thresholds, and event-scale variability dictates how frequently these thresholds are exceeded. By analyzing dense hydroclimatic datasets in the contiguous U.S. and Puerto Rico, we show that event-scale runoff variability is only loosely related to event-scale rainfall variability. Instead, aridity and fractional evapotranspiration (ET) losses are much better predictors of runoff variability. Importantly, simple hillslope-scale soil water balance models capture major aspects of the observed relation between runoff variability and fractional ET losses. Together, these results point to the role of vegetation water use as a potential key to relating mean hydrologic partitioning with runoff variability.
The second challenge is that long-term erosion rates are expected to balance rock uplift rates as landscapes approach topographic steady state, regardless of hydroclimatic setting. This is illustrated with new data along the Main Gulf Escarpment, Baja, Mexico. Under this conceptual framework, climate is not expected to set the erosion rate, but rather the erosional efficiency of the system, or the steady-state relief required for erosion to keep up with tectonically driven uplift rates. To assess differences in erosional efficiency across landscapes experiencing different climatic regimes, we contrast new CRN data from tectonically active landscapes in Baja, Mexico and southern California (arid) with northern Honduras (very humid) alongside other published global data from similar hydroclimatic settings. This analysis shows how climate does, in fact, set functional relationships between topographic metrics like channel steepness and long-term erosion rates. However, we also show that relatively small differences in rock erodibility and incision thresholds can easily overprint hydroclimatic controls on erosional efficiency motivating the need for more field based constraints on these important variables.
The first challenge is choosing appropriate climate metrics that are closely tied to erosional processes. For example, in fluvial landscapes, most runoff events do little to no geomorphic work due to erosion thresholds, and event-scale variability dictates how frequently these thresholds are exceeded. By analyzing dense hydroclimatic datasets in the contiguous U.S. and Puerto Rico, we show that event-scale runoff variability is only loosely related to event-scale rainfall variability. Instead, aridity and fractional evapotranspiration (ET) losses are much better predictors of runoff variability. Importantly, simple hillslope-scale soil water balance models capture major aspects of the observed relation between runoff variability and fractional ET losses. Together, these results point to the role of vegetation water use as a potential key to relating mean hydrologic partitioning with runoff variability.
The second challenge is that long-term erosion rates are expected to balance rock uplift rates as landscapes approach topographic steady state, regardless of hydroclimatic setting. This is illustrated with new data along the Main Gulf Escarpment, Baja, Mexico. Under this conceptual framework, climate is not expected to set the erosion rate, but rather the erosional efficiency of the system, or the steady-state relief required for erosion to keep up with tectonically driven uplift rates. To assess differences in erosional efficiency across landscapes experiencing different climatic regimes, we contrast new CRN data from tectonically active landscapes in Baja, Mexico and southern California (arid) with northern Honduras (very humid) alongside other published global data from similar hydroclimatic settings. This analysis shows how climate does, in fact, set functional relationships between topographic metrics like channel steepness and long-term erosion rates. However, we also show that relatively small differences in rock erodibility and incision thresholds can easily overprint hydroclimatic controls on erosional efficiency motivating the need for more field based constraints on these important variables.
ContributorsRossi, Matthew (Author) / Whipple, Kelin X (Thesis advisor) / DeVecchio, Duane E (Committee member) / Vivoni, Enrique R (Committee member) / Arrowsmith, J Ramon (Committee member) / Heimsath, Arjun M (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Conceptual change has been a large part of science education research for several decades due to the fact that it allows teachers to think about what students' preconceptions are and how to change these to the correct scientific conceptions. To have students change their preconceptions teachers need to allow students to confront what they think they know in the presence of the phenomena. Students then collect and analyze evidence pertaining to the phenomena. The goal in the end is for students to reorganize their concepts and change or correct their preconceptions, so that they hold more accurate scientific conceptions. The purpose of this study was to investigate how students' conceptions of the Earth's surface, specifically weathering and erosion, change using the conceptual change framework to guide the instructional decisions. The subjects of the study were a class of 25 seventh grade students. This class received a three-week unit on weathering and erosion that was structured using the conceptual change framework set by Posner, Strike, Hewson, and Gertzog (1982). This framework starts by looking at students' misconceptions, then uses scientific data that students collect to confront their misconceptions. The changes in students' conceptions were measured by a pre concept sketch and post concept sketch. The results of this study showed that the conceptual change framework can modify students' preconceptions of weathering and erosion to correct scientific conceptions. There was statistical significant difference between students' pre concept sketches and post concept sketches scores. After examining the concept sketches, differences were found in how students' concepts had changed from pre to post concept sketch. Further research needs to be done with conceptual change and the geosciences to see if conceptual change is an effective method to use to teach students about the geosciences.
ContributorsTillman, Ashley (Author) / Luft, Julie (Thesis advisor) / Middleton, James (Committee member) / Semken, Steven (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
ContributorsLee, Eunhwa (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-17