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Description
The relations among internalization of the U.S. sociocultural standard of the ideal male body image, male body dissatisfaction, and behavioral and psychological outcomes of male body dissatisfaction were examined in a sample of 215 ethnically diverse male college students. Concerns regarding accurate assessment of male body dissatisfaction were addressed. Structural equation modeling was utilized to identify the relations among the internalization of the sociocultural ideal male body image, male body dissatisfaction (as measured by the Male Body Attitudes Scale, MBAS; Tylka, Bergeron, & Schwartz, 2005), and behavioral and psychological outcomes. Results demonstrated that internalization of specific aspects of the ideal male body (lean and muscular) predicted corresponding components of male body dissatisfaction (lean and muscular). Further, each component of male body dissatisfaction was related to distinct behavioral and psychological outcomes. Implications for clinical practice and research were discussed.
ContributorsPoloskov, Elizabeth (Author) / Tracey, Terence J.G. (Thesis advisor) / Robinson Kurpius, Sharon (Committee member) / Arciniega, G. Miguel (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
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
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
Masculinity has been increasingly recognized as a critical and relatively unexplored area of inquiry in anthropological gender studies. This project seeks to expand anthropological research on masculinity to contemporary American society. Using the case study of a male-centered popular new sport, Mixed Martial Arts (also known as cagefighting) this project integrates theories of embodiment and feminist perspectives to explore how masculinity and masculine hegemony are shaped, contested, and perpetuated in the United States. Using a multi-level framework this project explores: 1) How is masculinity experienced and expressed by Mixed Martial Arts fighters as a form of self-identity? How do their bodies play a role in constructing masculinity? 2) What are the pervasive forms of masculinity associated with Mixed Martial Arts (MMA)? Are they truly representative of the sport? 3) Can these pervasive forms of masculinity be seen as hegemonic? How would hegemony operate in relation to individual experience? Using multiple methods to capture multiple points of view was critical to thoroughly examining the complex notion of masculinity. This study employed participant observation, semi-structured interviews, focus groups, surveys, photo elicitation, and media content analysis, as each presented particular benefits and allowed for the development a more well-rounded understanding of masculinity within the realm of MMA. This study also situates the rise of MMA and its representations of masculinity within the greater perspective of contemporary American society. By doing so reveals how ideologies of prescribed masculinity do not arise out of a vacuum but in relation to particular economic, social and political contexts. An emphasis of this study was to examine the daily lives of MMA fighters to understand how their participation in what may be regarded as a hypermasculine activity affects their own perceptions of masculinity. In looking at how masculinity is embodied, the gaps and often contradictions between representation and individual experiences are revealed. Ultimately, the goal of this research is to contribute to a better understanding of masculinity as both an embodied and relational construct.
ContributorsHolthuysen, Jaime (Author) / Hjorleifur Jonsson (Thesis advisor) / Tsuda, Takeyuki (Committee member) / Ballestero-Salaverry, Andrea (Committee member) / Arizona State University (Publisher)
Created2011
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