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- All Subjects: Songs (High voice) with piano
ContributorsWasbotten, Leia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-30
Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsYi, Joyce (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-22
Description
Wu Yun (d. 778) was prominent poet at the Tang court. His biography of the Daoist ritualist Lu Xiujing (406-77) can be read on several levels. It functions as a source of information on Lu's life and works, but a reading focused on this alone is insufficient. Conventions of Chinese biography dictate the text is read not just with an eye towards who Lu "really was," but also how he functions as a character fashioned by an author for certain purposes. With this in mind, the reader can learn not just about Lu, but about the audience of the text and the aims of its author. Lu functioned as a model for later Daoist masters and as an exhortation to proper conduct towards them on the part of rulers and elites. Finally, with reference to the work of Michel Foucault and scholars of collective memory, this work can be read as a window onto the world of discourse in early medieval China.
ContributorsSwanger, Timothy (Author) / Bokenkamp, Stephen R. (Thesis advisor) / Aguilera, Miguel A. (Committee member) / West, Stephen H. (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsCummiskey, Hannah (Performer) / Kim, Olga (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-23
ContributorsEvans, Emily (Performer) / Sherrill, Amanda (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
Description
This is a comparative study of two advanced ordination rituals, Daoist chuanshou (conferral of ordination rank) and Buddhist abhiṣeka (guanding) in the mid-late Tang and Five Dynasties (763-979). I analyzed a number of not-well-studied Daoist ritual protocols in the early medieval period, and revealed that rituals recast gender and fostered monastic relations. On the other hand, relying on both canonical materials and a manuscript preserved in Japan that recorded an abhiṣeka performed during the Tang dynasty in 839 C.E., I demonstrated how the canonical prescriptions of Indian origin, with modified actions and reinterpreted meaning, were transformed to respond to the Chinese religious and social environment. Having examined the language of the texts and the step of the rituals, I interpreted how these rituals were made sense in their own religious context, and compared their frame, structure, modality, symbol, and meaning.
Ordination rite concerns the transmission of religious knowledge and authority, and the establishment of religious identity. It is in the relationship between the individual body and the community that Daoists and Buddhists found the form of apprenticeship that led to the embodiment of the community. The mastery of religious knowledge within the community––scriptures, register, mantras, and precepts, etc., was known only through the actual ritual practice. In other words, the ritual body became the locus for coordination of all levels of bodily, social, and cosmological experience via the dialectic of objectification and embodiment in the ordination rites. As the ritualized bodies, those who were ordained coherently comprised the community, which in turn remolded them with dynamically and diversely shaped identities.
Ordination rite concerns the transmission of religious knowledge and authority, and the establishment of religious identity. It is in the relationship between the individual body and the community that Daoists and Buddhists found the form of apprenticeship that led to the embodiment of the community. The mastery of religious knowledge within the community––scriptures, register, mantras, and precepts, etc., was known only through the actual ritual practice. In other words, the ritual body became the locus for coordination of all levels of bodily, social, and cosmological experience via the dialectic of objectification and embodiment in the ordination rites. As the ritualized bodies, those who were ordained coherently comprised the community, which in turn remolded them with dynamically and diversely shaped identities.
ContributorsWu, Yang, Ph.D (Author) / Bokenkamp, Stephen (Thesis advisor) / Tillman, Hoyt (Thesis advisor) / Cutter, Robert Joe (Committee member) / Chen, Huaiyu (Committee member) / Arizona State University (Publisher)
Created2019
Description
Religions, following Max Müller, have often been seen by scholars in religious studies as uniform collections of beliefs and practices encoded in stable “sacred books” that direct the conduct of religious actors. These texts were the chief focus of academic students of religion through much of the 20th century, and this approach remains strong in the 21st. However, a growing chorus of dissidents has begun to focus on the lived experience of practitioners and the material objects that structure that experience, and some textual scholars have begun extending this materialist framework to the study of texts. This dissertation is a contribution in that vein from the field of Daoist studies. Now split between two separate texts, the Most High Scripture of the Rectifying Methods of the Three Heavens began as a 4th-century collection of apocalyptic predictions and apotropaic devices designed to deliver a select group of Chinese literati to the heavens of Highest Clarity. Later editors during the early medieval period (ca. 220-589 CE) took one of two paths: for their own reasons, they altered the Rectifying Methods to emphasize either the world’s end or its continuation. Detailed study of these alterations and their contexts shows how individuals and groups used and modified the Rectifying Methods in in ways that challenge the conventional relationship between religious text and religious actor.
ContributorsSwanger, Timothy Charles (Author) / Bokenkamp, Stephen R (Thesis advisor) / Campany, Robert (Committee member) / Chen, Huaiyu (Committee member) / Oh, Young (Committee member) / West, Stephen (Committee member) / Arizona State University (Publisher)
Created2019