Matching Items (4)
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- All Subjects: Fine Arts
- All Subjects: Performativity
- Creators: Holbrook, Amy
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 Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings.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
Description
This study focuses on three songs from stage works of Kurt Weill (1900-1950): “September Song” from Knickerbocker Holiday (1938), “Speak Low” from One Touch of Venus (1943), and “Lost in the Stars” from Lost in the Stars (1949). All from Weill’s time in the United States, these songs are adaptable as solos and have become American standards performed in various arrangements and styles of popular music by many different artists.
The first part of this study is a biographical sketch of Weill’s life and music. It is intended to provide context for the three songs by tracing his beginnings as a German composer of stage works with volatile political messages, to his flight to the United States and his emergence as a composer of Broadway successes.
The second part is a commentary on the composition of the three selected songs. The lyrics and musical content are examined to show how Weill’s settings convey the dramatic mood and meaning as well as the specific nuances of the words. Description of the context of these songs explains how they were textually and musically intended to advance the plot and the emotional arc of the dramatic characters. The popularity of these songs endures beyond their original shows, and so there is discussion of how other artists have adapted and performed them, and available recordings are cited.
Weill’s songs, his little masterpieces, have proven to be truly evocative and so attractive to American audiences that they have undergone myriad adaptations. This study seeks to provide the personal and historical background of Kurt Weill’s music and to demonstrate why these three songs in particular have proven to have such lasting appeal.
The first part of this study is a biographical sketch of Weill’s life and music. It is intended to provide context for the three songs by tracing his beginnings as a German composer of stage works with volatile political messages, to his flight to the United States and his emergence as a composer of Broadway successes.
The second part is a commentary on the composition of the three selected songs. The lyrics and musical content are examined to show how Weill’s settings convey the dramatic mood and meaning as well as the specific nuances of the words. Description of the context of these songs explains how they were textually and musically intended to advance the plot and the emotional arc of the dramatic characters. The popularity of these songs endures beyond their original shows, and so there is discussion of how other artists have adapted and performed them, and available recordings are cited.
Weill’s songs, his little masterpieces, have proven to be truly evocative and so attractive to American audiences that they have undergone myriad adaptations. This study seeks to provide the personal and historical background of Kurt Weill’s music and to demonstrate why these three songs in particular have proven to have such lasting appeal.
ContributorsKimball, Abigail S (Author) / May, Judy (Thesis advisor) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT
This study examines the experiences of five women doctoral students in music education. The goal was to gain insight into the important experiences and concerns they encountered during their studies. While the literature on women in other fields indicates that socialization of women to the academy differs from that of their male counterparts, this concern has yet to be addressed in the field of music education.
Participants, selected to show maximum variation in personal and professional characteristics, were women who had previously taught in K-12 settings and who were enrolled in or recently graduated from a doctoral program in music education in the United States. Data were collected primarily through in-depth interviews and photo elicitation, and were analyzed through both individual case and cross-case analyses.
All of the women initially stated gender was not an issue that influenced their doctoral studies, but analysis showed that they had clearly internalized the socially constructed roles and expectations reflected in society, and that those roles and expectation did, indeed, impact their choices and behaviors prior to and during their doctoral studies. Three facets of gender were important, specifically socially constructed roles and expectations for women in both their families and in their doctoral studies, gender performativity related to the male-centered expectations in academia, and the importance of intersectionality. The participants’ doctoral experiences were contextualized not just by their gender, but also by their race/ethnicity, class, sexuality, religion, and age. Analysis supports other researchers’ findings that women doctoral students may have different experiences in their doctoral studies than their male counterparts.
Recommendations for doctoral programs in music education and music teacher educators are provided. This study’s findings suggest further research is needed to investigate the impact of gender balance in doctoral cohort and faculty, amount of teaching experience prior to studies, and educational background or prior research experience on women’s doctoral experiences, as well as the roles of intersectionality and performativity for women in an academic context.
This study examines the experiences of five women doctoral students in music education. The goal was to gain insight into the important experiences and concerns they encountered during their studies. While the literature on women in other fields indicates that socialization of women to the academy differs from that of their male counterparts, this concern has yet to be addressed in the field of music education.
Participants, selected to show maximum variation in personal and professional characteristics, were women who had previously taught in K-12 settings and who were enrolled in or recently graduated from a doctoral program in music education in the United States. Data were collected primarily through in-depth interviews and photo elicitation, and were analyzed through both individual case and cross-case analyses.
All of the women initially stated gender was not an issue that influenced their doctoral studies, but analysis showed that they had clearly internalized the socially constructed roles and expectations reflected in society, and that those roles and expectation did, indeed, impact their choices and behaviors prior to and during their doctoral studies. Three facets of gender were important, specifically socially constructed roles and expectations for women in both their families and in their doctoral studies, gender performativity related to the male-centered expectations in academia, and the importance of intersectionality. The participants’ doctoral experiences were contextualized not just by their gender, but also by their race/ethnicity, class, sexuality, religion, and age. Analysis supports other researchers’ findings that women doctoral students may have different experiences in their doctoral studies than their male counterparts.
Recommendations for doctoral programs in music education and music teacher educators are provided. This study’s findings suggest further research is needed to investigate the impact of gender balance in doctoral cohort and faculty, amount of teaching experience prior to studies, and educational background or prior research experience on women’s doctoral experiences, as well as the roles of intersectionality and performativity for women in an academic context.
ContributorsMeyers, Liza (Author) / Schmidt, Marg (Thesis advisor) / Holbrook, Amy (Committee member) / Stauffer, Sandra (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2017
Description
When discussing gay literature in the French, contemporary sphere, one of the most up
and coming and prominent authors is Édouard Louis. His works’ focus on the realism and
violence of the working class offers a critical and necessary perspective of the gay experience in
modern-day France. While recent in their creation, Louis’ works follow a connecting thread that
is inseparable from other autofiction novels that have a narrator with same sex attractions such as
Annie Ernaux’s Ce qu’ils disent or rien and Didier Eribon’s Retour à Reims. Often commonly
discussed as French LGBT literature, these autofictional works that extend from Gide to Eribon
to now Louis demonstrate how the proposed societal dualities, limitations, and hierarchies
described by philosophers like Michel Foucault and Judith Butler affect homosexual
performativity. Louis’ first novel En finir avec Eddy Bellegueule, published on January 2, 2014,
offers another illustration of this analysis. It specifically describes the metaphysical
(metaphysical being the relationship between the outer stimuli and internal perspective) effects
and constraints of current poverty on homosexual performativity. By analyzing En finir avec
Eddy Bellegueule through this theoretical framework of power and poverty, this thesis adds a
theoretical and intersectional nuance to the narrative voice that current literature focusing on the
novel’s landscape mentions but does not reflect on. I argue that it is important to attach an
autofictional timeline that is necessary to promote and apply future ontological doctrines to this
genre.
ContributorsYanez, Mariano (Author) / Canovas, Frédéric (Thesis director) / Agruss, David (Committee member) / School of International Letters and Cultures (Contributor, Contributor, Contributor, Contributor) / Dean, The College of Liberal Arts and Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05