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DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014
Description
The Zero Tolerance Policy began appearing in secondary schools in the early 1990's. In the late 1980's, crimes committed by juveniles were at an all-time high. Fears that the violence would spill onto campus propelled lawmakers and school officials to take preventative measures. With the creation of the Gun-Free School Zone Act of 1990 and Gun-Free Act of 1994, any individual caught with a weapon on campus would be found in violation of the Act and be punishable by law. In addition to the Acts, School Resource Officers (SROs) became more prominent on campus. SROs were originally on campus to teach drug prevention programs, however SROs began to take on more of a disciplinary role to support the Zero Tolerance Policy. Furthermore, educators began turning towards SROs to handle less serious incidents such as behavioral outbursts. As SROs took a more active role, arrests among students started to rise. Many think this is a direct pathway to our criminal justice system, more commonly known as the school-to-prison pipeline. This pipeline disproportionately affects African Americans. This paper will examine the creation, aims and purpose of the Zero Tolerance Policy as well as what incidents helped create and install the policy. This paper will look at what the Zero Tolerance Policy looks like since it has been enacted. Moreover, there will be a focus on which students are affected the most and if this policy will lead to criminal justice contact in the future. Lastly, alternatives to the Zero Tolerance Policy will be discussed and if the policy can be improved or should it be eliminated.
ContributorsSoto, Tatyana E. (Author) / Sweeten, Gary (Thesis director) / Stolzenberg, Stacia (Committee member) / School of Social Work (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Whenever a text is transmitted, or communicated by any means, variations may occur because editors, copyists, and performers are often not careful enough with the source itself. As a result, a flawed text may come to be accepted in good faith through repetition, and may often be preferred over the authentic version because familiarity with the flawed copy has been established. This is certainly the case with regard to Manuel M. Ponce's guitar editions. An inexact edition of a musical work is detrimental to several key components of its performance: musical interpretation, aesthetics, and the original musical concept of the composer. These phenomena may be seen in the case of Manuel Ponce's Suite in D Major for guitar. The single published edition by Peer International Corporation in 1967 with the revision and fingering of Manuel López Ramos contains many copying mistakes and intentional, but unauthorized, changes to the original composition. For the present project, the present writer was able to obtain a little-known copy of the original manuscript of this work, and to document these discrepancies in order to produce a new performance edition that is more closely based on Ponce's original work.
ContributorsReyes Paz, Ricardo (Author) / Koonce, Frank (Thesis advisor) / Solis, Theodore (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013