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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
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Description
This project explores the function of art pedagogy as a tool for social justice, especially for youth. As a student pursuing the study of both education and social justice, the experience I've had in my life with art is hugely connected with these themes. In this exploratory project, I examined

This project explores the function of art pedagogy as a tool for social justice, especially for youth. As a student pursuing the study of both education and social justice, the experience I've had in my life with art is hugely connected with these themes. In this exploratory project, I examined different creative youth development programs through the perspectives of art educators, exploring how, pedagogically, they contribute to the formation of social justice in the communities and students they serve through the teaching and creation of art. I began with the research question, how do different creative youth development contribute to social justice in the communities and students they serve using art as a pedagogical approach? My goal in asking this question was to develop a picture of the art pedagogies employed in these programs, and their relation to the broader topic of social justice. Then, after reviewing the literature related to this topic, which is outlined in the next section, I identified three components of social justice related to art education: self expression, cultural identity exploration, and critical engagement. All of these concepts emerged time and time again when reviewing literature about art education and youth, and also art and social justice. Focusing on these concepts, I explored the question of how these components of social justice are explored in particular creative youth development programs. My goal in asking these questions is to develop a picture of the art pedagogies employed in these programs, and their relation to the broader topic of social justice. In order to ask these questions, it was important I access the art educators behind art programs whose impact is connected to art and social justice. Through their perspectives, I was able to gain incite about the design, implementation, and outcomes of art pedagogy. I found that these programs, in employing art pedagogies, were powerful tools in helping youth connect to themselves and their communities, aiding in the production of social justice.
ContributorsFarrier, Merry Elise (Author) / Swadener, Elizabeth (Thesis director) / Gonzales, Vanna (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor) / Division of Teacher Preparation (Contributor)
Created2015-05
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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

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