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Description
This document serves as a discussion of and reflection on the collaborative process of rehearsing and performing arrive, create: a Dance made by Many. My intention for the work was to deconstruct the traditional performance paradigm, focusing on constructing a generous performance atmosphere. During the rehearsal process the cast collectively worked to develop an ensemble dynamic for improvisational dance making. The construct of the performance encouraged the audience to engage with the work, both physically and imaginatively through sensory interaction with objects as well as verbal conversation. This document: recalls my background in dance improvisation; explores the relationship of philosophical and dance-making practices; discusses the process of making and performing the work; discusses research data collected from participants; and reflects on the project as a whole. Topics explored include: phenomenological perspectives, ethics of care, "moving identity", dancers' sense of authorship, transparency of dance work, collaboration, dance filmmaking, and dance improvisation in performance.
ContributorsWall-MacLane, Laurel (Author) / Standley, Eileen (Thesis advisor) / Fitzgerald, Mary (Committee member) / Etheridge Woodson, Stephani (Committee member) / Arizona State University (Publisher)
Created2013
Description
Arnold Schoenberg's 1908-09 song cycle, Das Buch der hängenden Gärten [The Book of the Hanging Gardens], opus 15, represents one of his most decisive early steps into the realm of musical modernism. In the midst of personal and artistic crises, Schoenberg set texts by Stefan George in a style he called "pantonality," and described his composition as radically new. Though stylistically progressive, however, Schoenberg's musical achievement had certain ideologically conservative roots: the composer numbered among turn-of-the-century Viennese artists and thinkers whose opposition to the conventional and the popular--in favor of artistic autonomy and creativity--concealed a reactionary misogyny. A critical reading of Hanging Gardens through the lens of gender reveals that Schoenberg, like many of his contemporaries, incorporated strong frauenfeindlich [anti-women] elements into his work, through his modernist account of artistic creativity, his choice of texts, and his musical settings. Although elements of Hanging Gardens' atonal music suggest that Schoenberg valued gendered-feminine principles in his compositional style, a closer analysis of the work's musical language shows an intact masculinist hegemony. Through his deployment of uncanny tonal reminiscences, underlying tonal gestures, and closed forms in Hanging Gardens, Schoenberg ensures that the feminine-associated "excesses" of atonality remain under masculine control. This study draws upon the critical musicology of Susan McClary while arguing that Schoenberg's music is socially contingent, affected by the gender biases of his social and literary milieux. It addresses likely influences on Schoenberg's worldview including the philosophy of Otto Weininger, Freudian psychoanalysis, and a complex web of personal relationships. Finally, this analysis highlights the relevance of Schoenberg's world and its constructions of gender to modern performance practice, and argues that performers must consider interrelated historical, textual, and musical factors when interpreting Hanging Gardens in new contexts.
ContributorsGinger, Kerry Anne (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mook, Richard (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsRussell, Timothy Wells (Performer) / FitzPatrick, Carole (Performer) / Jones, Isola (Performer) / University Symphony Orchestra (Performer) / Choral Union (Performer) / Concert Choir (Performer) / Herberger Singers (Performer) / Sun Devil Singers (Performer) / University Choir (Performer) / Women's Chorus (Performer) / ASU Library. Music Library (Publisher)
Created2006-04-28
ContributorsSchildkret, David (Conductor) / White, Jamilyn (Performer) / Krison, Danielle (Performer) / Barefield, Robert (Performer) / FitzPatrick, Carole (Performer) / Chamber Singers (Performer) / Choral Union (Performer) / Symphonic Chorale (Performer) / University Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2007-04-26
ContributorsFitzPatrick, Carole (Performer) / Russell, Timothy Wells (Conductor) / University Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2009-10-22
ContributorsFitzPatrick, Carole (Performer) / May, Judy (Performer) / Black, Randall (Performer) / Barefield, Robert (Performer) / Schildkret, David (Conductor) / University Symphony Orchestra (Contributor) / Chamber Singers (Contributor) / Choral Union (Contributor) / Symphonic Chorale (Contributor) / ASU Library. Music Library (Publisher)
Created2009-04-30
Description
Temporal Mandibular Joint Disorder (TMD) and Muscle Tension Dysphonia (MTD) are presently two of the most common vocal disorders in the world. These disorders can wreak havoc in anyone’s life; but are incredibly destructive in the lives of singers. When a classically-trained singer begins to notice problems in his or her voice, they typically go to their favored Professional Voice Instructor (PVI) for help. However, not all PVIs are familiar with these disorders and their symptoms, and what starts as a sincere wish to help their student can end with injury instead. This study surveys PVIs to determine what they know and do not know about TMD and MTD and if they have worked with medical professionals -- otolaryngologists and Speech Language Pathologists (SLP) - to assist their students. The study poses the questions of how prevalent the knowledge and treatments of TMD and MTD are with PVIs and how open PVIs are to ongoing education about these disorders. Included in this document is a brief summary of each disorder with illustrations as well as opinions from a Speech Language Pathologist.
ContributorsOsman, Amanda Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Knowles, Kristina (Committee member) / Mills, Robert (Committee member) / Workmon-Larsen, Megan (Committee member) / Arizona State University (Publisher)
Created2023
ContributorsRussell, Timothy Wells (Conductor) / FitzPatrick, Carole (Performer) / Roderer, Jennifer (Performer) / Courtemanche, Kevin (Performer) / Volpe, Peter (Performer) / University Symphony Orchestra (Performer) / Choral Union (Performer) / Chamber Singers (Performer) / Symphonic Chorale (Performer) / Men's Chorus (Performer) / Women's Chorus (Performer) / ASU Library. Music Library (Publisher)
Created2008-04-25
Description
The purpose of this study was to: (1) record and describe a brief history of the life and career of Bolivian composer Dr. Nicolás Suárez Eyzaguirre, and (2) write an analysis from a vocal performer's perspective of Suárez's song cycle for soprano and piano, Monólogos del Desierto, with texts by Dr. Guillermo Mariaca Iturri.
In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper.
In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper.
ContributorsStanford, Allison (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
Guided by Clifford Geertz's notion of culture as symbolic stories people tell themselves about themselves, the purpose of this study is to examine how youth in an urban area of Phoenix, AZ experience collectively creating and performing original documentary theatre. I pay attention to the ways youth participants--also known as artist-researchers--construct, perform, and/or perceive their identities as they practice drama techniques including improvisation, physical theatre, and Theatre of the Oppressed for the purposes of making docutheatre for social justice. First the artist-researchers chose the topics for their play. Next, they learned and applied drama and research skills to gather and examine data sources used to construct a script that explores hiding and exposure. In the process of sharing and gathering true stories our unique docutheatre-making culture was created. This multimodal qualitative research case study draws upon the genres of arts-based research and visual ethnography as primary modes of data collection and interpretation. Narrative description and the ethnodramatic mode of representation are used in conjunction with still images and this study's companion website (www.meant2see.com) to report research findings. Primary data sources include participant observation fieldnotes, over twenty hours of recorded video footage, photographs, and the project's original script and performance of To Be What's Not Meant to See . Further data include journal entries, drawings, and social media. All data were coded using In Vivo and Process Coding methods and analyzed through a cultural studies lens. Codes were sorted into phenomenological categories representative of recurring ideas and themes. Assertions were then solidified once specific key linkages were constructed. This study's key assertions are: Key Assertion 1: Participation in devising documentary social justice theatre influences and affects the construction, perception, and/or performance of urban youth identities through profound connections made with interviewees during the interview process and through the collection of true stories that provide new information and rare opportunities for self-reflection and self-realization; Key Assertion 2: Portions of the roles urban youth play in their identity narratives are disguised or hidden--purposefully, reluctantly, and/or subconsciously--in order to appeal to friends, families, or the codes of dominant culture.
ContributorsGiannone, Enza (Author) / Saldana, Johnny (Thesis advisor) / Etheridge Woodson, Stephani (Committee member) / Margolis, Eric (Committee member) / Arizona State University (Publisher)
Created2014