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- Genre: Masters Thesis
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
Quantifying the temporal and spatial evolution of active continental rifts contributes to our understanding of fault system evolution and seismic hazards. Rift systems also preserve robust paleoenvironmental records and are often characterized by strong climatic gradients that can be used to examine feedbacks between climate and tectonics. In this thesis, I quantify the spatial and temporal history of rift flank uplift by analyzing bedrock river channel profiles along footwall escarpments in the Malawi segment of the East Africa Rift. This work addresses questions that are widely applicable to continental rift settings: (1) Is rift-flank uplift sufficiently described by theoretical elliptical along-fault displacement patterns? (2) Do orographic climate patterns induced by rift topography affect rift-flank uplift or morphology? (3) How do uplift patterns along rift flanks vary over geologic timescales? In Malawi, 100-km-long border faults of alternating polarity bound half-graben sedimentary basins containing up to 4km of basin fill and water depths up to 700m. Orographically driven precipitation produces climatic gradients along footwall escarpments resulting in mean annual rainfall that varies spatially from 800 to 2500 mm. Temporal oscillations in climate have also resulted in lake lowstands 500 m below the modern shoreline. I examine bedrock river profiles crossing the Livingstone and Usisya Border Faults in northern Malawi using the channel steepness index (Ksn) to assess importance of these conditions on rift flank evolution. River profiles reveal a consistent transient pattern that likely preserves a temporal record of slip and erosion along the entire border fault system. These profiles and other topographic observations, along with known modern and paleoenvironmental conditions, can be used to interpret a complete history of rift flank development from the onset of rifting to present. I interpret the morphology of the upland landscape to preserve the onset of extensional faulting across a relict erosion surface. The linkages of individual faults and acceleration of slip during the development of a continuous border fault is suggested by an analysis of knickpoint elevations and Ksn. Finally, these results suggest that the modern observed climate gradient only began to significantly affect denudation patterns once a high relief rift flank was established.
ContributorsRobinson, Scott M (Author) / Heimsath, Arjun M (Thesis advisor) / Whipple, Kelin X (Thesis advisor) / Arrowsmith, Ramon J (Committee member) / Arizona State University (Publisher)
Created2014
Description
The nature of science (NOS) is included in the National Science Education Standards and is described as a critical component in the development of scientifically literate students. Despite the significance of NOS in science education reform, research shows that many students continue to possess naïve views of NOS. Explicit and reflective discussion as an instructional approach is relatively new in the field of research in NOS. When compared to other approaches, explicit instruction has been identified as more effective in promoting informed views of NOS, but gaps in student understanding still exist. The purpose of this study was to deepen the understanding of student learning of NOS through the investigation of two variations of explicit instruction. The subjects of the study were two seventh grade classes taught by the same classroom teacher. One class received explicit instruction of NOS within a plate tectonics unit and the second class received explicit instruction of NOS within a plate tectonics unit plus supporting activities focused on specific aspects of NOS. The instruction time for both classes was equalized and took place over a three week time period. The intention of this study was to see if the additional NOS activities helped students build a deeper understanding of NOS, or if a deep understanding could be formed solely through explicit and reflective discussion within content instruction. The results of the study showed that both classes progressed in their understanding of NOS. When the results of the two groups were compared, the group with the additional activities showed statistically significant gains on two of the four aspects of NOS assessed. These results suggest that the activities may have been valuable in promoting informed views, but more research is needed in this area.
ContributorsMelville, Melissa (Author) / Luft, Julie (Thesis advisor) / Baker, Dale (Committee member) / Brem, Sarah (Committee member) / Arizona State University (Publisher)
Created2011
Description
Meter-resolution topography gathered by LiDAR (Light Detection and Ranging) has become an indispensable tool for better understanding of many surface processes including those sculpting landscapes that record information about earthquake hazards for example. For this reason, and because of the spectacular representation of the phenomena that these data provide, it is appropriate to integrate these data into Earth science educational materials. I seek to answer the following research question: "will using the LiDAR topography data instead of, or alongside, traditional visualizations and teaching methods enhance a student's ability to understand geologic concepts such as plate tectonics, the earthquake cycle, strike-slip faults, and geomorphology?" In order to answer this question, a ten-minute introductory video on LiDAR and its uses for the study of earthquakes entitled "LiDAR: Illuminating Earthquake Hazards" was produced. Additionally, LiDAR topography was integrated into the development of an undergraduate-level educational activity, the San Andreas fault (SAF) earthquake cycle activity, designed to teach introductory Earth science students about the earthquake cycle. Both the LiDAR video and the SAF activity were tested in undergraduate classrooms in order to determine their effectiveness. A pretest and posttest were administered to introductory geology lab students. The results of these tests show a notable increase in understanding LiDAR topography and its uses for studying earthquakes from pretest to posttest after watching the video on LiDAR, and a notable increase in understanding the earthquake cycle from pretest to posttest using the San Andreas Fault earthquake cycle exercise. These results suggest that the use of LiDAR topography within these educational tools is beneficial for students when learning about the earthquake cycle and earthquake hazards.
ContributorsRobinson, Sarah Elizabeth (Author) / Arrowsmith, Ramon (Thesis advisor) / Reynolds, Stephen J. (Committee member) / Semken, Steven (Committee member) / Arizona State University (Publisher)
Created2011
Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016