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Description
Wu Yun (d. 778) was prominent poet at the Tang court. His biography of the Daoist ritualist Lu Xiujing (406-77) can be read on several levels. It functions as a source of information on Lu's life and works, but a reading focused on this alone is insufficient. Conventions of Chinese biography dictate the text is read not just with an eye towards who Lu "really was," but also how he functions as a character fashioned by an author for certain purposes. With this in mind, the reader can learn not just about Lu, but about the audience of the text and the aims of its author. Lu functioned as a model for later Daoist masters and as an exhortation to proper conduct towards them on the part of rulers and elites. Finally, with reference to the work of Michel Foucault and scholars of collective memory, this work can be read as a window onto the world of discourse in early medieval China.
ContributorsSwanger, Timothy (Author) / Bokenkamp, Stephen R. (Thesis advisor) / Aguilera, Miguel A. (Committee member) / West, Stephen H. (Committee member) / Arizona State University (Publisher)
Created2012
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
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
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
The hagiographic comedy written by Tirso de Molina Los lagos de San Vicente (1607) presents the journey of Santa Casilda in search of the cure of an illness in her blood that affects her. Casilda rejects the medical assistance offered to her by Muslim doctors and miraculously she finds the cure in the Christian world. In this quest, the intellectual and theological evolution of the future saint in defense of the Christian faith is presented. This dissertation will study the resources that Tirso de Molina employs to show the rejection and displacement against the Islamic world represented by a series of erotic behaviors that, in the effort of dramatizing these impertinences they are characterized within a second discourse. Tirso de Molina takes advantage of the hagiographic comedy's discourse nature and the baroque's obscure literary characteristics to express his messages. This dissertation will study in detail how the combination of hagiographic theatrical elements with linguistic expressions are used to convey a subversive discourse that therefore suggests the application of queer theory as a frame of reference. As a result of this investigation it is concluded that Tirso de Molina promotes the hagiographic model and in order to contrast the triumph of the moral Catholic world over the immoral Muslim world the play writer makes references to the nefarious sin.
ContributorsMurphy, Anayanci (Author) / Foster, David William (Thesis advisor) / Sanchez, Angel (Committee member) / Acereda, Alberto (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Volek, Emil (Committee member) / Arizona State University (Publisher)
Created2011
Description
This dissertation examines the relationship between secular law and Old and early Middle English hagiography in order to illustrate important culturally determined aspects of early English saints’ lives. The project advances work in two fields of study, cultural readings of hagiography and legal history, by arguing that medieval English hagiographers use historically relevant legal concepts as an appeal to the experience of their readers and as literary devices that work to underscore the paradoxical nature of a saint's life by grounding the narrative in a historicized context. The study begins with a survey of the lexemes signifying theft in the 102 Old English saints’ lives in order to isolate some of the specific ways legal discourse was employed by early English hagiographers. Specialized language to refer to the theft of relics and moral discourse surrounding the concept of theft both work to place these saints lives in a distinctly literal and culturally significant idiom. Picking one of the texts from the survey, the following chapter focuses on Cynewulf’s Juliana and argues that the characterization of the marriage proposal at the center of the poem is intended to appeal to a specific audience: women in religious communities who were often under pressure from aggressive, and sometimes violent, suitors. The next chapter addresses Ælfric of Eynsham’s Lives of Saints and discusses his condemnation of the easy collaboration of secular legal authorities and ecclesiastics in his “Life of Swithun” and his suggestion in the “Life of Basil“ that litigiousness is itself a fundamentally wicked characteristic. Lastly, the project turns to the South English Legendary’s life of Saint Thomas Becket. Rather than a straightforward translation of the Latin source, the South English Legendary life is significant in the poet's inclusion of a composite version of the Constitutions of Clarendon, demonstrating the author's apparent interest in shaping the reception of legal culture for his or her readers and emphasizing the bureaucratic nature of Becket's sanctity. In sum, the study shows that the historicized legal material that appears in early medieval English hagiography functions to ground the biographies of holy men and women in the corporeal world.
ContributorsBolton, William E (Author) / Bjork, Robert E. (Thesis advisor) / Newhauser, Richard G. (Committee member) / Voaden, Rosalynn (Committee member) / Maring, Heather (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsPagano, Caio, 1940- (Performer) / Mechetti, Fabio (Conductor) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Rodrigues, Christiano (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Avanti Festival Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
ContributorsSchuring, Martin (Performer) / Stromberg, Eric (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-08-19
ContributorsDe La Cruz, Nathaniel (Performer) / LoGiudice, Rosa (Contributor) / Tallino, Michael (Performer) / McKinch, Riley (Performer) / Li, Yuhui (Performer) / Armenta, Tyler (Contributor) / Gonzalez, David (Performer) / Jones, Tarin (Performer) / Ryall, Blake (Performer) / Senseman, Stephen (Performer)
Created2018-10-10
Description
This dissertation is a study and translation of the Hereditary Household of the Han Celestial Master (Han tianshi shijia 漢天師世家), a hagiographical account of successive generations of the Zhang family patriarchs of Celestial Masters Daoism (Tianshi dao 天師道) at Dragon and Tiger Mountain (Longhu shan 龍虎山) in Jiangxi province that was compiled in stages between the late fourteenth and early seventeenth centuries. The Zhang family emerged in the late Tang or early Five dynasties period and rose to great prominence and power through the Song, Yuan, and Ming dynasties on the basis of the claim of direct and unbroken lineal descent from Zhang Daoling 張道陵 the ancestral Celestial Master whose covenant with the deified Laozi in 142 C.E. is a founding event of the Daoist religion. In this study I trace the lineal history of the Zhang family as presented in the Hereditary Household in chronological parallel to contrasting narratives found in official histories, epigraphy, and the literary record. This approach affords insight into the polemical nature of the text as an assertion of legitimacy and allows for a demonstration of how the work represents an attempt to create in writing an idealized past in order to win prestige in the present. It also affords the opportunity to scour the historical record in an attempt to ascertain a plausible timeframe for the origin of the movement and to explore the relationship of the Hereditary Household to earlier hagiographic works that may have informed it. This study also contextualizes the Hereditary Household in the post-Tang religious climate of China. In that period the establishment of lineal authenticity and institutional charisma through narratives of descent became a widespread tool of legitimation employed by Buddhists, Daoists, and Confucians in hopes of obtaining imperial recognition and patronage.
ContributorsAmato, Paul (Author) / Bokenkamp, Stephen R (Thesis advisor) / Chen, Huaiyu (Committee member) / Feldhaus, Anne (Committee member) / West, Stephen H. (Committee member) / Arizona State University (Publisher)
Created2016