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ContributorsWasbotten, Leia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-30
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Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and

Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
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Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility

Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsYi, Joyce (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-22
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Description
ABSTRACT Much of teacher feedback research is conducted in the L1 and L2 contexts. There is a paucity of research about feedback in the Teaching Chinese as a Foreign Language (TCFL) context. Particularly, little is known about teachers' feedback practices and student views of teacher feedback. The present study was

ABSTRACT Much of teacher feedback research is conducted in the L1 and L2 contexts. There is a paucity of research about feedback in the Teaching Chinese as a Foreign Language (TCFL) context. Particularly, little is known about teachers' feedback practices and student views of teacher feedback. The present study was undertaken to fill the research gap by focusing on teachers'written feedback. Student data from surveying 38 students was interpreted with teacher data gained from interviewing three teachers. The findings indicate that teacher written feedback, which occurred in a multiple-draft writing cycle, generally accorded with recommended feedback principles. Students responded favorably to teacher written feedback. The results also reveal discrepancies between teachers' feedback practices and student perceptions of and preferences regarding teacher feedback. The results show that students wanted more written comments from teachers, though most teachers didn't prioritize written comments. Despite teachers' practices and their inclination toward offering coded indirect error correction, students in the study expressed their preferences for direct error correction. Most students are interested in receiving teacher feedback that addresses all aspects of writing rather than primarily focusing on language accuracy. The reasons that may account for the disjuncture are also discussed in the study. The study concludes that it is important for teachers to be aware of student attitudes and expectations regarding teacher feedback. Teachers should be flexible enough to provide individualized feedback. Pedagogical implications are included in the paper in the hope of shedding light on the development of effective and helpful teacher feedback.
ContributorsChen, Jinglin (Author) / Spring, Madeline (Thesis advisor) / Oh, Young (Committee member) / West, Stephen (Committee member) / Arizona State University (Publisher)
Created2012
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Description
This case study explores similarities and differences between the instructors' beliefs about oral corrective feedback and their actual practices in a summer Chinese program. This kind of feedback is beneficial for beginning college-level learners of Chinese to improve their speaking accuracy. The researcher conducted face-to-face interviews with two teachers of

This case study explores similarities and differences between the instructors' beliefs about oral corrective feedback and their actual practices in a summer Chinese program. This kind of feedback is beneficial for beginning college-level learners of Chinese to improve their speaking accuracy. The researcher conducted face-to-face interviews with two teachers of Chinese, focusing on their beliefs about oral corrective feedback in their language classrooms. In addition, the researcher recorded teacher-student interactions through class observation in order to analyze the teachers' actual practices of oral corrective feedback. The main findings show that the teachers hold similar beliefs on oral corrective feedback and its beneficial role in helping improve learners speaking accuracy. The fact is that they frequently provide oral corrective feedback in classroom, mostly using recasts. Implications are discussed in view of the necessity of using explicit feedback and recasts appropriately. In addition, this study demonstrates the need for specific professional development and teacher training about how to provide efficient corrective feedback.
ContributorsDong, Zhixin (Author) / Spring, Madeline K. (Thesis advisor) / West, Stephen (Committee member) / Oh, Young (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsCummiskey, Hannah (Performer) / Kim, Olga (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-23
ContributorsGoglia, Adrienne (Performer)
Created2018-03-02
ContributorsEvans, Emily (Performer) / Sherrill, Amanda (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
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Description
Research in foreign language (FL) acquisition has shown that connectives, a key linguistic element contributing to cohesion and sentence complexity, pose a great challenge for FL learners at all proficiency levels. In spite of the importance of connectives in foreign language acquisition, little research has been conducted to explore how

Research in foreign language (FL) acquisition has shown that connectives, a key linguistic element contributing to cohesion and sentence complexity, pose a great challenge for FL learners at all proficiency levels. In spite of the importance of connectives in foreign language acquisition, little research has been conducted to explore how connectives are taught and presented in foreign language classrooms and textbooks.

The primary purpose of this study is to examine the presentation and introduction of connectives as well as the pedagogical activities provided for learning connectives in Chinese textbooks for novice to intermediate FL learners. To achieve the purpose of the study, three different sets of widely-used Chinese textbooks were selected and compared. The results show that while the amount of coverage varies greatly among the three sets of textbook, the sequence of presenting connectives in each series of textbooks closely follows the ranks suggested in the HSK Grading Standards and Grammar Outline (HSK is the shortened form for Chinese Proficiency Test). As for the activities, although all three textbooks claim to adopt a communicative approach to FL teaching, they differ considerably in the type of activities provided. In addition, it is evident that more traditional form-focused exercises are included in those textbooks than meaning-focused communicative tasks.
ContributorsGuo, Yifan (Author) / Zhang, Xia (Thesis advisor) / Oh, Young K. (Committee member) / Tanno, Koji (Committee member) / Arizona State University (Publisher)
Created2015