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ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
This dissertation focused on the links among micro-enterprise development (MD), social capital building, and the accompanying social lives of Chinese female entrepreneurs in two China's urban areas—Nanjing and Haikou. It engaged with a few important discussions concerning China’s liberal politics during the reform era, the global trend of neo-liberal capitalism, and the social construction of a new worker-subject—the Chinese urban female entrepreneur shaped by the hybrid marriage of state politics and global capital. The research findings from this research project contributed to the tradition of feminist theories, which endeavors to explore the relationship between neo-liberalism and gender. In particular, gender was found to concretize the ways in which neo-liberal ideological forces have attempted to capture and exploit the productivity of women’s labor
Drawing upon the data from in-depth interviews, participatory observations, and secondary data gathering, I examined the diffusion of the Western-centric concept and phenomena of social capital building in order to answer the question how Chinese women's life was inscribed in the larger context of China's relationship to global capitalism. My research findings manifested that the respondents considered affections (e.g., inter-dependence, obligation, and mutual trust) to be the foundation of establishing and maintaining their social networks regardless of the government's emphasis on market principles and the utility-based social capital conception. This opened up a new way of re-theorizing social capital. This dissertation also focused on how China’s integration with the global economy has affected women’s social identity construction. It emphasized the interaction between gender and class as one of the most salient sites where ideal citizens of China are imagined. Drawing from the perspectives of the respondents, I found that femininity has never been eliminated by the Chinese government. It has existed in China’s MD to challenge the government’s attempt of promoting the agendered (gender-neutral), universal model of women’s participation in self-employment. Moreover, I asserted that class was individualized while penetrating into other dimensions of identity (especially gender). The transformed dimensions of identity constituted a set of stratification schemes that constantly reshuffled social stratifications for maximizing the state’s profits from the control of citizens.
Drawing upon the data from in-depth interviews, participatory observations, and secondary data gathering, I examined the diffusion of the Western-centric concept and phenomena of social capital building in order to answer the question how Chinese women's life was inscribed in the larger context of China's relationship to global capitalism. My research findings manifested that the respondents considered affections (e.g., inter-dependence, obligation, and mutual trust) to be the foundation of establishing and maintaining their social networks regardless of the government's emphasis on market principles and the utility-based social capital conception. This opened up a new way of re-theorizing social capital. This dissertation also focused on how China’s integration with the global economy has affected women’s social identity construction. It emphasized the interaction between gender and class as one of the most salient sites where ideal citizens of China are imagined. Drawing from the perspectives of the respondents, I found that femininity has never been eliminated by the Chinese government. It has existed in China’s MD to challenge the government’s attempt of promoting the agendered (gender-neutral), universal model of women’s participation in self-employment. Moreover, I asserted that class was individualized while penetrating into other dimensions of identity (especially gender). The transformed dimensions of identity constituted a set of stratification schemes that constantly reshuffled social stratifications for maximizing the state’s profits from the control of citizens.
ContributorsZhang, Dongling (Author) / Jurik, Nancy (Thesis advisor) / Quan, H.L.T. (Thesis advisor) / Mackinnon, Stephen (Committee member) / Arizona State University (Publisher)
Created2015
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsWhite, Aaron (Performer) / Kim, Olga (Performer) / Hammond, Marinne (Performer) / Shaner, Hayden (Performer) / Yoo, Katie (Performer) / Shoemake, Crista (Performer) / Gebe, Vladimir, 1987- (Performer) / Wills, Grace (Performer) / McKinch, Riley (Performer) / Freshmen Four (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-27
ContributorsRosenfeld, Albor (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-03
ContributorsCao, Yuchen (Performer) / Chen, Sicong (Performer) / Soberano, Chino (Performer) / Nam, Michelle (Performer) / Collins, Clarice (Performer) / Witt, Juliana (Performer) / Liu, Jingting (Performer) / Chen, Neilson (Performer) / Zhang, Aihua (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-25
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / McLin/Campbell Duo (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-23
Description
Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his popularity among high-ranking political figures during the time of the Mexican Revolution as well as his status in the Mexican music scene.
Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.
In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.
This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.
In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.
This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
ContributorsEkenes, Spencer Arvin (Author) / McLin, Katherine (Thesis advisor) / Feisst, Sabine (Committee member) / Jiang, Danwen (Committee member) / Arizona State University (Publisher)
Created2016