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- Genre: Art music
- Genre: Art--Political aspects.
- Creators: Arizona State University
Description
This thesis seeks to answer the question: "What do artistic representations add to the dialogue about the U.S.-Mexico border and immigration beyond political rhetoric and popular media portrayals?" Drawing on political communications (as put forth by Edelman and Altheide), socio-political construction (particularly the White Racial Frame put forth by Feagin), and collective memory theory (especially those of Halbwachs and Pollak), this thesis uses a dual-coding, content analysis to examine the linguistic and visual messages disseminated through news media. Then, interviews with and the work of six immigrant artists are examined for their contribution to the information put forth in the news media. This study finds that news reporting bias falls along a continuum from pro-immigration to extreme anti-immigration (labeled "fearful" reporting). The news media skew strongly toward anti-immigration to fearful in bias, and there is no opposite pro-immigration bias. Through observations of artists' work, the study concludes that artistic representations of the border can fill this strongly pro-immigration void on this bias continuum.
ContributorsMcCarty, Kelly Erin (Author) / Téllez, Michelle (Thesis advisor) / Stancliff, Michael (Committee member) / Segura, Joseph (Committee member) / Arizona State University (Publisher)
Created2011
Description
Symphonic Movement: On Works of H. P. Lovecraft is a single movement
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
ContributorsLamb, Christopher John (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2016
Description
Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques.
The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement.
The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement.
ContributorsVillalta, Kevin (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2016