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Description
A statement appearing in social media provides a very significant challenge for determining the provenance of the statement. Provenance describes the origin, custody, and ownership of something. Most statements appearing in social media are not published with corresponding provenance data. However, the same characteristics that make the social media environment

A statement appearing in social media provides a very significant challenge for determining the provenance of the statement. Provenance describes the origin, custody, and ownership of something. Most statements appearing in social media are not published with corresponding provenance data. However, the same characteristics that make the social media environment challenging, including the massive amounts of data available, large numbers of users, and a highly dynamic environment, provide unique and untapped opportunities for solving the provenance problem for social media. Current approaches for tracking provenance data do not scale for online social media and consequently there is a gap in provenance methodologies and technologies providing exciting research opportunities. The guiding vision is the use of social media information itself to realize a useful amount of provenance data for information in social media. This departs from traditional approaches for data provenance which rely on a central store of provenance information. The contemporary online social media environment is an enormous and constantly updated "central store" that can be mined for provenance information that is not readily made available to the average social media user. This research introduces an approach and builds a foundation aimed at realizing a provenance data capability for social media users that is not accessible today.
ContributorsBarbier, Geoffrey P (Author) / Liu, Huan (Thesis advisor) / Bell, Herbert (Committee member) / Li, Baoxin (Committee member) / Sen, Arunabha (Committee member) / Arizona State University (Publisher)
Created2011
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Description
This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is

This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list.
ContributorsArias-Esguerra, Mauricio (Author) / Meir, Baruch I (Thesis advisor) / DeMars, James (Committee member) / Hamilton, Robert (Committee member) / Pagano, Caio (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012