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- Genre: Masters Thesis
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This paper contains a cultural history of the band movement in territorial Phoenix, Arizona, from about 1885-1915. I discuss how bands formed, performed, and fundraised; and how their audiences supported them. Cultural historians have conducted studies of the band movement on a national scale or within a specific context, such as music in the Indian Schools. Music historians have published studies of the structure of band music, their repertoire, and the conductors who composed that music and led professional bands of the day. My study looks at the role of bands in supporting the development of nationalism in a particular region. Phoenix, between 1885 and 1915 was the capital city of a region transitioning from a dusty, relatively isolated western territory to an economically profitable state, connected to the greater nation by railroads and canals. The activities of bands in Phoenix illustrate Arizonans’ drive to be included in the American national community.
I utilize the theories of several cultural historians and one economic historian. Jürgen Habermas, Benedict Anderson, and Maurice Halbwachs all look at how people see themselves as part of a nation, and the manners in which they communicate and socialize with each other. I assert that the development of the band movement in Phoenix parallels the stages of musical development that Jacques Attali, a French economist and historian, has established. Attali writes that music is tied to the mode of production of a society; as Arizona strengthened its economic, political, and social forms of production, bands reflected, and often heralded, those changes.
Despite their remote location and lack of professional musicians, Phoenicians were enthusiastic supporters of the band movement. They were eager to jump on the bandwagon, not because they viewed brass and wind band music as an elite, virtuosic art form, but because bands allowed them a public forum in which to collectively celebrate their American nationalism and advocate their case for statehood on a national level.
I utilize the theories of several cultural historians and one economic historian. Jürgen Habermas, Benedict Anderson, and Maurice Halbwachs all look at how people see themselves as part of a nation, and the manners in which they communicate and socialize with each other. I assert that the development of the band movement in Phoenix parallels the stages of musical development that Jacques Attali, a French economist and historian, has established. Attali writes that music is tied to the mode of production of a society; as Arizona strengthened its economic, political, and social forms of production, bands reflected, and often heralded, those changes.
Despite their remote location and lack of professional musicians, Phoenicians were enthusiastic supporters of the band movement. They were eager to jump on the bandwagon, not because they viewed brass and wind band music as an elite, virtuosic art form, but because bands allowed them a public forum in which to collectively celebrate their American nationalism and advocate their case for statehood on a national level.
ContributorsTester, Amanda (Author) / Thompson, Victoria (Thesis advisor) / Vandermeer, Philip (Committee member) / Humphreys, Jere (Committee member) / Arizona State University (Publisher)
Created2016
Description
The bereaved and those who have experienced trauma have received support through music therapy. However, there has been no research on the effectiveness of music therapy as a therapeutic intervention for those who have experienced the loss of a loved one by suicide. While every loss presents its own challenges, those who experience a suicide loss may need extra support to process the traumatic nature of the death. This study aims to explore the current research on grief and trauma to determine what information can be applied to the care of those who have experienced a suicide loss. The present study is a group case study of survivors of suicide who have experienced a loss within the last 3 years. Participants received weekly music therapy sessions for four weeks. All participants completed the Inventory of Traumatic Grief, prior to and at the conclusion of the music therapy sessions, and the pre and post test scores were compared. Additionally qualitative data was collected throughout the sessions, indicating any common themes that emerged throughout the sessions and the participants’ reactions to the interventions, as well as in a short questionnaire following the four sessions.
ContributorsEdmonds, Alexis Elaine (Author) / Rio, Robin (Thesis advisor) / Crowe, Barbara (Committee member) / Humphreys, Jere (Committee member) / Arizona State University (Publisher)
Created2016
Description
I have always aspired to compose a large-scale orchestral piece which would be more than 5 minutes in length, rich in harmony and colorfully orchestrated. Impressionism and music for Hollywood films have influenced my music style. I have tried to emulate the harmony, textures and melody development. In preparation for this project, and I analyzed La Mer, and the orchestral arrangement of Image by Debussy, The Planets by Gustav Holst, and a number of works by John Williams. Carnival Chaos by my advisor, Dr. Christopher Norby, in particular, inspired me. The culmination of my own efforts is Final Journey, a 9-minute work for full orchestra. I endeavored to mimic Debussy’s colors. The main theme mm. 1-5, is built on a non-functional major-minor seventh chord that creates tension through raised and lowered pitches. The treble woodwind sections follow with dramatic dynamic changes that contrast with the earlier melody. Echoes of this tune can be found throughout the piece, for instance in mm. 61-77 and 169-176. The whole tone scale perfectly creates a mysterious and vague soundscape. The interaction between parts in the woodwind sections at mm. 43-60 and 107-121 are reminiscent of Hollywood-style orchestral techniques. The process of creation is also a process of learning. I believe I finally achieved my original goals. These valuable experiences will be the basis as I continue my career.
ContributorsShangguan, Yuyao (Author) / Norby, Christopher (Thesis advisor) / Humphreys, Jere (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2021