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ContributorsWard, Geoffrey Harris (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
ContributorsWasbotten, Leia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-30
ContributorsPonce, Angelita (Performer) / Rowland, Travis (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-30
ContributorsZelenak, Kristen (Performer) / Detweiler, Samuel (Performer) / Rollefson, Justin (Performer) / Hong, Dylan (Performer) / Salazar, Nathan (Performer) / Feher, Patrick (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
Description
The current research seeks to examine whether individuals display or downplay intelligence in various mating contexts. I hypothesized that both men and women should display fluid intelligence when attempting to attract a potential long-term partner, and that only men should display fluid intelligence when attempting to attract a potential short-term partner. Contrary to predictions, I find that men perform worse at a fluid intelligence test when motivated to attract a long-term partner. With respect to crystallized intelligence, I predicted that both men and women should display crystallized intelligence when attempting to attract a potential long-term partner, but women should downplay crystallized intelligence when attempting to attract a potential short-term partner. However, there were no effects of mating contexts on displays of crystallized intelligence.
ContributorsSng, Wei Sheng Oliver (Author) / Neuberg, Steven L. (Thesis advisor) / Kenrick, Douglas T. (Committee member) / Shiota, Michelle (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project uses a functional approach to understand how members of stigmatized groups perceive emotional expressions on others' faces. The project starts from the premise that different groups are seen to pose different threats to others, and thus different groups face prejudices colored by different, specific negative emotions. For example, prejudice toward Black men is driven largely by fear, whereas prejudice toward obese people is driven largely by disgust. Members of these groups may thus come to be "expert" in perceiving fear or disgust in others' faces, depending on the specific emotional prejudices others feel toward their group. Alternatively, members of these groups may be biased to over- or under-perceive these emotional expressions on others' faces. I used a functional approach to predict that, if a Black man believes that seeing others' fear expressions will be useful to him, he will tend to overperceive fear on others' faces, whereas if an obese man believes that seeing others' disgust expressions will be useful to him, he will tend to overperceive disgust on others' faces. If, however, it is not considered useful to perceive these prejudicial emotions on others' faces, Black men and obese people will tend to underperceive these emotional expressions. This study recruited Black men, overweight men, and a group of comparison men. All participants completed an emotion detection task in which they rated faces on whether they expressed fear, disgust, or no emotion. Participants were randomly assigned to complete this emotion detection task either before or after a questionnaire designed to make salient, as well as to measure, participants' beliefs about others' prejudices and stereotypes of their group. Finally, participants completed a set of measures tapping predicted moderator variables. Results suggested that a) Black men tend to be less sensitive perceivers of both fear and disgust on others' faces than are other groups, unless prejudice is salient, and b) variables that would guide the functionality of perceiving others' prejudicial emotional expressions (e.g., belief that prejudice toward one's group is justified, belief that group status differences are legitimate, belief that one can manage stigmatizing interactions, stigma consciousness, and emotion-specific metastereotypes of one's group) do predict differences among Black men in perceiving these emotions on others' faces. Most results for overweight participants were null findings. The results' implications for the psychology of detecting prejudice, and emotional expressions more broadly, are discussed.
ContributorsNeel, Rebecca (Author) / Neuberg, Steven L. (Thesis advisor) / Shiota, Michelle N. (Committee member) / Becker, D. Vaughn (Committee member) / Kenrick, Douglas T. (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsRyall, Blake (Performer) / Olarte, Aida (Performer) / Senseman, Stephen (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-30
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 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
Description
Arnold Schoenberg's 1908-09 song cycle, Das Buch der hängenden Gärten [The Book of the Hanging Gardens], opus 15, represents one of his most decisive early steps into the realm of musical modernism. In the midst of personal and artistic crises, Schoenberg set texts by Stefan George in a style he called "pantonality," and described his composition as radically new. Though stylistically progressive, however, Schoenberg's musical achievement had certain ideologically conservative roots: the composer numbered among turn-of-the-century Viennese artists and thinkers whose opposition to the conventional and the popular--in favor of artistic autonomy and creativity--concealed a reactionary misogyny. A critical reading of Hanging Gardens through the lens of gender reveals that Schoenberg, like many of his contemporaries, incorporated strong frauenfeindlich [anti-women] elements into his work, through his modernist account of artistic creativity, his choice of texts, and his musical settings. Although elements of Hanging Gardens' atonal music suggest that Schoenberg valued gendered-feminine principles in his compositional style, a closer analysis of the work's musical language shows an intact masculinist hegemony. Through his deployment of uncanny tonal reminiscences, underlying tonal gestures, and closed forms in Hanging Gardens, Schoenberg ensures that the feminine-associated "excesses" of atonality remain under masculine control. This study draws upon the critical musicology of Susan McClary while arguing that Schoenberg's music is socially contingent, affected by the gender biases of his social and literary milieux. It addresses likely influences on Schoenberg's worldview including the philosophy of Otto Weininger, Freudian psychoanalysis, and a complex web of personal relationships. Finally, this analysis highlights the relevance of Schoenberg's world and its constructions of gender to modern performance practice, and argues that performers must consider interrelated historical, textual, and musical factors when interpreting Hanging Gardens in new contexts.
ContributorsGinger, Kerry Anne (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mook, Richard (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsUhrenbacher, Tina (Performer) / Creviston, Hannah (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31