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- Creators: Barrett, The Honors College
Geology and its tangential studies, collectively known and referred to in this thesis as geosciences, have been paramount to the transformation and advancement of society, fundamentally changing the way we view, interact and live with the surrounding natural and built environment. It is important to recognize the value and importance of this interdisciplinary scientific field while reconciling its ties to imperial and colonizing extractive systems which have led to harmful and invasive endeavors. This intersection among geosciences, (environmental) justice studies, and decolonization is intended to promote inclusive pedagogical models through just and equitable methodologies and frameworks as to prevent further injustices and promote recognition and healing of old wounds. By utilizing decolonial frameworks and highlighting the voices of peoples from colonized and exploited landscapes, this annotated syllabus tackles the issues previously described while proposing solutions involving place-based education and the recentering of land within geoscience pedagogical models. (abstract)
The ASU COVID-19 testing lab process was developed to operate as the primary testing site for all ASU staff, students, and specified external individuals. Tests are collected at various collection sites, including a walk-in site at the SDFC and various drive-up sites on campus; analysis is conducted on ASU campus and results are distributed virtually to all patients via the Health Services patient portal. The following is a literature review on past implementations of various process improvement techniques and how they can be applied to the ABCTL testing process to achieve laboratory goals. (abstract)
Among Georg Philipp Telemann’s most-performed works is his setting of Psalm 117 (Psalm 116, Vulgate), Laudate Jehovam, TWV 7:25. There are three sources; Telemann’s autograph score (heavily marked and corrected by Telemann’s grandson, Georg Michael), a contemporary set of parts by a copyist, and another set of parts by Georg Michael Telemann based on his corrections to the autograph score. There are currently at least seven editions of this work readily available, none of which fully agrees with the autograph manuscript or original parts. The editions also differ substantially from one another: for example, two of them are in a different key from the others. This clearly points to the need for a new edition.
Further, the additions and corrections by Georg Michael Telemann are interesting. These fall into several categories: changes made to correct errors or clarify ambiguities in Georg Philipp Telemann’s original, changes made to reflect performance practice that Georg Philipp might have assumed but that were no longer customary in Georg Michael’s time, adjustments to melody and rhythm that may reflect Georg Michael’s personal taste and preference, and the addition of parts for oboe and viola, along with significant changes to the second violin part that suggest that Georg Michael’s version was intended for performance by a chorus and orchestra, whereas Georg Philipp’s original could be performed as a chamber work, with one singer and instrumentalist per part, or by a larger ensemble.
A discussion of the piece, along with scores of both the original version and Georg Michael’s version, provides both scholars and performers with greater insight into this brief but significant work.
I worked with poet Marco Piña because we share many similarities in our artistic philosophies, owing to our mutual identities as bilingual Chicanxs. Considering the poems themselves, for me, “Bastardized Spanglish Translations” reveals an individual recovering from the end of a romantic relationship, whereas “Night Song” is about the self-discovery of one’s identity. By pairing these two poems, I create a polarity between the texts themselves, to highlight that the shaping of identity is both an internal and external process.
In the cantata, we travel from the mourning and mysterious “Do My Eyes Lie” to the Mexican folk-styled “Ya me voy;” the arduous and painful “Ban Me From Balancing;” the indie- and jazz-inspired “Soon I’ll Be Home;” the introspective choral work “Night Song;” and the dissonant and disoriented “This Song Keeps Skipping.” I complete the work with “Adiós, Amor,” where these seemingly disparate feelings, genres, ideas, and identities are tied together and explored to fruition through a variety of styles and genres, from the salsa, to the opera chorus. With this work, I invite audiences to consider their own identities and those of others, and to embrace the social dissonances that happen both within us and around us.