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ContributorsKierum, Caitlin (Contributor) / Novak, Gail (Pianist) (Performer) / Liang, Jack (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-11
ContributorsLougheed, Julia (Performer) / Novak, Gail (Pianist) (Performer) / Bayer, Elizabeth Kennedy (Performer) / Clifton-Armenta, Tyler (Performer) / Park, Julie (Performer) / Javier de Alba, Francisco (Performer) / Vientos Dulces (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
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Description

The right to cast a meaningful vote, equal in value to other votes, is a fundamental tenet US elections. Despite the 1964 Supreme Court decision formally establishing the one person, one vote principle as a legal requirement of elections, our democracy consistently falls short of it. With mechanisms including the

The right to cast a meaningful vote, equal in value to other votes, is a fundamental tenet US elections. Despite the 1964 Supreme Court decision formally establishing the one person, one vote principle as a legal requirement of elections, our democracy consistently falls short of it. With mechanisms including the winner-take-all format in the Electoral College, disproportioned geographic allocation of senators, extreme partisan gerrymandering in the House of Representatives, and first-past-the-post elections, many voters experience severe vote dilution. <br/><br/>In order to legitimize our democratic structures, American elections should be reformed so every person’s vote has equal weight, ensuring that the election outcomes reflect the will of the people. Altering the current election structure to include more proportional structures including rank choice voting and population-based representation, will result in a democracy more compatible with the one person, one vote principle.

ContributorsSluga, Allison Leigh (Author) / Hinojosa, Magda (Thesis director) / Gartner, David (Committee member) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor, Contributor, Contributor) / School of Public Affairs (Contributor) / Sandra Day O'Connor College of Law (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
ContributorsCoffey, Brennan (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2021-04-26
ContributorsHolly, Sean (Performer) / Wright, Aaron (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2021-04-29
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Description
Edward Snowden's publishing classified information about the existence of the Section 215 bulk collection metadata program set in motion the largest debate about potential abuse in by spying agencies since the Watergate Scandal in the 1970's. This paper will examine the metadata program by: First, the relevant background which includes

Edward Snowden's publishing classified information about the existence of the Section 215 bulk collection metadata program set in motion the largest debate about potential abuse in by spying agencies since the Watergate Scandal in the 1970's. This paper will examine the metadata program by: First, the relevant background which includes the establishment of the 20th century intelligence community, intelligence reforms in the wake of the Watergate scandal, and the changes stemming from the 9/11 attacks. Second, the Section 215 metadata program itself will be discussed, including its lawfulness. Third and finally, an analysis of potential reforms will be discussed, including ones advanced by government commissions. Ultimately, the Section 215 program has demonstrated compelling legal authority, positive benefits to national security, and a minimal need for reform. This conclusion is based on the program being consistent with the legal spirit of the Watergate Reforms, the language of the post-9/11 laws, the nature of the program, and the robust oversight protocols imposed upon the program.
ContributorsRicci, Anthony James (Author) / Gartner, David (Thesis director) / Longley, Kyle (Committee member) / Barrett, The Honors College (Contributor) / W. P. Carey School of Business (Contributor) / School of Politics and Global Studies (Contributor)
Created2014-05
ContributorsBreeden, Katherine (Performer) / German, Lindsey (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-13
Description
ABSTRACT Many musicians, both amateur and professional alike, are continuously seeking to expand and explore their performance literature and repertory. Introducing new works into the standard repertory is an exciting endeavor for any active musician. Establishing connections, commissioning new works, and collaborating on performances can all work

ABSTRACT Many musicians, both amateur and professional alike, are continuously seeking to expand and explore their performance literature and repertory. Introducing new works into the standard repertory is an exciting endeavor for any active musician. Establishing connections, commissioning new works, and collaborating on performances can all work together toward the acceptance and success of a composer's music within an instrument community. For the flute, one such composer is Daniel Dorff (b. 1956). Dorff, a Philadelphia-based composer, has written for symphony orchestra, clarinet, contrabassoon, and others; however, his award-winning works for flute and piccolo are earning him much recognition. He has written works for such illustrious flutists as Mimi Stillman, Walfrid Kujala, and Gary Schocker; his flute works have been recorded by Laurel Zucker, Pamela Youngblood and Lois Bliss Herbine; and his pieces have been performed and premiered at each of the National Flute Association Conventions from 2004 to 2009. Despite this success, little has been written about Dorff's life, compositional style, and contributions to the flute repertory. In order to further promote the flute works of Daniel Dorff, the primary focus of this study is the creation of a compact disc recording of Dorff's most prominent works for flute: April Whirlwind, 9 Walks Down 7th Avenue, both for flute and piano, and Nocturne Caprice for solo flute. In support of this recording, the study also provides biographical information regarding Daniel Dorff, discusses his compositional methods and ideology, and presents background information, description, and performance notes for each piece. Interviews with Daniel Dorff regarding biographical and compositional details serve as the primary source for this document. Suggestions for the performance of the three flute works were gathered through interviews with prominent flutists who have studied and performed Dorff's pieces. Additional performance suggestions for Nocturne Caprice were gathered through a coaching session between the author and the composer. This project is meant to promote the flute works of Daniel Dorff and to help establish their role in the standard flute repertory.
ContributorsRich, Angela Marie (Contributor) / Novak, Gail (Pianist) (Performer) / Buck, Elizabeth Y (Thesis advisor) / Hill, Gary W. (Committee member) / Holbrook, Amy (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2010
ContributorsBroome-Robinson, Julia (Performer) / Novak, Gail (Pianist) (Performer) / Glick, Philip (Performer) / Lynch, Paul (Performer) / Ryall, Blake (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-19
ContributorsCrimminger, Jordan (Performer) / Novak, Gail (Pianist) (Performer) / Hong, Dylan (Performer) / Larson, Ben (Performer) / Russell, Liam (Performer) / Raschko, Hannah (Performer) / ASU Library. Music Library (Publisher)
Created2017-10-22