Matching Items (550)
Description
The Space Race (1957–1975), a period of rapid technological advancements prompted by the uncertainty and fear of the Cold War, captured the curiosity and attention of many artists, filmmakers and composers. Their responses, recorded in a multitude of works from various genres, reflect the overall tone and mirror societal views in the midst of uncertain, politically-charged times.
My thesis explores two seminal American artists who explored outer space in numerous works. John Cage (1912–1992), an avant-garde classical composer, wrote such works as Atlas Eclipticalis (1961), Etudes Australes (1974–75), and the Freeman Etudes (1977–1980), all composed using star-maps. Sun Ra (1914–1993), an American Afrofuturist jazz composer, created hundreds of iconic experimental jazz works on the theme of outer space, with albums such as We Travel the Space Ways (1967), Space Is the Place (1973), and Cosmos (1976).
The works of these two composers span across several decades, encompassing the Space Race and Cold War. In this thesis, I will specifically discuss the details of two works: Cage’s Atlas Eclipticalis, and Ra’s composition Space Is the Place (later included in the soundtrack of a film by the same name). Discussion will elaborate on the cultural, political, philosophical, and societal influences that played a part in the creation of these two compositions.
My research materials for this thesis includes a collection of primary sources in the form of recordings, early musical sketches, and in the case of Ra, film footage from Space Is the Place (1974), as well as multitude of secondary sources. By choosing works from two different genres I hope to present a wider, more nuanced snapshot of artist responses to space exploration during the Cold War.
My thesis explores two seminal American artists who explored outer space in numerous works. John Cage (1912–1992), an avant-garde classical composer, wrote such works as Atlas Eclipticalis (1961), Etudes Australes (1974–75), and the Freeman Etudes (1977–1980), all composed using star-maps. Sun Ra (1914–1993), an American Afrofuturist jazz composer, created hundreds of iconic experimental jazz works on the theme of outer space, with albums such as We Travel the Space Ways (1967), Space Is the Place (1973), and Cosmos (1976).
The works of these two composers span across several decades, encompassing the Space Race and Cold War. In this thesis, I will specifically discuss the details of two works: Cage’s Atlas Eclipticalis, and Ra’s composition Space Is the Place (later included in the soundtrack of a film by the same name). Discussion will elaborate on the cultural, political, philosophical, and societal influences that played a part in the creation of these two compositions.
My research materials for this thesis includes a collection of primary sources in the form of recordings, early musical sketches, and in the case of Ra, film footage from Space Is the Place (1974), as well as multitude of secondary sources. By choosing works from two different genres I hope to present a wider, more nuanced snapshot of artist responses to space exploration during the Cold War.
ContributorsIvis, Andrea (Author) / Feisst, Sabine (Thesis advisor) / Wells, Christopher (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2017
Description
Historically, music and the experiences of deaf or hard-of-hearing (DHH) individuals have been intertwined in one manner or another. However, music has never ignited as much hope for the “improvement” of the Deaf experience as during the American oralist movement (ca. 1880-1960) which prioritized lip-reading and speaking over the use of sign language. While it is acknowledged that the oralist movement failed to provide the best possible education to many American DHH students and devastated many within the Deaf community, music scholars have continued to cite publications by oralist educators as rationales for the continued development of music programs for DHH students.
This document is an attempt to reframe the role of music during the American oralist movement with a historical account of ways music was recruited as a tool for teaching vocal articulation at schools for the deaf from 1900 to 1960. During this time period, music was recruited simply as a utility to overcome disability and as an aid for assimilating into the hearing world rather than as the rich experiential phenomenon it could have been for the DHH community. My goal is to add this important caveat to the received history of early institutional music education for DHH students. Primary sources include articles published between 1900 and 1956 in The Volta Review, a journal founded by the oralist leader Alexander Graham Bell (1847-1922).
This document is an attempt to reframe the role of music during the American oralist movement with a historical account of ways music was recruited as a tool for teaching vocal articulation at schools for the deaf from 1900 to 1960. During this time period, music was recruited simply as a utility to overcome disability and as an aid for assimilating into the hearing world rather than as the rich experiential phenomenon it could have been for the DHH community. My goal is to add this important caveat to the received history of early institutional music education for DHH students. Primary sources include articles published between 1900 and 1956 in The Volta Review, a journal founded by the oralist leader Alexander Graham Bell (1847-1922).
ContributorsLloyd, Abby Lynn (Author) / Norton, Kay (Thesis advisor) / Gardner, Joshua (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2017
Description
A resurgence of the American art song is underway. New art song composers such as Adam Guettel, Michael John LaChiusa, and Georgia Stitt are writing engaging and challenging songs that are contributing to this resurgence of art song among college students. College and University musical theatre programs are training performers to be versatile and successful crossover artists. Cross-training in voice is training a performer to be capable of singing many different genres of music effectively and efficiently, which in turn creates a hybrid performer. Cross-training and hybridity can also be applied to musical styles. Hybrid songs that combine musical theatre elements and classical art song elements can be used as an educational tool and create awareness in musical theatre students about the American art song genre and its origins while fostering the need to learn about various styles of vocal repertoire.
American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive.
Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song.
American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive.
Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song.
ContributorsKlofach, Carrie Ann (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2018
Description
This work explores the blurring and eradication of boundaries – whether the boundaries are musical, social, cultural, linguistical, or political. I wanted to create a work that would explore the boundaries of my own dual identities, such as Mexican or American, or masculine or feminine, and that of my varied interests, such as popular, jazz, and European art music. After half a year of work, Sueño-Vibrant is the dazzling, whirlwind of a result (“vibrant” is pronounced just as it is in English).
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.
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.
ContributorsRodriguez, Kristian Silviano (Author) / Rockmaker, Jody (Thesis advisor) / Suzuki, Kotoka (Committee member) / Wells, Christopher (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2019
Description
High childhood obesity rates have resulted in many interventions to attempt to lower these rates. Interventions such as day camps, residential camps, therapy-based interventions and family-based interventions lead to changes in weight and self-esteem but family-based intervention leads to the longest-term success for children ages nine to 17. Analysis of the interventions was measured using tools such as BMI, BMI-percentiles, and weight. Psychological measures such as self-esteem, happiness, and quality of life analysis was preferred, however were not measured in all studies. While most interventions resulted in weight loss and increased self-esteem, results were often not long-term. Studies provided evidence that family-based therapy has potential to last long-term, however there is a lack of research. To determine the most effective childhood nutrition intervention research must conduct follow-ups for many years after the initial intervention to ensure they provide long-term results.
ContributorsAnderson, Megan Lee (Author) / McCoy, Maureen (Thesis director) / Kniskern, Megan (Committee member) / College of Health Solutions (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
The act of writing music criticism comes with numerous difficulties inherently involved in describing the ineffable qualities of audio in the medium of the written word. My music criticism podcast, Here and Now with Steve Jozef, offers a method of reviewing albums that sidesteps these problems by interweaving the criticism with clips of the songs discussed. This format holds the critic accountable to root their opinion in tangible components in the music, and makes clear the direct line between the qualities of the music at hand and the reviewer's verdict on that music. I wrote, recorded, edited, and distributed 13 episodes of the podcast over the course of six months; I've selected four of those episodes to represent my work for the purposes of the thesis. Their scripts, as well as links to the full episodes, are included with this paper. In addition, I thoroughly researched modern academic thought on the nature, purpose, and future of popular music criticism. This research helped me refine a conception of my ideal theoretical audience for the podcast, forced me to confront and assess my music evaluation criteria through various lenses, and develop the goal of creating a pattern of empathetic listening amongst my listeners. Over the course of developing the project, I ran into several obstacles in using copyrighted material on the show without permission from the copyright holders. Thus the podcast also became a case study in evaluating modern copyright law and its application, and demonstrating what needs to change about both for music criticism to sustain in this form.
ContributorsJozef, Steven James (Author) / Wells, Christopher (Thesis director) / Duerden, Sarah (Committee member) / Tinapple, David (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The purpose of this study was to develop proposal lesson plans for 4th-6th graders based on active learning to integrate movement physical activity into the curriculum. The 4th-6th graders were chosen, as this is the age where teaching typically transitions from active learning to sedentary/lecture style teaching. Research compiled indicated positive effects of active based learning on children such as increased attention span, retention, and general focus. A survey was created to not only assess the perception of active versus didactic learners, but to also assess the effects of movement-based learning on the variables that research claimed to change. The lesson plans developed here should be transferable to a classroom lesson to evaluate the hypothesized results.
ContributorsTanna, Nimisha (Author) / Hyatt, JP (Thesis director) / Ainsworth, Barbara (Committee member) / College of Health Solutions (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
About 75% of men and 66.58% of women are considered overweight or obese (BMI ≥25). $117 billion dollars is spent each year in medical costs due to physical inactivity. Aerobic exercise has been well defined in its’ benefits to cardiovascular health; however, the effects of resistance training are still not well defined. The purpose of this preliminary analysis was to evaluate the vascular health effects (central and peripheral blood pressure and VO2 max) of two different types of resistance training programs: high load, low repetitions resistance training and low load, high repetitions resistance training. Fourteen participants aged 18-55 years (6 males, 8 females) were involved in this preliminary analysis. Data were collected before and after the 12-week long exercise program (36 training sessions) via pulse wave analysis and VO2peak testing. Multivariate regression analysis of training program effects, while adjusting for body mass index and time, did not result in significant training effects on central and peripheral diastolic blood pressure, nor VO2peak. A statistical trend was observed between the different training programs for systolic blood pressure, suggesting that subjects partaking in the high load, low repetitions program exhibited higher systolic blood pressures than the low load, high repetitions group. With a larger sample size, the difference in systolic blood pressure may increase between training program groups and indicate that greater loads with minimal repetitions may increase lead to clinically significant elevations in blood pressure. Further work is needed to uncover the relationship between different types of resistance training and blood pressure, especially if these lifting regimens are continued for longer lengths of time.
ContributorsHill, Cody Alan (Co-author) / Hill, Cody (Co-author) / Whisner, Corrie (Thesis director) / Angadi, Siddhartha (Committee member) / College of Health Solutions (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Introduction: Individuals with rotator cuff tears have been found to compensate in their movement patterns by using lower thoracohumeral elevation angles during certain tasks, as well as increased internal rotation of the shoulder (Vidt et al., 2016). Leading joint hypothesis suggests there is one leading joint that creates the foundation for the entire limb motion, and there are other subordinate joints which monitor the passive interaction torque and create a net torque aiding to limb motions required for the task. This experiment seeks to establish a better understanding of joint control strategies during a wide range of arm movements. Based on the leading joint hypothesis, we hypothesize that when a subject has a rotator cuff tear, their performance of planar and three-dimensional motions should be altered not only at the shoulder, which is often the leading joint, but also at other joints on the arm, such as the elbow and wrist. This paper will focus on the effect of normal aging on the control of the joints of the arm.
Methods: There were 4 groups of participants: healthy younger adults (n=14)(21.74 ± 1.97), healthy older adults (n=12)(55-75), older adults (n=4)(55-75) with a partial-thickness rotator cuff tear, and older adults (n=4)(55-75) with a full-thickness rotator cuff tear (RCT). All four groups completed strength testing, horizontal drawing and pointing tasks, and three dimensional (3D) activities of daily living. Kinematic and kinetic variables of the arm were obtained during horizontal and 3D tasks using data from 12 reflective markers placed on the arm, 8 motion capture cameras, and Cortex motion capture software (Motion Analysis Corp., Santa Rosa, CA). Strength testing tasks were measured using a dynamometer. All strength testing and 3D tasks were completed for three trials and horizontal tasks were completed for two trials.
Results: Results of the younger adult participants showed that during the forward portion of seven 3D tasks, there were four phases of different joint control mechanics seen in a majority of the movements. These phases included active rotation of both the shoulder and the elbow joint, active rotation of the shoulder with passive rotation of the elbow, passive rotation of the shoulder with active rotation of the elbow, and passive rotation of both the shoulder and the elbow. Passive rotation during movements was a result of gravitational torque on the different segments of the arm and interaction torque caused as a result of the multi-joint structure of human limbs. The number of tested participants for the minor RCT, and RCT older adults groups is not yet high enough to produce significant results and because of this their results are not reported in this article. Between the older adult control group and the young adult control group in the tasks upward reach to eye height and hair comb there were significant differences found between the groups. The differences were found in shorter overall time and distance between the two groups in the upward eye task.
Discussion: Through the available results, multiple phases were found where one or both of the joints of the arm moved passively which further supports the LJH and extends it to include 3D movements. With available data, it can be concluded that healthy older adults use movement control strategies, such as shortening distance covered, decreasing time percentage in active joint phases, and increasing time percentage in passive joint phases, to account for atrophy along with other age-related declines in performance, such as a decrease in range of motion. This article is a part of a bigger project which aims to better understand how older adults with RCTs compensate for the decreased strength, the decreased range of motion, and the pain that accompany this type of injury. It is anticipated that the results of this experiment will lead to more research toward better understanding how to treat patients with RCTs.
Methods: There were 4 groups of participants: healthy younger adults (n=14)(21.74 ± 1.97), healthy older adults (n=12)(55-75), older adults (n=4)(55-75) with a partial-thickness rotator cuff tear, and older adults (n=4)(55-75) with a full-thickness rotator cuff tear (RCT). All four groups completed strength testing, horizontal drawing and pointing tasks, and three dimensional (3D) activities of daily living. Kinematic and kinetic variables of the arm were obtained during horizontal and 3D tasks using data from 12 reflective markers placed on the arm, 8 motion capture cameras, and Cortex motion capture software (Motion Analysis Corp., Santa Rosa, CA). Strength testing tasks were measured using a dynamometer. All strength testing and 3D tasks were completed for three trials and horizontal tasks were completed for two trials.
Results: Results of the younger adult participants showed that during the forward portion of seven 3D tasks, there were four phases of different joint control mechanics seen in a majority of the movements. These phases included active rotation of both the shoulder and the elbow joint, active rotation of the shoulder with passive rotation of the elbow, passive rotation of the shoulder with active rotation of the elbow, and passive rotation of both the shoulder and the elbow. Passive rotation during movements was a result of gravitational torque on the different segments of the arm and interaction torque caused as a result of the multi-joint structure of human limbs. The number of tested participants for the minor RCT, and RCT older adults groups is not yet high enough to produce significant results and because of this their results are not reported in this article. Between the older adult control group and the young adult control group in the tasks upward reach to eye height and hair comb there were significant differences found between the groups. The differences were found in shorter overall time and distance between the two groups in the upward eye task.
Discussion: Through the available results, multiple phases were found where one or both of the joints of the arm moved passively which further supports the LJH and extends it to include 3D movements. With available data, it can be concluded that healthy older adults use movement control strategies, such as shortening distance covered, decreasing time percentage in active joint phases, and increasing time percentage in passive joint phases, to account for atrophy along with other age-related declines in performance, such as a decrease in range of motion. This article is a part of a bigger project which aims to better understand how older adults with RCTs compensate for the decreased strength, the decreased range of motion, and the pain that accompany this type of injury. It is anticipated that the results of this experiment will lead to more research toward better understanding how to treat patients with RCTs.
ContributorsFlores, Noah Mateo (Author) / Dounskaia, Natalia (Thesis director) / Vidt, Meghan (Committee member) / College of Health Solutions (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
After volunteering at a clinic in Guatemala and seeing the sexism that is so engrained into their culture, I decided to take a look at the U.S. healthcare system. I wanted to uncover the stereotypes, statistics and gender and societal norms that are present in our culture. I first started with the application process and the acceptance rates to medical school. I discovered that men are accepted to medical school at higher rates than women unless that man is deemed dangerous or foreign. I then moved on to the environment in medical school. Many women are subjected to snide comments or “bro talk” made to make them feel inferior. Men always graduate at higher rates than women, which could be because of the unwelcoming environment in medical school or the lack of female faculty chairs or mentors. After medical school, a new doctor must choose a specialty. Men gravitate towards specialties that focus on surgical work and large sums of money. Women tend to choose specialties that require a more soothing and caring environment. Women are more likely to pick specialties where there is a higher proportion of female residents. After specialties, I then explored the life of a doctor. Slightly over half of all doctors in the workforce are men and they make an average of $78,288 more per year than female physicians. Women are discriminated against if they become pregnant on the job and they are more likely to develop mental health issues. Female physicians are overall, more compassionate, rule abiding and patient-focused than their male counterparts but are not receiving the acknowledgments that they deserve. After delving into the U.S. healthcare system, I have realized that sexism in the workforce is blatantly apparent and is one of the outcomes of our patriarchal society. The only way we can make a change is to acknowledge the problem and come together as a society to combat the issue.
ContributorsPurkey, Caroline Rose (Author) / Collins, Michael (Thesis director) / Barry, Anne (Committee member) / College of Health Solutions (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05