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Description
Artistic trends of the mid-nineteenth century demonstrate the popularity of incorporating Asian elements into various artistic media. This paper discusses why the stereotypical Asian female provided an attractive character for operatic librettists, composers and audiences. To support the discussion, six operas from 1885 to 2010 are examined, and the dramatic and musical portrayal of representative female characters is discussed. The familiar character of Cio-cio-san from Giocamo Puccini's Madama Butterfly (1904) provides a foundation to discuss these stereotypical Asian female characteristics, specifically one archetype, that of the naïve, yet sexually desirable female. Prior to Cio-cio-san, Sir W. S. Gilbert and Sir Arthur Sullivan's Yum-Yum from The Mikado (1885), Iris of Pietro Mascagni's Iris (1898) exemplify this archetype, as does Liù from Puccini's Turandot (1924). At the other extreme is the icy, cold and bloodthirsty archetype found in the title role of Puccini's Turandot and Katisha from The Mikado. Chiang Ch'ing (also known as Madame Mao) from John Adams's Nixon in China (1987), and Madame White Snake from Chinese-American composer Zhou Long's Madame White Snake (2010) feature leading characters that demonstrate elements of both of these archetypes, and this combination of the two archetypes yields more complex and richer characters. These two extremes of the female Asian stereotype and the evolution of these characteristics provide an interesting outlook on the incorporation of non-Western musical styles into these operas, and the understanding of a Western perception of foreign peoples, especially foreign females.
ContributorsLo, Wan-Yi (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Committee member) / Kopta, Anne (Committee member) / Mills, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
The trained singer utilizes an awareness of her body as an instrument. When she becomes pregnant, her body changes in numerous ways to support the pregnancy. Many of these changes have great impact on her ability to sing during the pregnancy and postpartum periods. The voice may be altered positively or negatively by the release of hormones. The body undergoes many changes that affect the posture and breathing required for singing. Most notably, the abdominal muscles are greatly impacted by the pregnancy. They are stretched by the growing uterus, and this affects their function. In addition, the linea alba (the connective tissue between the halves of the rectus abdominis) is softened by hormonal increases and subject to stretching as the uterus grows, predisposing it to weakness. Since the other abdominal muscles attach to the linea alba via connective tissue, maintaining the integrity of the linea alba during pregnancy and postpartum is vital to the operational function of the abdominal muscles. Protecting the vulnerable linea alba must be deliberately undertaken in two parts. First, conscious exercise is needed to preserve the linea alba during pregnancy and to rehabilitate it after pregnancy. Targeted exercises strengthen the transverse abdominis and shorten and approximate the two halves of the rectus abdominis. Second, modifications in daily movement are necessary to protect the linea alba while performing routine activities. Cesarean sections present additional surgical concerns for singers, including abdominal incisions, use of medication, and the rare need for general anesthesia via intubation. Recovery from a cesarean can be difficult due to abdominal pain, yet steps may be taken to speed healing at the hospital and at home. This paper provides an overview of how pregnancy affects the singer, discusses the effects of pregnancy and cesarean section, and provides a plan to protect the abdominal muscles during pregnancy and rehabilitate them in the postpartum period. It combines information from the fields of physical therapy, medicine, and surgery into a guide for the singer and voice teacher.
ContributorsWill, Andrea Pitman (Author) / Doan, Jerry (Thesis advisor) / Elgar Kopta, Anne (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mills, Robert (Committee member) / Oldani, Robert W (Committee member) / Arizona State University (Publisher)
Created2013
Description
This paper and its accompanying recital examine three solo vocal works by Italian composer Alfredo Casella (1883-1947): "Larmes" from Cinq Mélodies (Op. 2); "Mort, ta servante est à ma porte" from L'adieu à la vie: Quatre lyriques funèbres extraites du "Gitanjali" de Rabindranath Tagore (Op. 26); and "Amante sono, vaghiccia, di voi" from Tre canzoni trecentesche (Op. 36). Each of these songs is discussed as representative of Casella's three compositional periods. A fourth song, "Ecce odor filii mei" from Tre canti sacri per baritono et organo (Op. 66), is also examined, as an end-of-life composition. Some of the more important solo vocal works composed in each period are mentioned to show where the four selected songs fit into Casella's compositional output and to suggest music for further study or repertoire.
ContributorsGordon, Stefan (Author) / Mills, Robert (Thesis advisor) / Holbrook, Amy (Committee member) / FitzPatrick, Carole (Committee member) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2014
Description
Emily Dickinson is a well-known American poet of the nineteenth century, and her oeuvre consists of nearly 2,000 posthumously published poems. Written largely in hymn form with unique ideas of punctuation and grammar, her poetry attracts composers with its inherent musicality. The twentieth-century American composers Aaron Copland, Ernst Bacon, Lee Hoiby, and Gordon Getty have created song settings of Dickinson's poetry. Copland's song cycle Twelve Poems of Emily Dickinson (1949-50) is admired by many as an illustration of poetry; however, the Dickinson cycles by Bacon, Hoiby, and Getty are also valuable, lesser-known representations of her writing. Settings of one poem, "There came a Wind like a Bugle--", are common among Copland's Twelve Poems, Bacon's cycle Songs from Emily Dickinson: Nature, Time, and Space (1930), Hoiby's Four Dickinson Songs (1988), and Getty's The White Election (1982). These latter three settings have previously undergone some theoretical analysis; however, this paper considers a performance analysis of these songs from a singer's point of view. Chapter 1 provides background for this study. Chapter 2 consists of a biographical overview of Dickinson's life and writing style, as well as a brief literary analysis of "There came a Wind like a Bugle--". Chapters 3, 4, and 5 discuss Ernst Bacon, Lee Hoiby, and Gordon Getty, respectively; each chapter consists of a short biography of the composer and a discussion of his writing style, a brief theoretical analysis of his song setting, and commentary on the merits of his setting from the point of view of a singer. Observations of the depiction of mood in the song and challenges for the singer are also noted. This paper provides a comparative analysis of three solo vocal settings of one Emily Dickinson poem as a guide for singers who wish to begin studying song settings of this poem. The Bacon and Hoiby settings were found to be lyrical, tonal representations of the imagery presented in "There came a Wind like a Bugle--". The Getty setting was found to be a musically starker representation of the poem's atmosphere. These settings are distinctive and worthy of study and performance.
ContributorsCastellone, Amanda Beth (Author) / Doan, Jerry (Thesis advisor) / Kopta, Anne E (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mills, Robert (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
ABSTRACT The purpose of this research project is to provide participants with a personal experience in opera, to change their perceptions and provoke further interest in the art form. By introducing community opera into a society, we can educate and perhaps expand the acceptance of opera in a population. This document uses The Survey of Public Participation of the Arts by the National Endowment for the Arts in order to provide an accurate account of the declining attendance of opera. Only through education and exposure can we improve opera attendance. In order to create opera appreciation the researcher introduced an applicable opera performance situation in a small community. The process in which the opera was implemented has been evaluated and separated into the following eight components: preparation, rehearsal, set construction and props, pamphlets, budget, advertising, dress rehearsal, and performance. Each will be considered separately. The benefits of that community program and the process in which the opera took place are included in this research.
ContributorsYekel, Amy Louise (Author) / Doan, Jerry (Thesis advisor) / Mills, Robert (Committee member) / Dreyfoos, Dale (Committee member) / Rogers, Rodney (Committee member) / Kopta, Anne (Committee member) / Arizona State University (Publisher)
Created2012
Description
This doctoral project involves a multi-disciplined analysis concerning Agamemnon's daughters (Iphigenia, Electra, and Chrysothemis) and how these women's gender and virtues were depicted as compared with ideal Greek women in antiquity. Three composers in three different eras adapted the literary and musical depictions of these women based on the composer's society, culture, audience expectations, musical climate and personal goals. George Friedrich Handel's Oreste (1734), Christoph Willibald von Gluck's Iphigénie en Tauride (1779) and Richard Strauss's Elektra (1909) are the main operas used for this analysis. The Mycenaean House of Atreus, a dynasty which the ancient Greeks traced back to the time of the Trojan War in the 12th century BCE, figures prominently in Greek mythology and ancient Greek literature concerning the Trojan War. The House of Atreus included Agamemnon, King of Mycenae and commander of the Greeks at Troy, his wife Clytaemnestra, their son Orestes, and their daughters: Iphigenia, Electra, and Chrysothemis. For over three thousand years, the legend of this ancient family has inspired musical scores, plays, poetry, architecture, sculpture, paintings, and movies. Numerous studies examine the varying interpretations of the House of Atreus myths; few, if any, address the ways in which female Greek virtues are depicted operatically within the myths. In the music of Handel's Oreste, Gluck's Iphigénie en Tauride and Strauss's Elektra, Agamemnon's daughters contradict the ideal Greek woman while still exhibiting heroic or idealistic virtues. The analysis of the operas in their social contexts will address the audience expectations and composers' dramatic interpretations of the myth. This analysis will include: a brief overview of ancient Greek culture and gender roles; a literary comparison of the original dramas to the librettos; societal audience expectations in their historical contexts; musical, philosophical, and literary influences on the composers; and an examination of music composed in two different centuries and in three different styles. The brief historical, cultural, literary, and musical analyses highlight the absence and presence of ancient Greek virtues, and how these women can be presented both as heroic, or virtuous, and unvirtuous in the same production.
ContributorsRocklein, Robyn Michele (Author) / FitzPatrick, Carole (Thesis advisor) / Campbell, Andrew (Committee member) / Dreyfoos, Dale (Committee member) / Mills, Robert (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
After the passing of the Homestead Act in 1862, a large wave of immigrants arrived in Dakota Territory, most of them during the last quarter of the nineteenth century. Two of the largest immigrant populations in the Dakotas were the Norwegians and Germans who had spent approximately the last hundred years living in isolated rural colonies in Russia, referred to as Germans from Russia or russlanddeutschen. This document examines the role of music in the lives of these ethnic groups from the 1862 to 1930, and includes the discussion of sacred music, especially hymns, secular music such as folk songs and dance music, and music’s place in the rural one-room schools that their children attended.
ContributorsGross, Kelsey (Author) / Norton, Kay (Thesis advisor) / Mills, Robert (Thesis advisor) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2018
Description
The purpose of this study was to observe the effectiveness of the phenylalanyl arginine β-naphthylamide dihydrochloride inhibitor and Tween 20 when combined with an antibiotic against Escherichia. coli. As antibiotic resistance becomes more and more prevalent it is necessary to think outside the box and do more than just increase the dosage of currently prescribed antibiotics. This study attempted to combat two forms of antibiotic resistance. The first is the AcrAB efflux pump which is able to pump antibiotics out of the cell. The second is the biofilms that E. coli can form. By using an inhibitor, the pump should be unable to rid itself of an antibiotic. On the other hand, using Tween allows for biofilm formation to either be disrupted or for the biofilm to be dissolved. By combining these two chemicals with an antibiotic that the efflux pump is known to expel, low concentrations of each chemical should result in an equivalent or greater effect on bacteria compared to any one chemical in higher concentrations. To test this hypothesis a 96 well plate BEC screen test was performed. A range of antibiotics were used at various concentrations and with varying concentrations of both Tween and the inhibitor to find a starting point. Following this, Erythromycin and Ciprofloxacin were picked as the best candidates and the optimum range of the antibiotic, Tween, and inhibitor were established. Finally, all three chemicals were combined to observe the effects they had together as opposed to individually or paired together. From the results of this experiment several conclusions were made. First, the inhibitor did in fact increase the effectiveness of the antibiotic as less antibiotic was needed if the inhibitor was present. Second, Tween showed an ability to prevent recovery in the MBEC reading, showing that it has the ability to disrupt or dissolve biofilms. However, Tween also showed a noticeable decrease in effectiveness in the overall treatment. This negative interaction was unable to be compensated for when using the inhibitor and so the hypothesis was proven false as combining the three chemicals led to a less effective treatment method.
ContributorsPetrovich Flynn, Chandler James (Author) / Misra, Rajeev (Thesis director) / Bean, Heather (Committee member) / Perkins, Kim (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
An in-depth analysis on the effects vortex generators cause to the boundary layer separation that occurs when an internal flow passes through a diffuser is presented. By understanding the effects vortex generators demonstrate on the boundary layer, they can be utilized to improve the performance and efficiencies of diffusers and other internal flow applications. An experiment was constructed to acquire physical data that could assess the change in performance of the diffusers once vortex generators were applied. The experiment consisted of pushing air through rectangular diffusers with half angles of 10, 20, and 30 degrees. A velocity distribution model was created for each diffuser without the application of vortex generators before modeling the velocity distribution with the application of vortex generators. This allowed the two results to be directly compared to one another and the improvements to be quantified. This was completed by using the velocity distribution model to find the partial mass flow rate through the outer portion of the diffuser's cross-sectional area. The analysis concluded that the vortex generators noticeably increased the performance of the diffusers. This was best seen in the performance of the 30-degree diffuser. Initially the diffuser experienced airflow velocities near zero towards the edges. This led to 0.18% of the mass flow rate occurring in the outer one-fourth portion of the cross-sectional area. With the application of vortex generators, this percentage increased to 5.7%. The 20-degree diffuser improved from 2.5% to 7.9% of the total mass flow rate in the outer portion and the 10-degree diffuser improved from 11.9% to 19.2%. These results demonstrate an increase in performance by the addition of vortex generators while allowing the possibility for further investigation on improvement through the design and configuration of these vortex generators.
ContributorsSanchez, Zachary Daniel (Author) / Takahashi, Timothy (Thesis director) / Herrmann, Marcus (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The objective of this project was to design an electrically driven centrifugal pump for the Daedalus Astronautics @ASU hybrid rocket engine (HRE). The pump design was purposefully simplified due to time, fabrication, calculation, and capability constraints, which resulted in a lower fidelity design, with the option to be improved later. The impeller, shroud, volute, shaft, motor, and ESC were the main focuses of the pump assembly, but the seals, bearings, lubrication methods, and flow path connections were considered as elements which would require future attention. The resulting pump design is intended to be used on the Daedalus Astronautics HRE test cart for design verification. In the future, trade studies and more detailed analyses should and will be performed before this pump is integrated into the Daedalus Astronautics flight-ready HRE.
ContributorsShillingburg, Ryan Carl (Author) / White, Daniel (Thesis director) / Brunacini, Lauren (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05