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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
Description
The purpose of the study is to explore the identity development and organizational culture of a student organization, the National Association of Latino Fraternal Organizations council (NALFO) by implementing a community of practice approach at a large, public university in southwestern United States. The objective is to construct a sustainable camaraderie among the existing Latino fraternal organizations at the university to influence leadership development, work toward a common vision, and a cohesive and systematic approach to collaboration, consequently transforming organizational culture. This study investigates the factors that contribute to and/or inhibit increased communication and collaboration and to describe the experiences of Latino fraternal members who are purposefully engaged in a community of practice. There are 57 fraternal organizations in five umbrella councils at the university, including predominately Caucasian, historically African American, Latino, and Multicultural groups, whose platforms are commonly leadership, scholarship, and philanthropy. This action research examines the experiences of six NALFO members individually and working as a community with the guidance of a mentor (the researcher). The researcher employs use of an anonymous initial and post electronic survey, a participant personal statement, an intentional and purposeful community of practice, a semi-structured individual interview, and focus groups to collect data. Findings suggest that length of membership and fraternal experience influence participant responses; however, the themes remain consistent. Building relationships, perception (by members and outsiders), identity development, organizational management, and challenging perspectives (from outside influences) are factors that influence the organizational culture of the organization. On the post electronic survey all participants indicate that the implementation of an intentional community of practice can benefit the organization by encouraging participation and increasing communication. While participants suggest activities for encouraging member engagement, they determine that actual participation would be dependent on individual motivation.
ContributorsHeredia, Anna-Maria (Author) / Rund, James (Thesis advisor) / Calleroz White, Mistalene (Thesis advisor) / Corey, Frederick (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
Description
Despite the vast amount of research within the leadership and culture domains, a paucity of research has integrated the two literatures. This dissertation investigates leadership, organizational culture, and the dynamic interplay between them. It is composed of three papers with the objective to integrate leadership and culture research, theoretically and empirically, and generate novel insights about both phenomena. Paper 1 describes how leader-unit interactions foster culture emergence. I integrate insights from social learning theory, self-regulation theory, and event-structure theory to enumerate how leader-unit interactions create values, beliefs, and underlying assumptions that become shared among members in a nascent work unit. Paper 2 integrates team motivation theory with multilevel leadership theory to address CEO task leadership's paradoxical effect on firm performance through intervening social (i.e., organizational culture) and psychological (i.e., TMT engagement) mechanisms. Using data from 106 CEOs and 324 top management team members, structural equation modeling results revealed that CEO task leadership enhanced firm performance through its positive association with task culture, which in turn was positively related to TMT engagement, which positively contributed to firm performance. Conversely, CEO task leadership hindered firm performance through its negative, direct effect on TMT engagement. Paper 3 integrates various approaches to organizational culture bandwidth that have produced a fragmented view of culture and its effects on organizational outcomes. I draw upon organizational culture theory and bandwidth theory to examine the incremental predictive validity of culture configurations and culture dimensions on broad and narrow criteria. Hierarchical linear regression analyses, from data consisting of 567 employees in 130 bank branches, indicated that narrow culture dimensions predicted variance in narrow outcomes whereas configurations explained incremental variance in broad outcomes above and beyond culture dimensions. Through this dissertation, I take an initial step toward illuminating the interrelationship between leadership and culture by identifying mechanisms through which unit leaders foster culture emergence and by examining how organizational culture is a social normative lens through which followers filter leader behavior. Given culture's importance to leadership and organizational outcomes, the conditions in which culture should be examined as a broad or a narrow phenomenon are also enumerated.
ContributorsHartnell, Chad (Author) / Kinicki, Angelo J (Thesis advisor) / Walumbwa, Fred O (Committee member) / Hom, Peter W (Committee member) / Arizona State University (Publisher)
Created2012
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26
ContributorsLee, Eunhwa (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-17