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Description
This dissertation examines contemporary issues that 18 (im)migrant university students faced during a time of highly militarized U.S.-Mexico border relations while living in Arizona during the time of this dissertation research. Utilizing critical race theory and public sphere theory as theoretical frameworks, the project addresses several related research questions. The first is how did (im)migrant university students describe their (im)migrant experience while they lived in the U.S. and studied at a large southwestern university? Second, what can (im)migrant university student experiences tell us about (im)migrant issues? Third, what do (im)migrant university students want people to know about (im)migration from reading their story?
Three conceptual constructs, each composed of three categories, that described the different (im)migrant experiences in this study emerged through data analysis. The first of these conceptual constructs was the racialized/ing (im)migrant experience that categorically was divided into systemic exclusions, liminal exclusions, and micro-social contextual exclusions. The second concept that emerged was the passed/ing (im)migrant experience where (im)migrant university students shared that they felt they had a systemic pathway to citizenship and/or that their immigration authorization gave them privilege. This concept was also categorically divided into systemic inclusions, liminal inclusions, and micro-social contextual inclusions. The last concept was the negotiated/ing (im)migrant experience, which described ways that (im)migrant university students negotiated their space/place in the public sphere while attending a large, public university in Arizona. As with the other two concepts, three categories emerged in relation to negotiated/ing (im)migrant experience: systemic negotiations, liminal negotiations, and micro-social contextual negotiations. It is (im)migrant university student experiences that give individuals a better understanding of the complexities that surround immigration. The (im)migrant narratives also highlight that inclusion and exclusion from the public sphere is a complex and dynamic process because all (im)migrant students, including U.S. citizens, experienced moments of inclusion and exclusion from the U.S. public sphere.
Three conceptual constructs, each composed of three categories, that described the different (im)migrant experiences in this study emerged through data analysis. The first of these conceptual constructs was the racialized/ing (im)migrant experience that categorically was divided into systemic exclusions, liminal exclusions, and micro-social contextual exclusions. The second concept that emerged was the passed/ing (im)migrant experience where (im)migrant university students shared that they felt they had a systemic pathway to citizenship and/or that their immigration authorization gave them privilege. This concept was also categorically divided into systemic inclusions, liminal inclusions, and micro-social contextual inclusions. The last concept was the negotiated/ing (im)migrant experience, which described ways that (im)migrant university students negotiated their space/place in the public sphere while attending a large, public university in Arizona. As with the other two concepts, three categories emerged in relation to negotiated/ing (im)migrant experience: systemic negotiations, liminal negotiations, and micro-social contextual negotiations. It is (im)migrant university student experiences that give individuals a better understanding of the complexities that surround immigration. The (im)migrant narratives also highlight that inclusion and exclusion from the public sphere is a complex and dynamic process because all (im)migrant students, including U.S. citizens, experienced moments of inclusion and exclusion from the U.S. public sphere.
ContributorsCantú, Elizabeth A (Author) / Brouwer, Daniel (Thesis advisor) / Margolis, Eric (Thesis advisor) / Romero, Mary (Committee member) / Arizona State University (Publisher)
Created2016
Description
The percussion jazz ensemble is a long-established yet rare component of 21st century percussion studios in the United States. While many American collegiate programs have percussion ensembles that perform jazz-based pieces, none are identified as a “percussion jazz ensemble.” This may be for a variety of reasons. Professors may not have considered adding a percussion jazz ensemble to their program because of its scarcity in American universities. Including such a class would be challenging if the instructors did not feel comfortable or familiar enough with jazz idioms and vernacular. Additionally, very few compositions or arrangements are available for this group. While there are several method books on jazz vibraphone, there are no pedagogical resources designed specifically for the percussion jazz ensemble. The purpose of this document is to provide historical context, curricula, resource materials, and arrangements necessary for establishing a percussion jazz ensemble at the collegiate level. The end result will be to demonstrate the importance of an ensemble such as this for aspiring percussionists and motivate institutions focused on Western classical music to incorporate jazz elements into their percussion program. Research conducted for this project was limited to academic universities, pedagogical approaches, and ensembles found only in the United States and will not include a survey of those outside this country.
ContributorsMoreau, Danielle (Author) / Smith, Jeffrey (Thesis advisor) / Feisst, Sabine (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
Ethos or credibility of a speaker is often defined as the speaker's character (Aristotle). Contemporary scholars however, have contended that ethos lies with the audience because while the speaker may efficiently persuade, the audience will decide if it wants to be persuaded (Farrell). Missing from the scholarly conversation is attention to how ethos is performed between speaker and audience under institutional structures that produce inequitable power relations subject to changing political contexts over time. In this dissertation I analyze how ethos is performed that is a function of a specific social and political environment.
My grandfather, Al Foon Lai, was a paper son. As an adult, I learned that paper sons were members of paper families that may or may not actually exist except on paper; furthermore paper immigration was the way many Chinese entered the United States to get around the Chinese Exclusion Act (1882-1943). Grandfather held legal status, but grandfather's name was fictitious and thus his entry to the United States in 1920 was illegal. Today by some authorities he would be classified as an illegal immigrant. As Grandfather's status as a paper son suggest, Grandfather's credibility as someone with the legal prerogative to reside in the U.S. was a dynamic construct that was negotiated in light of the changing cultural norms encoded in shifting immigration policies. Grandfather constructed his ethos "to do persuasion" in administrative hearings mandated under the Chinese Exclusion Act that produced asymmetrical power relations. By asymmetrical power relations I mean the unequal status between the administrator overseeing the hearing and Lai the immigrant. The unequal status was manifest in the techniques and procedures employed by the administrative body empowered to implement the Chinese Exclusion Act and subsequent laws that affected Chinese immigrants. Combining tools from narrative analysis and feminists rhetorical methods I analyze excerpts from Al Foon Lai's transcripts from three administrative hearings between 1926 and 1965. It finds that Grandfather employed narrative strategies that show the nature of negotiating ethos in asymmetrical power situations and the link between the performance of ethos and the political and social context.
My grandfather, Al Foon Lai, was a paper son. As an adult, I learned that paper sons were members of paper families that may or may not actually exist except on paper; furthermore paper immigration was the way many Chinese entered the United States to get around the Chinese Exclusion Act (1882-1943). Grandfather held legal status, but grandfather's name was fictitious and thus his entry to the United States in 1920 was illegal. Today by some authorities he would be classified as an illegal immigrant. As Grandfather's status as a paper son suggest, Grandfather's credibility as someone with the legal prerogative to reside in the U.S. was a dynamic construct that was negotiated in light of the changing cultural norms encoded in shifting immigration policies. Grandfather constructed his ethos "to do persuasion" in administrative hearings mandated under the Chinese Exclusion Act that produced asymmetrical power relations. By asymmetrical power relations I mean the unequal status between the administrator overseeing the hearing and Lai the immigrant. The unequal status was manifest in the techniques and procedures employed by the administrative body empowered to implement the Chinese Exclusion Act and subsequent laws that affected Chinese immigrants. Combining tools from narrative analysis and feminists rhetorical methods I analyze excerpts from Al Foon Lai's transcripts from three administrative hearings between 1926 and 1965. It finds that Grandfather employed narrative strategies that show the nature of negotiating ethos in asymmetrical power situations and the link between the performance of ethos and the political and social context.
ContributorsCarter, Karen Lynn Ching (Author) / Long, Elenore (Thesis advisor) / Hannah, Mark (Committee member) / Warriner, Doris (Committee member) / Arizona State University (Publisher)
Created2016
Description
In recent years the state of Arizona passed a series of laws affecting undocumented immigrants, including Proposition 300 in 2006 outlawing in-state tuition for undocumented youth. However, there has also been a reaction from these youth who refused to be relegated to the shadows and are demanding rights. Using mixed ethnographic methods, this dissertation research analyzes how undocumented Mexican youth in Arizona have experienced liminality after the passage of Proposition 300 as well as their ability to utilize their increased marginalization in order to build community amongst themselves and fight for basic rights--a process known as cultural citizenship. These immigrant youth are of the 1.5 generation, who are brought to the United States at a young age, grow up in the country and share characteristics with both first and second- generation immigrants. Even though undocumented 1.5 generation immigrants are raised and acculturated within this country and treated the same as other children while in the public school system, they have been denied basic rights upon approaching adulthood because of their illegality. This includes limiting access to affordable higher education as well as public services and legal work. Consequently, they are unable to fully incorporate into U.S. society and they end up transitioning into illegality after leaving school. This is especially true in Arizona, a state that has passed some of the strictest anti-immigrant laws in the country aiming to deter undocumented immigrants from staying in the state. However, I argue that this increased marginalization has had an unintended consequence of creating a space that allowed for these youth to come together and form a community. I further posit that this community provides valuable social capital and access to resources and information that mitigates the possibility of downward assimilation. Moreover, this community offers its members a safety net that allows them to publically claim their undocumented status in order to fight for their right to have a pathway towards citizenship. As a result, they have been able to gain some victories, but are still fighting for their ultimate goal to become citizens.
ContributorsRuth, Alissa (Author) / Tsuda, Takeyuki (Thesis advisor) / Wutich, Amber (Committee member) / Provine, Doris Marie (Committee member) / Arizona State University (Publisher)
Created2014
Description
Assyrians face numerous concerns resulting from the status of a stateless people. Overcoming immigrant transitions, difficulties related to diaspora, and the implications of these on Assyrian culture are pressing matters to be addressed in the evolution of the Assyrian nation. In order to develop a strategy to benefit individuals, families and the nation, Hometown Associations, a form of nonprofit organization, may be used to connect, assist, and progress Assyrian communities. This thesis provides background, rationale for, and guidelines to creating Hometown Associations for Assyrian communities. Ultimately, Hometown Associations and other forms of cultural organizations appear to be a viable means toward community solidarity and cultural preservation. However, further research and more diverse subjects are required to assess the generalizeability of the findings discussed.
ContributorsTamo, Samuel (Author) / Behl, Natasha (Thesis advisor) / Ali, Souad (Committee member) / Maghoub, Miral (Committee member) / Arizona State University (Publisher)
Created2014
Description
Using integrated threat theory as the theoretical framework, this study examines the impact of perceived realistic threats (threats to welfare) and symbolic threats (threats to worldview) on anti-immigrant sentiment among a nationally representative sample in the U.S. Analysis of the antecedents of prejudice is particularly relevant today as anti-immigrant sentiment and hostile policies toward the population have risen in the past two decades. Perceived discrimination has also become salient within immigrant communities, negatively impacting both mental and physical health. Using logistic ordinal regressions with realistic threat, symbolic threat, and immigrant sentiment scales, this study found that both realistic and symbolic threats increased participants' likelihood of selecting a higher level of anti-immigrant sentiment, suggesting both are predictive of prejudice. However, symbolic threats emerged as a greater predictor of anti-immigrant sentiment, with an effect size over twice that of realistic threats. Implications for social work policy, practice, and future research are made.
ContributorsKiehne, Elizabeth (Author) / Becerra, David (Thesis advisor) / Segal, Elizabeth (Committee member) / Androff, David K. (Committee member) / Arizona State University (Publisher)
Created2014
Description
This dissertation describes the public sphere that coalesced in the Soviet jazz scene during Josef Stalin’s reign. Scholars debate the extent to which Soviet citizens, especially under Stalin, were coerced into cooperating with the regime through terror; willingly cooperated with the regime out of self-interest; or re-aligned their speech, behavior, and thoughts to conform to Bolshevik ideology and discourse. In all cases, citizens were generally unable to openly express their own opinions on what Soviet society should look like. In this dissertation, I attempt to bridge this gap by analyzing the diverse reactions to jazz music in Josef Stalin’s Soviet Union. I argue that audience engagement with jazz and discussions about the genre in the Soviet press and elsewhere were attempts to grapple with bigger questions of public concern about leisure, morality, ethnicity, cosmopolitanism and patriotism in a socialist society. This jazz public sphere was suppressed in the late 1940s and early 1950s because of Cold War paranoia and fears of foreign influences in Soviet life. In its place, a counterpublic sphere formed, in which jazz enthusiasts expressed views on socialism that were more open and contradictory to official norms. This counterpublic sphere foreshadowed aspects of post-Stalinist Soviet culture. To support my arguments, I employ archival documents such as fan mail and censorship records, periodicals, memoirs, and Stalin-era jazz recordings to determine the themes present in jazz music, how audiences reacted to them, and how these popular reactions overlapped with those of journalists, musicologists, bureaucrats, and composers. This project expands our understanding of when and where public spheres can form, challenges top-down interpretations of Soviet cultural policy, and illuminates the Soviet Union and Russia’s ambivalent relationship with the West and its culture.
ContributorsBeresford, Benjamin J. (Author) / Von Hagen, Mark (Thesis advisor) / Manchester, Laurie (Committee member) / Schmelz, Peter (Committee member) / Moore, Aaron (Committee member) / Arizona State University (Publisher)
Created2017
Description
This study summarizes survey responses on perceived challenges by conductors who a) identify as female, b) are not citizens of the United States, c) are currently living in the United States, and d) are working in professional positions in the field of orchestral conducting. The goal of the survey was to query the concept of “double minority” (female and non-native to the United States) and to gain insight into the conductors’ self-perceptions and perceived challenges they encounter during their employment and career advancement in the United States.
The survey covered four main areas: educational background, immigration status, the employing orchestra or organization’s budget, and conductors’ challenges and perceptions. Considering the sensitivity of the topic and following best practices of human subjects’ research, participant identities were coded with letters.
Participants expressed more certainty about the issues and challenges concerning how they were perceived as females than as immigrants. There was insufficient data to correlate the budget of the orchestra with the willingness of the institution to be a visa sponsor.
This study’s findings suggest that there are areas that should be further explored such as: the effect a conductor’s nationality has on their career and reception in the United States; how potential motherhood affects the conductors’ careers; organizations’ willingness and ability to hire immigrants, offer sponsorship, and assist the artist in the transition out of the student visa status; and the perceptions and experiences of being an immigrant conductor in the United States.
The survey covered four main areas: educational background, immigration status, the employing orchestra or organization’s budget, and conductors’ challenges and perceptions. Considering the sensitivity of the topic and following best practices of human subjects’ research, participant identities were coded with letters.
Participants expressed more certainty about the issues and challenges concerning how they were perceived as females than as immigrants. There was insufficient data to correlate the budget of the orchestra with the willingness of the institution to be a visa sponsor.
This study’s findings suggest that there are areas that should be further explored such as: the effect a conductor’s nationality has on their career and reception in the United States; how potential motherhood affects the conductors’ careers; organizations’ willingness and ability to hire immigrants, offer sponsorship, and assist the artist in the transition out of the student visa status; and the perceptions and experiences of being an immigrant conductor in the United States.
ContributorsDi Russo, Michelle (Author) / Meyer, Jeffery (Thesis advisor) / Caslor, Jason (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2020
Description
Beginning around the 1820s, the refinement of the piano mechanism increased the expressiveness of the instrument’s sonority and further attracted the composers’ attention and curiosity about the instrument. Concentration on piano music became a trend for composers between the mid to late nineteenth century. During this period, the massive output of music for piano and extremely developed keyboard techniques resulted in classical composers searching for fresh ideas. Starting in the twentieth century, composers became increasingly interested in music outside the classical world and new interpretations of meter, harmony, and form. As early as the 1910s, composers included tone clusters generated at keyboard and soon afterwards, began “playing” the internal components of the piano including strings. Concurrently, they blended different styles within a piece according to their cultural and educational background. A prime example of this compositional trend is the classically-trained Turkish pianist-composer Fazil Say (b. 1970). His ability as a pianist reflects his strong classical training as well as a stylistic freedom partly derived from jazz. Say’s inspiration is also drawn from his Turkish heritage, as traditional folk elements have helped to shape his compositions. Representing Say’s education, passion, and ethnic background, the three elements of classical, jazz, and folk music have become his primary devices within his solo piano compositions.
This brief investigation of Say’s life to date and his piano works offers an insight into the correlation between the multi-cultural environments in which he has lived and the formation of his styles. Chapter one, the summary of his life and educational background, illustrates the fact that the three facets within his piano compositions are strongly rooted in his exposure to different environments. The second chapter presents a clear overview of the development of Say’s compositional idiom and a deeper look at selected piano compositions: his transcription of J. S. Bach’s Passacaglia in C Minor, BWV 582, Three Ballads, Black Earth, Alla Turca Jazz, and Paganini Jazz. The goal is to provide current and future pianists with insight into the expressive performance of one composer’s extremely successful hybridization of classical, jazz, and Turkish folk music.
This brief investigation of Say’s life to date and his piano works offers an insight into the correlation between the multi-cultural environments in which he has lived and the formation of his styles. Chapter one, the summary of his life and educational background, illustrates the fact that the three facets within his piano compositions are strongly rooted in his exposure to different environments. The second chapter presents a clear overview of the development of Say’s compositional idiom and a deeper look at selected piano compositions: his transcription of J. S. Bach’s Passacaglia in C Minor, BWV 582, Three Ballads, Black Earth, Alla Turca Jazz, and Paganini Jazz. The goal is to provide current and future pianists with insight into the expressive performance of one composer’s extremely successful hybridization of classical, jazz, and Turkish folk music.
ContributorsChen, Yen-Wei (Author) / Meir, Baruch (Thesis advisor) / Norton, Kay (Committee member) / Hamilton, Robert (Committee member) / Arizona State University (Publisher)
Created2019
Description
Traditional jazz refers specifically to iterations of New Orleans style jazz since its beginnings in the early 20th century. It has been labelled "Dixieland," "Classic Jazz," "New Orleans jazz," "Trad," or "Our Kind of Music (OKOM)" among other names. As a scholar-performer, I learned this style of music in my undergraduate studies in Provo, Utah and later taught it as a graduate student in Phoenix, Arizona. This research grows out of the challenges I encountered mediating between the academic institution, the non-academic tradition, and student needs. Combining musicological methods such as historiography and artifact analysis with reflexive ethnography and performance pedagogy more typical of other disciplines, I consider how educators might represent traditional jazz in a more culturally responsible way. To begin, I reference historical newspapers and oral histories to show how the labels of “Dixieland” and “traditional jazz” have evolved over time and taken on a variety of associations. Specifically, I note how the word “Dixieland” is problematic for the ways it reinforces nostalgic fantasies of the “old south” and prevents African Americans from participating without the oppressive and offensive stereotypes created by white minstrel entertainers. I then consider how prominent figures have established their authority to speak for traditional jazz by looking at several pedagogical artifacts for the style of traditional jazz drumming. I highlight how each of these artifacts’ authors present the subject and color their audience’s view of traditional jazz. Having analyzed these methods of genre definition, I discuss the tenuous place of traditional jazz within university jazz programs and its potential futures through interviews I conducted with jazz educators. These interviews focus on teaching traditional jazz within the academy and the potential for the jazz ensemble as a site of scholar-performer interdisciplinary collaboration. Finally, following models of reflexive ethnography established by ethnomusicologists leading world music ensembles, I analyze my own experience teaching traditional jazz ensembles. My synthesis of methods from musicology, ethnomusicology, music education, and jazz performance departments serves as an important bridge between these disciplines, and in turn, improves jazz instruction, offers insight into genre definition, and illuminates how institutional structures shape the subject.
ContributorsWiggins, Zachary Thomas (Author) / Wells, Christi Jay (Thesis advisor) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2021