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- Genre: Academic theses
Description
This dissertation project is a legal and policy analysis of California's involuntary psychiatric commitment laws and policy as applied to American Indians (AI). Mental health-based civil commitment and conservatorships constitute some of the most severe intrusions into personal liberties and freedom outside of the criminal justice system. In the context of AI peoples and tribal Nations, however, these intrusions implicate not only individual freedoms and well-being but also larger notions of tribal sovereignty, self-determination, culture, and the dialectic relationship between individual identity and community knowledge related to definitions of health, illness and the social meaning of difference. Yet, in the context of involuntary psychiatric commitments, the law reflects a failure to understand this relationship, alternating between strategic use of the sovereignty doctrine to deny access to services or, alternatively, wholly absenting issues of sovereignty and Indigenous worldviews from legal discourse. This project explores the nuanced ways in which these issues are weaved into the fabric of mental health law and policy and how they function to codify, enact and maintain colonization for AI peoples and Nations.
ContributorsGough, Heather Robyn (Author) / Brayboy, Bryan Mck. J. (Thesis advisor) / Romero, Mary (Committee member) / Molidor, Christian (Committee member) / Arizona State University (Publisher)
Created2013
Description
Whenever a text is transmitted, or communicated by any means, variations may occur because editors, copyists, and performers are often not careful enough with the source itself. As a result, a flawed text may come to be accepted in good faith through repetition, and may often be preferred over the authentic version because familiarity with the flawed copy has been established. This is certainly the case with regard to Manuel M. Ponce's guitar editions. An inexact edition of a musical work is detrimental to several key components of its performance: musical interpretation, aesthetics, and the original musical concept of the composer. These phenomena may be seen in the case of Manuel Ponce's Suite in D Major for guitar. The single published edition by Peer International Corporation in 1967 with the revision and fingering of Manuel López Ramos contains many copying mistakes and intentional, but unauthorized, changes to the original composition. For the present project, the present writer was able to obtain a little-known copy of the original manuscript of this work, and to document these discrepancies in order to produce a new performance edition that is more closely based on Ponce's original work.
ContributorsReyes Paz, Ricardo (Author) / Koonce, Frank (Thesis advisor) / Solis, Theodore (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
The reed quintet is an intriguing and innovative chamber ensemble that offers adistinctive soundscape to the genre of chamber music. Through significant efforts to
legitimize the ensemble, the reed quintet now exists as a viable option for chamber
musicians. However, a significant challenge remains in the limited accessibility of
repertoire suitable for developing musicians interested in reed quintets. REED
REVOLUTION: A Fundamental Approach to Reed Quintet represents a comprehensive
solution, offering aspiring student chamber musicians the essential pedagogical tools and
materials needed to excel in a reed quintet setting.
This method book encompasses a wide array of strategies aimed at fostering a
functional and collaborative ensemble, establishing foundational chamber music skills,
and introducing five original compositions commissioned specifically for this project.
With REED REVOLUTION, student reed quintets can begin their chamber music journey
equipped with tools to become a successful ensemble prepared to explore the existing
reed quintet repertoire. Additionally, the method book includes a collection of online
resources and recordings, performed by the Arcane Reed Quintet, produced by Dr.
Joshua Gardner, and recorded by Jin Studios, LLC. These resources include reference
recordings and practice tracks for each instrument and the ensemble, serving as
invaluable aids in the learning process.
ContributorsMacDonald, Benjamin Xavier (Author) / Creviston, Christopher (Thesis advisor) / Gardner, Joshua (Committee member) / Shea, Nicholas (Committee member) / Arizona State University (Publisher)
Created2023
Description
Belonging to a tribe or American Indian Indigenous group in the United States, even if one has already been enrolled or accepted into the community, is a lifelong endeavor. Belonging may be achieved by meeting specific criteria during one life stage yet one must continue to behave and act in ways that align with community expectations to maintain a sense of belonging throughout all life stages. This descriptive qualitative case study presents the findings of in-depth interviews, with five individual tribal members, two male and three female participants, ranging in age from 25 to 55, who are college graduates and tribal members. The study aimed to understand the different forms and ideas of belonging for tribal members, how the notion of belonging is understood and achieved over the life course, and how phenotypic arguments, blood quantum, the role of schooling and demonstration of tribal knowledge influences the extent to which belonging is earned and how that can change over time. The study sought to answer the following questions: How do tribal members define “belonging”? How and in what ways do tribal members learn how to become members of the community? And, what can tribal communities and tribal members do to foster a sense of belonging for members who have left to obtain professional or academic training and seek to return to serve the nation?
The study focused on participants the Gila River Indian Community, a tribal community in southwest Arizona with approximately 23,000 enrolled members, who completed a higher education degree and sought to return to serve as professionals and/or leaders at their tribal nation. Interviews were conducted off-reservation in the Phoenix metropolitan area within a 30-day window and held during the month of September
2015. Interviews were analyzed using three iterative levels of content analysis. Findings suggest there can be three methods of belonging within Gila River: belonging by cultural practices, belonging by legal definition, and belonging by both cultural and legal definition. However, the three methods of belonging do not automatically equate to being accepted by other tribal members.
The study focused on participants the Gila River Indian Community, a tribal community in southwest Arizona with approximately 23,000 enrolled members, who completed a higher education degree and sought to return to serve as professionals and/or leaders at their tribal nation. Interviews were conducted off-reservation in the Phoenix metropolitan area within a 30-day window and held during the month of September
2015. Interviews were analyzed using three iterative levels of content analysis. Findings suggest there can be three methods of belonging within Gila River: belonging by cultural practices, belonging by legal definition, and belonging by both cultural and legal definition. However, the three methods of belonging do not automatically equate to being accepted by other tribal members.
ContributorsMolina, Mario (Author) / Brayboy, Bryan (Thesis advisor) / Moore, Elsie (Committee member) / Nakagawa, Kathryn (Committee member) / Arizona State University (Publisher)
Created2018
Description
Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
ContributorsBrown, Jr., Fredrick Marcell (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Schmelz, Peter (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
In this dissertation, I examine the treatment and sentencing of American Indian defendants. This work contributes to research on cumulative disadvantage and the role race and social context play to influence federal sentencing outcomes. Disparities in federal sentencing for racial and ethnic minorities are an important concern to scholars and policy makers. Literature suggests that blacks and Latinos are sentenced more harshly than similarly situated white offenders. These findings are concerning because they suggest that minorities are treated unfairly by the criminal justice system, questions the legitimacy of how offenders are processed and treated, and defendants of color who are meted out tougher punishments face substantial social and economic difficulties thereafter. Although the black-white and Latino-white disparities have been identified and highlighted, less is known about whether disparities extend to other minority groups, and consequently little is known about the treatment of these neglected groups.
I investigate whether American Indian defendants experience cumulative disadvantages at multiple decision points, disadvantage over time, and the effect of social context on drawing on American Indian disadvantage, the focal concerns and minority threat perspectives. The focal concerns perspective is used to develop hypotheses about how American Indian defendants will receive harsher punishments at multiple decision points. I also use this perspective to predict that American Indian disadvantages will increase over time. Lastly, I examine social context and its effect on punishment decisions for American Indians using the minority threat perspective. I hypothesize that social context impacts how American Indian defendants are sentenced at the federal level.
Data come from the Federal Justice Statistics Program Data Series, the US Census, and the Uniform Crime Report, with a focus on data gathered from the Administrative Office of the United States Courts and the United States Sentencing Commission. A range of modeling strategies are used to test the hypotheses including multinomial logistic regression, ordinary least squares regression, and multilevel modeling.
The results suggest that cumulative disadvantages against American Indian defendants is pronounced, American Indian disparity over time is significant for certain outcomes, and social context plays a limited role in American Indian sentencing disadvantage.
I investigate whether American Indian defendants experience cumulative disadvantages at multiple decision points, disadvantage over time, and the effect of social context on drawing on American Indian disadvantage, the focal concerns and minority threat perspectives. The focal concerns perspective is used to develop hypotheses about how American Indian defendants will receive harsher punishments at multiple decision points. I also use this perspective to predict that American Indian disadvantages will increase over time. Lastly, I examine social context and its effect on punishment decisions for American Indians using the minority threat perspective. I hypothesize that social context impacts how American Indian defendants are sentenced at the federal level.
Data come from the Federal Justice Statistics Program Data Series, the US Census, and the Uniform Crime Report, with a focus on data gathered from the Administrative Office of the United States Courts and the United States Sentencing Commission. A range of modeling strategies are used to test the hypotheses including multinomial logistic regression, ordinary least squares regression, and multilevel modeling.
The results suggest that cumulative disadvantages against American Indian defendants is pronounced, American Indian disparity over time is significant for certain outcomes, and social context plays a limited role in American Indian sentencing disadvantage.
ContributorsRedner-Vera, Erica N. (Author) / Wang, Xia (Thesis advisor) / Spohn, Cassia (Committee member) / Wallace, Danielle (Committee member) / Arizona State University (Publisher)
Created2019
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014