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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
Description
The sacred San Francisco Peaks in northern Arizona have been at the center of a series of land development controversies since the 1800s. Most recently, a controversy arose over a proposal by the ski area on the Peaks to use 100% reclaimed water to make artificial snow. The current state of the San Francisco Peaks controversy would benefit from a decision-making process that holds sustainability policy at its core. The first step towards a new sustainability-focused deliberative process regarding a complex issue like the San Francisco Peaks controversy requires understanding the issue's origins and the perspectives of the people involved in the issue. My thesis provides an historical analysis of the controversy and examines some of the laws and participatory mechanisms that have shaped the decision-making procedures and power structures from the 19th century to the early 21st century.
ContributorsMahoney, Maren (Author) / Hirt, Paul W. (Thesis advisor) / Tsosie, Rebecca (Committee member) / White, Dave (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
In nineteenth-century France, in rural areas, women washed laundry in the nearest streams or in the sea and hung the linens where they could, on lavender bushes, rocks and grass fields, where it had a quaint, if not artistic quality. In villages, laundresses washed linens in fountains, or other water sources, which were often found at or near the center of town. In either case, laundresses operated in public spaces without problem. I argue that, in Paris, changing ideas about the functioning of city space, the management of public hygiene and decisions about the use of public space, made laundresses and laundry operations matter out of place in the city. This study will demonstrate the changes laundering and laundresses underwent during the nineteenth century in Paris, making them out of place. City administrators and public health officials changed the occupation and places where laundry could be done as they sought to render laundry and laundresses invisible within Paris. In the early nineteenth century the Préfet de la Seine forbade women from using the river banks. In the mid-nineteenth century complaints about the disgraceful aspect of women laundering on the river prompted the Préfet to try to eliminate bateaux-lavoirs. In the late nineteenth century the discovery of microbes focused attention on laundry and laundresses and their potential to transmit diseases prompting another wave of hygiene regulations and questions about closing bateaux-lavoirs and lavoirs. The Préfet and Conseil d'Hygiène's struggle to make them invisible by moving them into approved facilities continued until the end of the nineteenth century. Studying laundresses and laundry sheds light on how the shifts in politics, changes in acceptable uses of public space and public hygiene affected working women. It illustrates the manner in which public hygiene- the Conseil de Salubrité and later the Conseil d'Hygiène, functioned and to what degree they could demand changes to the city in the name of hygiene. Through identifying subtle policy shifts, historians may learn how laundry demonstrates policies on the use of urban space, public hygiene or issues about work.
ContributorsGrüring, Jaimee Kristin (Author) / Fuchs, Rachel G (Thesis advisor) / Thompson, Victoria E (Committee member) / Wright, Johnson K (Committee member) / Arizona State University (Publisher)
Created2011
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
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
This dissertation project addresses one of the most critical problems in the study of religion: how new formations of religion are constructed and constituted. My work builds on the recent revisions of the secularization theory, which demonstrates the alternative and hybrid ways people seek out religion in modernity. To this end, my project examines the emerging popularity and phenomenon of international meditation centers in Thailand, focusing on encounters between international meditation center teachers and their international students. Through participant observation and in-depth interviews at these sites throughout Thailand, my project explores the social processes of religious change and adaptation, and the construction of religious meaning. I detail the historical conditions that led to the formation of persisting ideas of Buddhism by tracing the continuities between Orientalist interpretations and modern-day spiritual seekers. My work contributes to a greater understanding of the most recent articulation of this engagement and interaction between Buddhism and the international community and adds to the burgeoning scholarship that reconsiders the relationship between religion and modernity. I investigate this relationship in regard to international meditation centers in Thailand through three angles: promotional materials concerning meditation in Thailand, experiences of international meditators, and teachings of international meditation center teachers. I contextualize this ethnographic analysis with an evaluation of the relationship of Buddhism to discourses of modernity and Orientalism as well as a historical inquiry into the rise of lay meditation in Thailand. Throughout I argue that international meditators' engagement with meditation in Thai temples constitutes a hybrid religiosity where the decontextualized practice of meditation is mixed with both non-religious and other religious beliefs and practices. Social discourses and practices involving meditation, even in a Buddhist country, demonstrate the deconstruction of traditional religiosity in modernity and the rise of hybrid religiosity. Through the decontextualization of meditation and the discourse of the practice having no religious boundaries, meditation becomes mixed with tourism, therapy, healing, as well as other religious and secular practices. This research contributes to studies of Theravada Buddhism as well as modern, global religions and the contemporary intersection between religion and tourism.
ContributorsSchedneck, Brooke (Author) / Schober, Juliane (Thesis advisor) / Rush, James (Committee member) / Fessenden, Tracy (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