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Description
This is a study that tests the New Urbanist claims that neighborhood design impacts sense of community and residential habits. Through the framework provided by New Urbanist theories, a social survey is used to examine residential perception and behavior among three fringe neighborhoods in southeast Tucson, each representing a different approach to neighborhood design: New Urbanist, traditional suburban, and a hybrid variety. The primary relationships studied are between neighborhood design and use of public space, neighborhood design and travel habits, and neighborhood design and sense of community. The findings show that the New Urbanist community does support the highest levels of sense of community and use of public space, but conclusions cannot be drawn concerning the relationship between sense of community and travel behavior, especially non-vehicular travel to public space. While these results are inconclusive concerning the direct impact of the neighborhood type on certain behaviors and perceptions, the findings support the notion that a New Urbanist design does indeed enhance social interactions and use of public space. It also offers insight into the importance of residential preferences, not as much towards walkability but towards general environmental concern.
ContributorsSchwaller, Ellen (Author) / Talen, Emily (Thesis advisor) / Pijawka, K David (Committee member) / Crew, Katherine (Committee member) / Arizona State University (Publisher)
Created2012
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
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsPagano, Caio, 1940- (Performer) / Mechetti, Fabio (Conductor) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Rodrigues, Christiano (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Avanti Festival Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
Description
Resettled refugees face numerous challenges including unsafe living conditions, loss of permanent shelter, adjustment to a new culture, loneliness, and separation from family, friends, and community. Of particular importance is the lack of a feeling of sense of community (SOC) within their new surroundings. SOC is not only worthwhile as an outcome of its own, but may also predict additional positive outcomes such as resilience and cultural adjustment. Literature has shown participation in sport can develop youth positively and build social skills, while studies in other regions of the world have also found a sport team setting to be a place for immigrants to experience SOC. In this study, I use a congruent mixed methods approach to both explore the experience of SOC for youth refugees in a soccer club, and examine the relation of SOC to resilience and cultural adjustment. Using photo-elicitation and semi-structured interviews with 11 youth participants, the qualitative portion of the study explored SOC among youth participants. Findings note the presence of SOC as matched to theoretical frameworks both specific to sport, and to a more general theory of SOC. Further data were collected through questionnaires distributed to club members. Results from the quantitative analysis indicate a significant positive relation between SOC and resilience, and SOC and perceived acculturation. This study’s contribution is to illustrate how refugee youth in a sport club in the United States experience SOC, and the impact of that SOC. Results suggest practical implications for sport managers who wish to provide positive sport experiences for youth refugees.
ContributorsFader, Nina (Author) / Legg, Eric (Thesis advisor) / Larsen, Dale (Committee member) / Klimek, Barbara (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsSchuring, Martin (Performer) / Stromberg, Eric (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-08-19
Description
Looking into the school community cohesion and how refugee youth integrate into schools is important when addressing refugee resettlement issues at large. It is important that school community identity (SCI) formation for refugee high school youth is understood in order to develop school programs that can better assist integration process of refugee families. Looking at high school refugee youth from Arizona a model was created that better displays the specifics this study found when dealing with this population. Unlike non-refugee high school youth, refugee youth do not develop school community cohesion through voice, resonance, or empowerment like other studies have shown. This study shows that they must first develop a SCI before they can have a strong school community presence. School community identity is an important first step that facilitates sense of school community. Two focus groups were down at the Somali American United Council, and from these two groups four common themes surfaced: faculty support, emotional security, cultural understanding, and partnership/collaboration. Using these themes a refugee school identity model was created to represent the data collected. The participants in the focus group often told stories and used phrases that indicated a lack of identity in their school, and no claims to a need of a voice within their school community was mentioned. This indicates that refugee students need an identity within their school community before they will express a need for voice or influence.
ContributorsReiswig, Clinton Gene (Author) / Klimek, Barbara (Thesis director) / Zayas, Luis (Committee member) / Sambe, Pape (Committee member) / Barrett, The Honors College (Contributor) / College of Letters and Sciences (Contributor) / School of Public Affairs (Contributor) / School of Social Work (Contributor)
Created2015-05
ContributorsDe La Cruz, Nathaniel (Performer) / LoGiudice, Rosa (Contributor) / Tallino, Michael (Performer) / McKinch, Riley (Performer) / Li, Yuhui (Performer) / Armenta, Tyler (Contributor) / Gonzalez, David (Performer) / Jones, Tarin (Performer) / Ryall, Blake (Performer) / Senseman, Stephen (Performer)
Created2018-10-10
Description
Sense of Community is related to numerous positive outcomes for university students. The purpose of this study was to explore sense of community amongst low income students who received a last dollar scholarship. This study also sought to understand how students define community and how they interact with communities from their past (before university), present (since they started college), and how they envision their future community involvement after graduation. Through purposive sampling, six low income Arizona State University students were selected based on similar characteristics. The scholarship that they belong to selects them based on financial need, integrity, and prolonged commitment to community service. Using a qualitative narrative inquiry, I interviewed participants about their understanding and experiences with communities. Interviews were audio recorded and transcribed verbatim for analysis. Based on the analysis, I identified three major themes: community as construction, community as nonlinear, and community as intersectional. Drawing from participants' definitions and experiences of community, I argue that community is a construction. In other words, individuals create their own constructions of community, and their actions vary based on that construction. Participants also experience their communities intersectionally, that is individual's experience their communities as coexisting and through multiple community perspectives, rather than as a single stand-alone entity. Finally, community does not exist as part of a linear time paradigm. Instead community is experienced in terms of relevance to the individual in creating meaning from that community. In addition to the above themes, I also examined participant perspectives of ASU as a community. Based on this research, I recommend that a platform be provided for students to engage in a dialogue about their understanding of community and interactions with communities. Moreover, I suggest researchers utilize intersectionality, constructionism, and non-linear time to frame future research on sense of community. This research is significant because it helps us understand student engagement, and offers a framework through which universities can provide students an opportunity to better understand their own sense of community.
ContributorsWhite, Misha Alexsandra (Author) / Foroughi-Mobarakeh, Behrang (Thesis director) / Legg, Walter Eric (Committee member) / School of Community Resources and Development (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05