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Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility

Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
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Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and

Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
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This dissertation consists of three essays, each of which closely relates to epistemic norms for rational doxastic states. The central issue is whether epistemic rationality is impermissive or not: For any total evidence E, is there a unique doxastic state that any possible agent with that total evidence E should

This dissertation consists of three essays, each of which closely relates to epistemic norms for rational doxastic states. The central issue is whether epistemic rationality is impermissive or not: For any total evidence E, is there a unique doxastic state that any possible agent with that total evidence E should take (Uniqueness), or not (Permissivism)?

“Conservatism and Uniqueness”: Conservatism is the idea that an agent’s beliefs should be stable as far as possible when she undergoes a learning experience. Uniqueness is the idea that any given body of total evidence uniquely determines what it is rational to believe. Epistemic Impartiality is the idea that you should not give special treatment to your beliefs solely because they are yours. I construe Epistemic Impartiality as a meta-principle governing epistemic norms, and argue that it is compatible with Conservatism. Then I show that if Epistemic Impartiality is correct, Conservatism and Uniqueness go together; each implies the other.

“Cognitive Decision Theory and Permissive Rationality”: In recent epistemology, philosophers have deployed a decision theoretic approach to justify various epistemic norms. A family of such accounts is known as Cognitive Decision Theory. According to Cognitive Decision Theory, rational beliefs are those with maximum expected epistemic value. How does Cognitive Decision Theory relate to the debate over permissive rationality? As one way of addressing this question, I present and assess an argument against Cognitive Decision Theory.

“Steadfastness, Deference, and Permissive Rationality”: Recently, Benjamin Levinstein has offered two interesting arguments concerning epistemic norms and epistemic peer disagreement. In his first argument, Levinstein claims that a tension between Permissivism and steadfast attitudes in the face of epistemic peer disagreement generally leads us to conciliatory attitudes; in his second argument, he argues that, given an ‘extremely weak version of a deference principle,’ Permissivism collapses into Uniqueness. However, in this chapter, I show that both arguments fail. This result supports the following claim: we should treat steadfast attitudes and at least some versions of a deference principle as viable positions in the discussion about several types of Permissivism, because they are compatible with any type of Permissivism.
ContributorsJung, Jaemin (Author) / Armendt, Brad (Thesis advisor) / Portmore, Douglas W. (Committee member) / Pinillos, Angel (Committee member) / Arizona State University (Publisher)
Created2016