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- Creators: Novak, Gail (Pianist)
ContributorsKierum, Caitlin (Contributor) / Novak, Gail (Pianist) (Performer) / Liang, Jack (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-11
ContributorsLougheed, Julia (Performer) / Novak, Gail (Pianist) (Performer) / Bayer, Elizabeth Kennedy (Performer) / Clifton-Armenta, Tyler (Performer) / Park, Julie (Performer) / Javier de Alba, Francisco (Performer) / Vientos Dulces (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
In The Archive and the Repertoire, Diana Taylor discusses how performance, gestures, resistances within a community holds an embodied memory and enacts the transmission of knowledge within that community. Taylor discusses how this embodied memory is alternative to the written archive of history, history of interaction, history of meaning, history of language. Through the consideration of performance, Taylor urges her reader to reconsider oral and performative transmission of culture, knowledge, customs, traditions, and resistance. This project considers whether this reconsideration can be extended or expanded to oral and performative transmission of law within a community. Specifically, this research explores the conflict between the project of nationality and the reality of social organizing on a community/collective level. It asserts that this conflict is manifested most dramatically within border communities. The dissertation examines how the role of written law in the borderlands divides land and inhabitants and reconstructs a new understanding of the borderlands through oral histories and resistance by border communities. The overall goal of the dissertation is to challenge current scholarship to address the conceptual and sociopolitical task of a world in which legal representations and abstractions supersede the complex reality of community relations. As legal anthropologist Sally Falk Moore identified, we must consider carefully whether or not law controls the social context and what this means for our own definitions of community, what are the boundaries and borders of communities, and the seemingly limitedness of social interaction that becomes based on such legal definitions. The dissertation analyzes the defining disconnect of law from the social context that manifests itself amongst border communities along the U.S.-Mexico border. By exploring how law creates, sustains, molds, and connects the phenomenon of sovereignty, economy, and international borders, we can begin to understand how actions of border communities along the U.S.-Mexico border define the disconnect of law from the social context by redefining community itself.
ContributorsNatividad, Nicholas (Author) / Lauderdale, Pat (Thesis advisor) / Quan, Helen T. (Thesis advisor) / Gomez, Alan E. (Committee member) / Tsosie, Rebecca (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT Following the tragic events of 9-11, top Federal policy makers moved to establish the Department of Homeland Security (DHS). This massive realignment of federal public safety agencies also loosely centralized all U.S. civilian security organizations under a single umbrella. Designed to respond rapidly to critical security threats, the DHS was vested with superseding authority and broad powers of enforcement. Serving as a cabinet member, the new agency was administered by a secretary who answered directly to the President of the United States or the national chief executive. At its creation, many touted this agency as a new security structure. This thesis argues that the formation of DHS was not innovative in nature. Rather, its formation was simply the next logical step in the tiered development of an increasingly centralized approach to policing in the United States. This development took place during the early settlement period of Texas and began with the formation of the Texas Rangers. As the nation's first border patrol, this organization greatly influenced the development of centralized policing and law enforcement culture in the United States. As such, subsequent agencies following this model frequently shared a startling number of parallel developments and experienced many of the same successes and failures. The history of this development is a contested narrative, one that connects directly to a number of current, critical social issues regarding race and police accountability. This thesis raises questions regarding the American homeland. Whose homeland was truly being protected? It also traces the origins of the power to justify the use of gratuitous violence and the casting of particular members of society as the symbolic enemy or outsiders. Lastly, this exploration hopes to bring about a better understanding of the traditional directionality of the use of coercive force towards particular members of society, while at the same time, justifying this use for the protection of the rights and safety of others. It is hoped that the culmination of this work will assist American society in learning to address the task of redressing past wrongs while building more effective and democratic public security structures. This is of the utmost importance as the United States continues to weigh the benefits of centralized security mechanisms and expanding police authority against the erosion of the tradition of states' rights and the personal civil liberties of its citizens. Because police power must continually be monitored and held in check, concerns regarding the increasing militarization of civilian policing may benefit from an objective evaluation of the rise of centralized policing as experienced through the development of the Texas Rangers and rural range policing.
ContributorsTurner, D. L., 1957- (Author) / Simpson, Brooks D. (Thesis advisor) / Decker, Scott H. (Committee member) / Gomez, Alan E. (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsCoffey, Brennan (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2021-04-26
ContributorsHolly, Sean (Performer) / Wright, Aaron (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2021-04-29
ContributorsBreeden, Katherine (Performer) / German, Lindsey (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-13
Description
ABSTRACT Many musicians, both amateur and professional alike, are continuously seeking to expand and explore their performance literature and repertory. Introducing new works into the standard repertory is an exciting endeavor for any active musician. Establishing connections, commissioning new works, and collaborating on performances can all work together toward the acceptance and success of a composer's music within an instrument community. For the flute, one such composer is Daniel Dorff (b. 1956). Dorff, a Philadelphia-based composer, has written for symphony orchestra, clarinet, contrabassoon, and others; however, his award-winning works for flute and piccolo are earning him much recognition. He has written works for such illustrious flutists as Mimi Stillman, Walfrid Kujala, and Gary Schocker; his flute works have been recorded by Laurel Zucker, Pamela Youngblood and Lois Bliss Herbine; and his pieces have been performed and premiered at each of the National Flute Association Conventions from 2004 to 2009. Despite this success, little has been written about Dorff's life, compositional style, and contributions to the flute repertory. In order to further promote the flute works of Daniel Dorff, the primary focus of this study is the creation of a compact disc recording of Dorff's most prominent works for flute: April Whirlwind, 9 Walks Down 7th Avenue, both for flute and piano, and Nocturne Caprice for solo flute. In support of this recording, the study also provides biographical information regarding Daniel Dorff, discusses his compositional methods and ideology, and presents background information, description, and performance notes for each piece. Interviews with Daniel Dorff regarding biographical and compositional details serve as the primary source for this document. Suggestions for the performance of the three flute works were gathered through interviews with prominent flutists who have studied and performed Dorff's pieces. Additional performance suggestions for Nocturne Caprice were gathered through a coaching session between the author and the composer. This project is meant to promote the flute works of Daniel Dorff and to help establish their role in the standard flute repertory.
ContributorsRich, Angela Marie (Contributor) / Novak, Gail (Pianist) (Performer) / Buck, Elizabeth Y (Thesis advisor) / Hill, Gary W. (Committee member) / Holbrook, Amy (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2010
ContributorsBroome-Robinson, Julia (Performer) / Novak, Gail (Pianist) (Performer) / Glick, Philip (Performer) / Lynch, Paul (Performer) / Ryall, Blake (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-19
ContributorsCrimminger, Jordan (Performer) / Novak, Gail (Pianist) (Performer) / Hong, Dylan (Performer) / Larson, Ben (Performer) / Russell, Liam (Performer) / Raschko, Hannah (Performer) / ASU Library. Music Library (Publisher)
Created2017-10-22