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- Genre: Doctoral Dissertation
- Creators: Rockmaker, Jody
Description
War exacts a great social cost, not only upon its direct participants, but also upon the lives of the friends, family, and community of those who experience it. This cost is particularly evident in the increased frequencies of aggressive behaviors, including homicide, assault, and domestic violence, enacted by Western military veterans with posttraumatic stress disorder (PTSD). Similarly, among contemporary non-Westernized peoples, a cross-cultural conducted by Ember and Ember (1994) found a relationship between war and various forms of intragroup violence, including domestic violence, assaults, homicides, and violent sports. It is unknown, however, if this positive association between warfare and intragroup violence extends longitudinally for prehistoric populations uninfluenced by modern states.
To test Ember and Ember’s (1994) results in an archaeological culture, this study examines whether or not an association between war and intragroup violence was present during the Mississippian Period (ca. AD 1000-1450) of the Central Illinois Valley (CIV). The Mississippian Period of the CIV represents an ideal context for examining war and violence questions, as considerable evidence of war and violence has been amassed from archaeological and bioarchaeological analyses. High rates of skeletal trauma, fortification construction, and the placement of habitations sites in defendable areas indicate war was of particular concern during this period. Yet, little is known regarding the diachronic and synchronic variation in violence in this region.
In this research, skeletal remains representing 776 individuals from five CIV sites (Dickson Mounds, Larson, Berry, Crable, and Emmons) were analyzed for violence-related skeletal trauma, biodistance, and mortuary data. From the aggregation of these data, two models of intergroup violence and two models of intragroup violence were explored. The intergroup models examined were: 1) warfare victims from the local community and 2) warfare captives. The intragroup models assessed include: 1) domestic violence and 2) male-male fights. Results support the hypothesis that as intergroup violence increased during the Mississippian Period in the CIV, intragroup violence increased concomitantly. While warfare and intragroup violence occurred in low frequencies early in the Mississippian Period, after AD 1200, both intragroup and intergroup violence were likely endemic.
To test Ember and Ember’s (1994) results in an archaeological culture, this study examines whether or not an association between war and intragroup violence was present during the Mississippian Period (ca. AD 1000-1450) of the Central Illinois Valley (CIV). The Mississippian Period of the CIV represents an ideal context for examining war and violence questions, as considerable evidence of war and violence has been amassed from archaeological and bioarchaeological analyses. High rates of skeletal trauma, fortification construction, and the placement of habitations sites in defendable areas indicate war was of particular concern during this period. Yet, little is known regarding the diachronic and synchronic variation in violence in this region.
In this research, skeletal remains representing 776 individuals from five CIV sites (Dickson Mounds, Larson, Berry, Crable, and Emmons) were analyzed for violence-related skeletal trauma, biodistance, and mortuary data. From the aggregation of these data, two models of intergroup violence and two models of intragroup violence were explored. The intergroup models examined were: 1) warfare victims from the local community and 2) warfare captives. The intragroup models assessed include: 1) domestic violence and 2) male-male fights. Results support the hypothesis that as intergroup violence increased during the Mississippian Period in the CIV, intragroup violence increased concomitantly. While warfare and intragroup violence occurred in low frequencies early in the Mississippian Period, after AD 1200, both intragroup and intergroup violence were likely endemic.
ContributorsHatch, Mallorie Ann, 1983- (Author) / Buikstra, Jane (Thesis advisor) / Spielmann, Katherine (Committee member) / Carr, Christopher (Committee member) / Milner, George (Committee member) / Arizona State University (Publisher)
Created2015
Description
This research focuses upon the intersection of social complexity and leadership among commoners in complex societies as expressed through mortuary ritual. I study how ideology, materialized through treatment of the deceased body, was a potential source of power among commoners in ancient Maya society and how this materialization changed through time. Mortuary data are drawn from mid-level settlements of the Belize River Valley, located in western Belize within the eastern Maya lowlands. The primary research question addresses whether mid-level leaders in the Belize River Valley targeted certain human bodies for ancestral veneration through tomb re-entry and ritual interaction with skeletal remains. The ritual-political strategy of mid-level leaders is measured using archaeothanatology, an analysis of grave taphonomy based on forensic data, to reconstruct cultural beliefs about death based on treatment of deceased bodies, radiogenic strontium isotope analysis to reconstruct residential history, and analysis of dental metrics to assess biological kinship. While preservation of osseous material was poor, results indicate that the frequency of disarticulated and secondary burials was higher in eastern structures than in other locales, although eastern structures were not the only loci of these types of deposits. Overall, it does not seem like secondary burials were regularly and purposefully created for use as ritual objects or display. Radiogenic strontium isotope data enrich this analysis by showing that eastern structures were not a burial locale exclusive to individuals who spent their childhood in the Belize Valley. Data from upper-level eastern structures also suggests that within that part of society local birth did not guarantee interment in a local manner; perhaps the social network created during one's life shaped treatment in death more than residential origin. Biological distance analyses were inconclusive due to missing data. Comparison of mortuary practices to nearby regions shows distinct mortuary patterning across space and time. This is consistent with reconstructions of ancient Maya sociopolitical organization as regionally diverse and moderately integrated.
ContributorsNovotny, Anna (Author) / Buikstra, Jane E. (Thesis advisor) / Carr, Christopher (Committee member) / Robin, Cynthia (Committee member) / Astor-Aguilera, Miguel (Committee member) / Tiesler, Vera (Committee member) / Knudson, Kelly J. (Committee member) / Arizona State University (Publisher)
Created2015
Description
The modern day tubist has an expanded collection of solo tuba repertoire that continues to grow in quantity and in difficulty, making it necessary to utilize all the tools available to improve musicianship and performance ability. In this capacity, the use of transcribed material serves as a vital method of cross training in order to develop skills which assist the performance of modern tuba literature. Rather than focusing on transcriptions solely to engage with musical eras that the tuba would not otherwise have access to, the tubist can use transcribed material as supplementary or even prerequisite repertoire.
This project examines a cross training style of studying transcriptions for the advancing tubist. Similar to how athletes cross train in two or more sports to improve their abilities, the tubist may cross train with transcriptions in order to improve the technical and musical skills required in modern tuba literature. Transcribed materials will be used to develop facility in the areas of technique, phrasing, and stylistic interpretation using three unique pieces of standard solo tuba repertoire; Krzysztof Penderecki’s Capriccio, the John Williams Tuba Concerto, and Anthony Plog’s Three Miniatures.
This project examines a cross training style of studying transcriptions for the advancing tubist. Similar to how athletes cross train in two or more sports to improve their abilities, the tubist may cross train with transcriptions in order to improve the technical and musical skills required in modern tuba literature. Transcribed materials will be used to develop facility in the areas of technique, phrasing, and stylistic interpretation using three unique pieces of standard solo tuba repertoire; Krzysztof Penderecki’s Capriccio, the John Williams Tuba Concerto, and Anthony Plog’s Three Miniatures.
ContributorsNetzer, Travis (Author) / Swoboda, Deanna (Thesis advisor) / Ericson, John (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's Structures Ia . The purpose of this survey is to examine several systematic approaches to composition by prominent composers and their philosophy in adopting this type of approach. The next section of the paper introduces my own systematic approach to composition: the Take-Away System. The third provides several musical applications of the system, citing my work, Octulus for two pianos, as an example. The appendix details theorems and observations within the system for further study.
ContributorsHarbin, Doug (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
Description
Bright Summer, a one-movement piece for orchestra, was composed in Arizona, and completed in February 2013. The piece is approximately twelve minutes long. The motivation for writing this piece was the death of my mother the year before, in 2012. The prevailing mood of this work is bright and pleasant, expressing my mother's cheerful personality when she was alive. It also portrays bright summer days which resemble my mother's spirit. Thus, soundscape plays an important role in this work. It depicts summer breeze, rustling sounds of leaves, and, to translate a Korean saying, "high blue skies." This soundscape opens the piece as well as closes it. In the middle section, the fast upbeat themes represent my mother's witty and optimistic personality. The piece also contains the presence of a hymn tune, The Love of God is Greater Far, which informs the motivic content and also functions as the climax of the piece. It was my mother's favorite hymn and we used to sing it together following her conversion to Christianity. The piece contains three main sections, which are held together by transitional material based on the soundscape and metric modulations. Unlike my earlier works, Bright Summer is tonal, with upper tertian harmonies prevailing throughout the piece. However, the opening and closing soundscapes do not have functional harmonies. For example, tertian chords appear and vanish silently, leaving behind some resonant sounds without any harmonic progression. Overall, the whole piece is reminiscent of my mother who lived a beautiful life.
ContributorsKim, JeeYeon (Composer) / DeMars, James (Thesis advisor) / Hackbarth, Glenn (Committee member) / Rogers, Rodney (Committee member) / Levy, Benjamin (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.
ContributorsLanier, William Hudson (Author) / Koonce, Frank (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
Nelson Rolihlahla Mandela was born July 18, 1918 into the Madiba clan in Mvezo, Transkei, South Africa. Mandela was a lawyer by trade and a freedom fighter who envisioned freedom and equality for all South Africans regardless of race. In 1965, Mandela was imprisoned at Robben Island for twenty-seven years for treason and terrorist activities against the South African apartheid regime: he was assigned prison numbers 46664. In 1992, Mandela was released from prison and two years later not only became the first democratically elected president of South Africa, but also its first black president. "Madiba 46664" is an eight-minute chamber work scored for flute, oboe, clarinet in B-flat, and bassoon; vibraphone, and two percussionists; piano; violins, violas, and celli. The work blends traditional South African rhythms of the drumming culture with elements of Western harmony and form in contrasting textures of homophony, polyphony and antiphony. "Madiba 46664" utilizes Mandela's prison number, birthdate and age (at the time the composition process began in 2013) for the initial generation of meter, rhythm, harmony, melody, and form. The work also shares intercultural concepts that can be seen in the works of three contemporary African composers, South Africans Jeanne Zaidel-Rudolph and Andile Khumalo, and Nigerian Ayo Oluranti. Each section represents a period of Mandela's life as a freedom fighter, a prisoner, and a president. The inspiration stems from the composer's discussions with Mandela soon after his release from prison and prior to his presidency. These lively discussions pertained to the state of traditional music in then apartheid South Africa and led to this creation. The conversations also played a role in the creative process.
ContributorsMabingnai, Collette Sipho (Composer) / DeMars, James (Thesis advisor) / Hackbarth, Glenn (Committee member) / Humphreys, Jere (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2014
Description
Since 1999, a small group of groundbreaking orchestral works for turntables and orchestra has surfaced on the concert stage. These compositions explore the possibilities of the turntables and invite an intriguing fusion of musical cultures of the classically trained musician and the hip-hop DJ. Since DJ turntablists typically follow an improvised tradition and do not read music, the composer must find an effective means of notating the turntables and collaborate with the turntablist in the execution of the work. As interest in turntables composition grows, there is a need for discussion and a compositional guide with advice based on present day works. In effort to contribute a guide for turntablism composition, my research includes a historical and composer perspective that discusses turntables techniques, operation of the equipment, digital technology, hip-hop background, history of the instrument, and works of the past and present with musical excerpts pertaining to the notation and use of the turntables. Specific sources include: RPM by Nicole Lizée, Concerto for Trumpet, Turntables, and Orchestra by Paul Leary, Concerto for Turntables and Orchestra by Gabriel Prokofiev, and Stephen Webber's turntable method book The Art of the DJ Turntable Technique. Interviews with composers Prokofiev, Lizée, and Leary have provided important primary source information regarding their experience with turntablism composition and performance. Unrelated to the above research and attached as an appendix, my composition Andrew's Ritual for Bedtime for chamber orchestra is a single movement for choreographed dance that depicts a mother preparing her energetic young son for bed. The title references the nightly rituals parents undertake in order to prepare their children for bedtime.
ContributorsOuper, Jeffrey Thomas (Author) / Hackbarth, Glenn (Thesis advisor) / Standley, Eileen (Committee member) / Feisst, Sabine (Committee member) / DeMars, James (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2014
Description
Public discourse conveys and constructs sophisticated, nuanced and often conflicting notions of place, identity, culture, and religion. Comprehending the significance of place-based discourse is essential to understanding many of the contemporary difficulties facing Native American peoples. This is particularly true of the Western Apache people who constitute their places via discursive engagement. This project examines the Western Apache in their fight to save Dzil nchaa si an (Mount Graham) from a multi-telescope observatory upon its summit. Using discourse and text analysis to examine the public rhetoric, I suggest that the Western Apache understand the mountain as a participatory partner in community viability and Apache identity. I also suggest that the discourse surrounding the Mt. Graham controversy provides a mechanism to understand how Apache discourse links past and present practices and identity as seen through four emerging thematic elements: ethics, relatedness, knowledge, and religious verbiage. Understanding how discourse reveals cultural norms and practices and sustains cultural integrity is important as communicative disjunctures impact the effective responses of Native American and other diverse groups. These issues are framed within the national debate regarding cultural significance and bear directly upon the success of other preservation efforts.
ContributorsWilliams, Deborah (Author) / Brandt, Elizabeth A. (Thesis advisor) / Carr, Christopher (Committee member) / Astor-Aguilera, Miguel (Committee member) / Semken, Steven C (Committee member) / Welch, Peter (Committee member) / Arizona State University (Publisher)
Created2012
Description
The craft of improvisation at the organ has survived a long period of dormancy and is experiencing a strong resurgence in the twenty-first century. This project seeks to establish a precedence for the value of notated music as a resource in learning improvisation, and then, through music analysis, provide examples of how that process can develop. The result of the ideas presented here is a pathway whereby any disciplined organist can learn to imitate composed music, assimilate the musical ideas, and innovate through the act of spontaneous improvisation.
ContributorsHoward, Devon (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2012