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Nature journaling in school gardens is a unique way to engage students in the natural world, providing time to notice, wonder, and observe through writing and drawing while engaging in environmental and sustainability learning. With the number of school gardens increasing in the United States, educators can benefit from understanding

Nature journaling in school gardens is a unique way to engage students in the natural world, providing time to notice, wonder, and observe through writing and drawing while engaging in environmental and sustainability learning. With the number of school gardens increasing in the United States, educators can benefit from understanding what students experience while participating in garden-based learning activities so they can adapt their teaching to fit the educational needs of their participants. School garden studies typically focus on measuring academic and health outcomes and nature journaling studies typically focus on educator experiences with one classroom. We facilitated a nature journaling study with four elementary classrooms in a public, Title I school in the desert southwest to explore student experiences while nature journaling in their school garden. Our findings show that nature journaling provides opportunities for students to engage in sustainability literacy by helping them to develop a sense of place in their school garden, inspire environmental stewardship, and practice systems thinking right outside their classrooms.

ContributorsColbert, Julia (Author) / Merritt, Eileen (Contributor, Contributor) / Fischer, Daniel (Contributor, Contributor) / Marston, Sallie (Contributor)
Created2020-04-02
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For waste management in Asunción, Paraguay to improve, so too must the rate of public recycling participation. However, due to minimal public waste management infrastructure, it is up to individual citizens and the private sector to develop recycling solutions in the city. One social enterprise called Soluciones Ecológicas (SE) has

For waste management in Asunción, Paraguay to improve, so too must the rate of public recycling participation. However, due to minimal public waste management infrastructure, it is up to individual citizens and the private sector to develop recycling solutions in the city. One social enterprise called Soluciones Ecológicas (SE) has deployed a system of drop-off recycling stations called ecopuntos, which allow residents to deposit their paper and cardboard, plastic, and aluminum. For SE to maximize the use of its ecopuntos, it must understand the perceived barriers to, and benefits of, their use. To identify these barriers and benefits, a doer on-doer survey based on the behavioral determinants outlined in the Designing for Behavior Change Framework was distributed among Asunción residents. Results showed that perceived self-efficacy, perceived social norms, and perceived positive consequences – as well as age – were influential in shaping ecopunto use. Other determinants such as perceived negative consequences, access, and universal motivators were significant predictors of gender and age. SE and other institutions looking to improve recycling can use these results to design effective behavior change interventions.

ContributorsLoPrete, Eric (Author) / Klinsky, Sonja (Contributor) / Fischer, Daniel (Contributor) / Wiek, Arnim (Contributor)
Created2020-04-24
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Often characterized by intense commoditization, heavy ecological footprint, and monopolistic governance mechanisms, the present-day industrialized food system has contributed to a growing distrust among citizens around the world. In response to this, local food initiatives promoting sustainable food and agricultural systems have formed. Little empirical research exists regarding how these

Often characterized by intense commoditization, heavy ecological footprint, and monopolistic governance mechanisms, the present-day industrialized food system has contributed to a growing distrust among citizens around the world. In response to this, local food initiatives promoting sustainable food and agricultural systems have formed. Little empirical research exists regarding how these local food initiatives think about their experience in relation a relevant conceptual framework. As such, this research entails the development of a conceptual framework based on Schlosberg and Cole’s (2015) sustainable materialist frame and literature regarding how local food initiatives may be characterized. This consists of sustainability values, collective action and political perspectives. Thirteen participants from two local food initiatives in Lüneburg, Germany were interviewed to provide in-depth insights into participant perceptions in relation to the three dimensions. Results indicate that participants exhibit strong values related to sustainability (e.g. knowledge of food origin, environmental concern, etc.), and appreciate the practical, collective work of the initiative. Additionally, a clash was found between initiative goals and participants’ perception of a lack of commitment and strong uniformity in the initiatives. Furthermore, many participants expressed political motivation and even perceived group actions as counter to the mainstream food system, although both initiatives did not identify as a politically motivated. This research sheds light on opportunities and barriers for initiative success and indicates the potential for the developed framework to serve as a lens for understanding other social initiatives aimed toward sustainability transformations.

ContributorsTrigg, Hannah (Author) / Fischer, Daniel (Contributor) / Wharton, Christopher (Contributor) / von Wehrden, Henrik (Contributor)
Created2018-06-29
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Hydroelectric dams, often part of larger development programs in developing countries are characterized by conflicting interests of stakeholder groups, emblematic for the contested nature of development. Because of these different interests, stakeholders develop different evaluations of such projects, that can be understood as frames of events and projects. Frames are

Hydroelectric dams, often part of larger development programs in developing countries are characterized by conflicting interests of stakeholder groups, emblematic for the contested nature of development. Because of these different interests, stakeholders develop different evaluations of such projects, that can be understood as frames of events and projects. Frames are “the different ways of understanding or representing a system" (Leach et al. 2010 b). In this article, I analyze frames stake-holders use to convey a distinct perspective on problems, root causes, solutions, and benefits associ-ated with the hydroelectric Gibe III dam and accompanying sugarcane plantations in the Omo Valley, Ethiopia. I found that stakeholders use contrasting frames and narratives to describe the projects, but partially also propose mutual solutions. Stakeholders incorporate modernist arguments to justify their actions. Supporters and opponents address different aspects of the livelihoods of Omo valley inhabitants. By analyzing different frames and narratives, this paper contributes to opening up and broadening the debate on the development activities in the Omo valley and shows alternative pathways for sustainable development projects in Ethiopia.
ContributorsGerigk, Rebecca (Author) / Fischer, Daniel (Contributor) / Aggarwal, Rimjhim (Contributor) / Hodbod, Jennifer (Contributor)
Created2018-06-27
Description
One of the most notable composers of the twentieth century, Krzysztof Penderecki played a vital role in the development of new sonorities and compositional movements in the latter half of the century. Penderecki wrote two sonatas for violin and piano, one in his student days in 1953 and the second

One of the most notable composers of the twentieth century, Krzysztof Penderecki played a vital role in the development of new sonorities and compositional movements in the latter half of the century. Penderecki wrote two sonatas for violin and piano, one in his student days in 1953 and the second in the twilight of his career in 1999. Given the almost fifty years that separate the two works, these sonatas provide valuable insight to Penderecki’s development as a composer over the course of his career as well as give evidence that his own unique compositional style was in place at a very early age. Despite the large span of time between the completions of these two great works, these sonatas share many commonalities. With regards to key aspects such as form, tonality, rhythm, texture, articulation, and more, this paper will analyze and compare the two works to define the ways in which they are similar as well as the ways in which they differ.
ContributorsRamchandani, Micah David (Author) / McLin, Katherine (Thesis advisor) / DeMars, James (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
The introduction of a new instrumental piece—specifically Taiwanese—into the cello repertoire is as exciting as it is important. Currently, the majority of works for cello and piano include predominantly Western compositions that is repeatedly taught and performed. Reflections, by Taiwanese composer Ming-Hsiu Yen (Ms. Yen) is a response

The introduction of a new instrumental piece—specifically Taiwanese—into the cello repertoire is as exciting as it is important. Currently, the majority of works for cello and piano include predominantly Western compositions that is repeatedly taught and performed. Reflections, by Taiwanese composer Ming-Hsiu Yen (Ms. Yen) is a response to this saturation. It is a piece that is both demanding for the performers and entertaining for the audience. Brilliantly written by a composer who has intimate familiarity with both the cello and piano, it is highly suitable for scholarly study and performance.

This document details ensemble issues, interpretative suggestions for both cellist and pianist, and general concepts about the music. The composer further adds to these concepts and suggestions.

Reflections is a programmatic work comprised of four movements, each with a descriptive title: “Gear,” “Tears of the Angel,” “Spintop,” and “Transformation.” Because the composer’s intentions were driven by pictorial ideas and not by a formal harmonic structure, this paper concentrates on ensemble issues and interpretation less than harmonic analysis.

Secondly, the project includes the premiere recording of Reflections, as performer by Yu-Ting Tseng, cellist, and Dr. Jeremy Peterman, pianist. This audio documentation provides other cellists and pianists the opportunity of hearing the piece as originally conceived by the composer, as an aid to their own future preparation of this work. This recording, combined with the interpretative analysis, will assist in bringing Reflections into the cello repertoire and public eye.
ContributorsTseng, Yu-Ting (Author) / Landschoot, Thomas (Committee member) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2016
Description
The commissioning and recording of music from living composers is a very important tradition in the art of music. The ability to work with living composers gives the performer insight into the music that is far beyond reading the notes on the page. For my research paper, I commissioned two

The commissioning and recording of music from living composers is a very important tradition in the art of music. The ability to work with living composers gives the performer insight into the music that is far beyond reading the notes on the page. For my research paper, I commissioned two new works for the cello by the composers Joseph Hallman and Christian Asplund, in an effort to continue adding great pieces to the cello repertoire. This paper documents my experiences in finding and working with selected composers. It includes detailed descriptions of the pieces with practice and performance suggestions as well as recordings of the pieces. Commissioning new works often creates many first-hand artistic decisions for the performer as well as many new technical difficulties on the instrument. The two pieces commissioned offer insight into two different instrumentations: the sonata for cello and piano, and a solo cello suite. In this paper I describe various important aspects of these compositions and point out ways to make informed artistic decisions when approaching form, harmony, motive, and extended techniques on the cello. Providing this information on commissioning and collaborating with living composers will help continue this tradition into the future for classical music.
ContributorsKesler, Michelle (Contributor) / Landschoot, Thomas (Committee member) / Carpenter, Ellon (Committee member) / McLin, Katherine (Committee member) / Spring, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
Description
Playing an orchestral reduction is not always the most joyous of times for pianists. As pianists, we have to express a reduced idea of all the instruments and orchestral textures that are in the full score. However, in many cases, there are often omissions, errors or discrepancies in the existing

Playing an orchestral reduction is not always the most joyous of times for pianists. As pianists, we have to express a reduced idea of all the instruments and orchestral textures that are in the full score. However, in many cases, there are often omissions, errors or discrepancies in the existing published reductions. These reductions are made by a variety of people: editors, conductors, pianists, but rarely by the composer, and often do not reflect the composer's true intentions. While many reductions are technically playable, including the reduction of the Sibelius Violin Concerto that will form the basis of this paper, the arrangement of the orchestration can be obscured or inaccurate to the point where the violin soloist may not be receiving the best representation of the actual orchestration. A piano reduction should as closely as possible represent the original intention of the composer, both for the sake of the audience and the performers. The pianist should be able to provide the proper support and orchestration of any reduction for the instrumentalist or vocalist so that the same performance style and technique can be used while performing with either a piano reduction or a full orchestra. This research document contains a detailed examination of the various orchestral reductions of the Sibelius Violin Concerto, culminating in a new version by the author. In this discussion, the author will present a basic understanding of how to orchestrate at the piano through an in-depth explanation of piano skill and technique, practice techniques such as listening to a recorded version of the full orchestration while playing the piano, and ways to study and revise an existing piano reduction. The current published reductions of the Sibelius Violin Concerto contain many errors and discrepancies and will be contrasted with the author's own reduction, available for comparison and study in the appendix. This new revised reduction will clearly show the orchestral instruments represented throughout the score, demonstrate new techniques for various orchestral textures, and will yield a playable product that more closely represents the composer's original intentions.
ContributorsLee, Sehee (Author) / Campbell, Andrew (Thesis advisor) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Britton, David (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
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

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
In addition to his many other works, Russian-American composer Leo Ornstein (1893-2002) contributed a substantial body of literature for cello and piano, including Sonata No. 1 (1915-1916), Sonata No. 2 (circa 1920), Composition No. 1 (date unknown), Two Pieces (date unknown), and Six Preludes (1930-1931). His cello music is an

In addition to his many other works, Russian-American composer Leo Ornstein (1893-2002) contributed a substantial body of literature for cello and piano, including Sonata No. 1 (1915-1916), Sonata No. 2 (circa 1920), Composition No. 1 (date unknown), Two Pieces (date unknown), and Six Preludes (1930-1931). His cello music is an eclectic mix of twentieth-century Neoromantic and atonal styles. This study includes a recording of the complete works for cello and piano by Leo Ornstein and a description of the music that details the formal procedures and how the cello and piano relate to one another. The discussion offers extensive musical examples in support of the descriptions. The recording was completed at the Banff Centre for the Arts in Alberta, Canada (October 2009), with R. Nicolas Alvarez, cello, in collaboration with pianist Keith Kirchoff. Andre Shrimski produced and edited the recording.
ContributorsAlvarez, Rodolfo Nicolas (Author) / Landschoot, Thomas (Thesis advisor) / Rotaru, Catalin (Committee member) / Jiang, Danwen (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2013