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North of Gold Mountain: Chinese Women in the Pacific Northwest During the Exclusion Era
Get PDFIn the Pacific Northwest, Chinese American history has long been dominated by migratory male laborers. “North of Gold Mountain” is the first historical research project that centers Chinese women’s experiences in the Pacific Northwest. Although Chinese women were a significantly smaller cohort than their male counterparts, Pacific Northwest newspapers discussed Chinese women through an assortment of Orientalist tropes which made them hypervisible in the public sphere. Due to federal legislation beginning in 1875, Chinese sex workers were not allowed to enter the United States at all. Even though the Page Act 1875 was enacted to screen out sex workers, its real consequences were that Chinese women could not ask authorities for help, or they would face deportation. Finally, Chinese women who migrated as wives often moved across oceans via arranged marriages to a man they had never met before. Each step of the immigration process was connected in some way to their kinship ties, whether that was the husbands submitting their petition for immigration, traveling with children, or proving that they were the only wife of their new husband. Compared to Chinese men, Chinese wives were not free agents in the immigration process, but neither were they coerced or enslaved. By centering Chinese women, “North of Gold Mountain” argues that Chinese women should be seen as crucial to Chinese American historiography, because omission of their experiences fails to capture the complete experience of Chinese Americans in the Pacific Northwest
Evaluating the Effectiveness of Multi-Tiered System of Supports (MTSS) Tier 2 Reading Intervention in a Middle School Setting
Get PDFThis qualitative case study explores the perceived effectiveness of a Multi-Tiered System of Supports (MTSS) Tier 2 reading intervention program within a specific middle school setting. Through in-depth interviews with educators (administrators and general education teachers) and targeted deidentified student data, this research aims to understand the implementation, impact, and perceived value of the Tier 2 intervention model. The study investigates the strategies employed, the fidelity of implementation, and the perceived changes in students\u27 reading skills, engagement, and confidence. Furthermore, it examines the collaborative processes among staff and the perceived alignment of the intervention within the broader MTSS framework. By employing thematic analysis of the collected data, this study seeks to provide insights into the strengths, challenges, and areas for improvement of the Tier 2 reading intervention, ultimately contributing to a deeper understanding of how MTSS can effectively support struggling readers in the middle school context. The findings offer practical implications for educators and administrators seeking to optimize their MTSS framework and enhance reading outcomes for their students
‘Thank God It Was Me’: Antecedents and Consequences of Identity Integration for LGBTQ+ Christians
Get PDFIdentity conflict is a common struggle that many LGBTQ+ Christians contend with due to many Christian denominations promoting anti-LGBTQ+ hate and harm. This harm causes many LGBTQ+ Christians to leave the faith, giving up one of their social identities and losing the psychological benefits of religion, namely increased life satisfaction and meaning in life. Previous literature has found identity integration to be a solution to identity conflict, but it is still unknown what antecedents allow LGBTQ+ Christians to achieve identity integration. Gender differences, three self-identification age milestones, having LGBTQ+ Christian role models, and perceived congregation support. Four-hundred five LGBTQ+ Christians (Mage = 33.12 years, SD = 12.10) were recruited through Prolific and Western Washington University Human Subjects Pool. The majority of the sample reported being bisexual. Older age of self-realization, having LGBTQ+ Christian role models, and higher perceived congregation support all significantly increased identity integration. Identity integration also partially mediated the relationship between role models and perceived congregation support and subjective well-being outcomes. Results highlight the importance of finding LGBTQ+ Christian role models and supportive churches. Future research should strive to include the experiences of transgender and nonbinary Christians, along with LGBTQ+ Christians of color
EXTENDED PROGRAM NOTES ON FANFARE POUR PRECEDER LA PERI, AND THE SWALLOWS, AND OLD WINE IN NEW BOTTLES
Get PDFA set of extended program notes on Paul Dukas and Fanfare pour preceder la Peri, Caroline Shaw and and the swallows, and Gordon Jacob and Old Wine in New Bottles. Composer background, historical and modern contexts, and analyses are presented in tandem with a lecture conducting recital
Chroma for Nine
Get PDFFor my master\u27s thesis piece, I provide my adjudicators with a case study of minimalism with mechanics such as phasing, micro-polyphony, diminution, augmentation, or combination of any and all of these. Written for an unconventional ensemble of strings, saxes, and piano, the 22-minute piece undergoes many changes and processes within its A B A C A D form. The A sections function as a home theme we keep going back to, but each time evolved. The other sections appear only once each with B featuring the saxophone quartet as the foreground, C the string quartet at the foreground, and D the full ensemble in unison. In terms of harmony, the material of these four sections are based around the concept of bitonality or polytonality in section A (Example 1), a short-short-long rhythmic motif for section B (Example 2), arpeggios emphasizing two clashing, polytonal, triads for section C (Example 3), and the “1 and a 2 and 3” motif that gets subtracted and retrograded in section D (Example 4). While these general techniques are used as the driving-focal point for material, there are several mixed and matched techniques and creative edits defying the systems at play. This is where I, as the artist take creative liberties to rise above the machine and reveal it was just used as a starting point. While leaning more towards post-minimalism than classic minimalism, many sections have direct influences of the compositional style of the movement’s forefathers. Even though it’s not as foregrounded as the minimalist techniques, the harmonic language of the piece also carries a significant amount of weight. Almost every measure and section contains a poly-chord or implies bitonality. Such examples include the high D minor triad and low G minor triad from the first few measures, or the finale’s simultaneous Ab major and Bb major triads. Even in the B section with its sax-led lines, the F# pedal tone juxtaposed to a melody implying a Bb major tonality in measure 191 creates quite a collage of harmony. While an argument can be made that the harmony is not as at the forefront as the metamorphic rhythmic and melodic figures, the collage-like harmony provides the ideal backdrop to lock the listener in an ambiguous stasis voiced through three distinct timbre groups. Melodies of this piece were generated through instinct rather than methodical processes. For instance, at measure 219, the embellishments were made to contrast the original A with jovial and lively tone. This upbeat variation on the original progression, arguably, added a level of depth because said modifications gradually accumulate in the third and final installment of the A section. So retroactively, one could say there is a beginning, middle, and end when it comes to motivic development. A hero’s journey of sorts. The D section’s melody (first appearing in m.405), despite all its tribulations through rhythmic and tonal shifts, is always glued together by its catchy mixolydian melody till the very end. Even as the tonal landscape warps, the anti-climax is satisfying through hyper-repetition. The biggest non-sequitur of the piece has to be measures 301-303. The two dueling violins that happens before the dried out decay of C is based on contrapuntal lines utilizing half- and whole-tone scales, it stands out due to being the only part of the piece that sounds more like Bela Bartok than Julius Eastman. Contrasting the previous oddity, measure 56 gives us a feeling of consonance. After a series of nested tuplets playing lines formed from notes in the harmony underneath, then off-setting their start times by beats, this stinger of triplets breaks the cacophony and restores order by signaling the top of the sequence! It’s a great example of creativity defying the system.
The accumulation of harmony, rhythm, and melody all stand as pivotal elements, but these elements and their parent sections do not sit in isolation. Their structure and orchestration are knitted carefully together to form a quilt of juxtaposed hues. By virtue of the saxes’ and strings’ dynamics not mixing well together, amplification of the string quartet was needed for balance. My determination to combine saxes and strings was just another obstacle for me to conquer. Chroma for Nine is the accumulation of creativity, wit, and struggle against the self-made system in a never-ending battle of artistic agency and the machine. The repetitive minimalism was therefore the ideal vehicle to bend my own self-made systems
Stationary Transport on a Compact Finsler Manifold with Boundary
Get PDFIn this thesis I extend the work of McDowall [McD1] (which extends the work of [CS]), where in his paper, he showed the solvability of the stationary linear transport equation on a compact Riemannian manifold with boundary. We will solve this equation in the more general setting of a compact Finsler manifold with boundary. We define what a Finsler manifold is and characterize its geodesics as solutions to Euler-Lagrange equations, as well as explore the symplectic structure of the tangent bundle to a Finsler manifold. The boundary value problem is then posed, and an appropriate function space is defined so that boundary conditions are well posed. With this in hand, a trace theorem is proven and estimates established. Finally, we construct an operator in order to reformulate our equation as an operator equation. From previous estimates, we are then able to show this operator has operator norm less than one so that a Neumann series for an inverse exists and a solution is written down explicitly
Fluoride-Promoted Hydroxyl-Directed Hydrosilylations of Epoxides and Alkenes
Get PDFSilicon-oxygen heterocycles are synthetic intermediates that have been used for over 50 years. These compounds are particularly useful when combined with stereospecific desilylation reactions giving access to stereospecific 1,3-diols. To make these heterocycles, precious metal catalysts such as platinum, ruthenium, rhodium, or iridium are typically used. Here we have developed a one-pot reaction using tetrabutylammonium difluorotriphenylsilicate (TBAT) and diphenylsilane to give access to these systems without the use of precious metal catalysts. Subjecting β- or γ-hydroxy alkenes to these conditions gives oxasilolane and oxasilinane systems (5- and 6-memebered silicon oxygen heterocycles), while β-hydroxy epoxides afforded dioxasilinane systems (6-memebered heterocycles with a silicon and two oxygens). These systems are made with syn-selectivity (up to 5.2:1.0) with yields as high as 98% while being highly tolerant of substitutions. This reaction takes place via an anionic intermediate which requires resonance stabilization, but many different conjugated systems are tolerated. Tomao-Flemming oxidations of these systems allow for easy access to syn-1,3-diols. A two-step method was also developed for direct access to 1,3-diols from β-hydroxy epoxides. This reaction first forms a silyl ether using Grubbs 1st generation catalyst and diphenylsilane followed by activation by tetrabutylammonium fluoride (TBAF) or tetrabutylammonium difluorotriphenylsilicate (TBAT) affording 1,3-diols in moderate yields
The Thermal Tolerance of Surf Smelt (Hypomesus pretiosus) During Early Development
Get PDFSurf smelt (Hypomesus pretiosus) are a species of forage fish that spawn throughout the year on gravel beaches in the Salish Sea. They are a key component of maintaining a balanced and healthy ecosystem. Despite their importance, they are an understudied species, and little is known about their life history outside of their spawning behavior. Spawning on the upper intertidal region of beaches leaves embryos exposed to varying air temperatures throughout their development. In this experiment, I exposed freshly fertilized surf smelt embryos to an elevated air temperature of 26°C for 48 hours during three different stages of development to determine when they were most susceptible to thermal stress. An additional group of embryos that were never exposed to the elevated temperature were used as a control. Embryos exposed at the earliest stage of development (two days post fertilization) had the most negative response to increased temperature, with only 0.3% surviving to hatching. Embryos exposed at 4 days post fertilization (dpf) had a higher rate of hatching success than the 2 dpf treatment, but they had a high rate of physical deformities, e.g. body curvature. Embryos exposed at 6 dpf had the highest rate of hatching success among the experimental treatments and were the largest larvae at hatch. These results contribute valuable information that furthers our knowledge of this important species, while encouraging informed management decisions that support healthy ecosystems in the Salish Sea
Artistic and Technical Approaches to Collaborative Piano: Lessons from Corigliano, Muczynski and Brahms.
Get PDFThis thesis serves as a resource for collaborative pianists, offering strategies for score simplification, text analysis, and artistic collaboration with voice, clarinet, and viola. These strategies are applied through the study of John Corigliano’s Poem in October, selected movements from Robert Muczynski’s Time Pieces for piano and clarinet, and Johannes Brahms’s Sonata for Piano and Viola, Op. 120 No
Versions of Defoe: Frontispiece Portraits of the Author
Get PDFDaniel Defoe’s physical appearance was often drawn, but never captured. This essay gathers twenty-two portraits of Defoe that appeared as frontispieces, illustrations or satires during and after his lifetime by fourteen artists and engravers. Each of these portraits may be considered a “version” of Defoe: a construction of the public identity of an author whose security and reputation depended on his anonymity. Their truth lies in the complex historical conditions that produced them. Two strains in particular—the versions of Defoe created by Michael van der Gucht in 1706 and by George Bickham in 1710—are shown to be the sources of many derivative portraits in Britain and France through the nineteenth century. Defoe’s practice of concealing while revealing his identity informed his authorship of fictions such as Robinson Crusoe, in which his earlier portraits in wigs and cloaks are parodied by the frontispiece of a bearded, barefoot author in goatskins and cap. The final version of Defoe in this study is the frontispiece drawn by Eugène Devéria for an edition of Robinson Crusoe that was published in Paris in 1836, in which Defoe, dressed as a gentleman with a full wig and walking stick, stands by the seashore in a pose that replicates that of his most famous fictional character