1,720,972 research outputs found
Exploring Quadratic Form Composition on Conway's Topograph
Get PDFIn Disquistones Arithmeticae, Carl Friedrich Gauss constructs a composition law for binary quadratic forms. Gauss’s Composition law defines a group structure to the set of equivalence classes of primitive binary quadratic forms with the same discriminant. These group structures correspond to ideal classes of imaginary quadratic fields. In 1997, John Conway developed what is known as Conway’s Topograph: a method for visualizing binary quadratic forms. Binary forms depicted on the topograph form “lakes,” “wells”, and “rivers” which are unique to each equivalence class of a primitive form. For example, a well found in the primitive form will be found in all quadratics in the same equivalence class as the primitive form. Since there exists a bijection between the ideal class groups and binary quadratic forms and a bijection between quadratic forms and Conway’s Topograph, we wish to explore the bijection between the ideal class groups and Conway’s Topograp
Exploring Quadratic Form Composition on Conway's Topograph
Get PDFIn Disquistones Arithmeticae, Carl Friedrich Gauss constructs a composition law for binary quadratic forms. Gauss’s Composition law defines a group structure to the set of equivalence classes of primitive binary quadratic forms with the same discriminant. These group structures correspond to ideal classes of imaginary quadratic fields. In 1997, John Conway developed what is known as Conway’s Topograph: a method for visualizing binary quadratic forms. Binary forms depicted on the topograph form “lakes,” “wells”, and “rivers” which are unique to each equivalence class of a primitive form. For example, a well found in the primitive form will be found in all quadratics in the same equivalence class as the primitive form. Since there exists a bijection between the ideal class groups and binary quadratic forms and a bijection between quadratic forms and Conway’s Topograph, we wish to explore the bijection between the ideal class groups and Conway’s Topograp
Genre Syncretism and Nationalism in Norwegian Jazz, 1970- Present: The Influence of Folk and Contemporary European Art Music
Get PDFThis paper examines the influence of Norwegian folk and contemporary European art music on the Norwegian jazz scene, cross-referencing historical trends since 1970 with contemporary jazz performances in Oslo. I investigate the role of nationalism and Norwegian national musical identity in the face of globalizing jazz influences and how notions of local musical character blend and conflict with conceptions of international European identity. I provide historical context by examining the role of Edvard Grieg in defining Norwegian national musical character and reflect on the current political and cultural position of Norway. Through important records including Torgrim Sollid’s 1975 Østerdalsmusikk, and Jan Garbarek’s 1972 Triptykon, the music on the ECM (Edition of Contemporary Music) record label, and the music performed at contemporary jazz festivals including Ultima, Punkt, and Dølajazz, I explore how notions of Norwegian identity manifest in contemporary compositional and improvisational approaches and reflect ideas about Norwegianess in the face of globalization.</p
Genre Syncretism and Nationalism in Norwegian Jazz, 1970- Present: The Influence of Folk and Contemporary European Art Music
Get PDFThis paper examines the influence of Norwegian folk and contemporary European art music on the Norwegian jazz scene, cross-referencing historical trends since 1970 with contemporary jazz performances in Oslo. I investigate the role of nationalism and Norwegian national musical identity in the face of globalizing jazz influences and how notions of local musical character blend and conflict with conceptions of international European identity. I provide historical context by examining the role of Edvard Grieg in defining Norwegian national musical character and reflect on the current political and cultural position of Norway. Through important records including Torgrim Sollid’s 1975 Østerdalsmusikk, and Jan Garbarek’s 1972 Triptykon, the music on the ECM (Edition of Contemporary Music) record label, and the music performed at contemporary jazz festivals including Ultima, Punkt, and Dølajazz, I explore how notions of Norwegian identity manifest in contemporary compositional and improvisational approaches and reflect ideas about Norwegianess in the face of globalization.</p
Mongolian classical music: an analysis of its development and a re-examination of its role in Socialist and Post-Socialist Mongolia
Get PDFMongolian classical music from the Socialist-era has generally been understood by Western academics in two ways: either as a forced product of Soviet policy, or as a self-prescribed (or self-imposed) musical culture that had little to do with traditional culture. Neither of these views explain contemporary Mongolia’s continued preoccupation with this music. Contemporary studies on Mongolian music tend to focus on folk music practices and the ways that they have been affected by Socialist-era policies, but I argue that this has led to a misunderstanding or generalization of this music and what it means to the people of Mongolia today. What is lacking is a music-driven discussion of works from this period, and I argue that such a discussion offers insight that both supports and questions current understandings of this music and its role. With exception to a small body of published literature available only in Mongolian, no other published literature has incorporated musical analyses of the works of composers from the Socialist era. This is largely due to difficulties in obtaining scores—many of which were never published. This dissertation therefore seeks to identify the musical developments in Mongolian classical music in the Socialist era and beyond into the Post-Socialist era. To do this, I discuss a selection of works by composers that musically exhibit aesthetic changes that are motivated by relevant socio-political issues. These analyses are not intended to represent individual works in their entirety. Instead, I draw attention to musical details that are pertinent to my discussion, and for this reason, the length and scope of musical analyses will vary.This dissertation will also address Mongolia’s classical music since 1990 and the socio-political factors that have shaped Mongolia’s global identity in the last three decades.
The dissertation is in two parts. The first part constitutes a brief historical account of Mongolia prior to 1921 and after 1921, and it is intended to provide the reader with necessary context relevant to musical developments discussed in part two. Part two will trace the trajectory of classical music’s development in the Socialist era and into the Post-Socialist era.</p
No Womb but the Sun
Get PDFThe collection “no womb but the sun” follows my two and a half years after the sudden death ofmy mom. Within this time span, as a creative writing major here at The University of Colorado,Boulder, I found myself using poetry as my main outlet for grief. As I began noticing the outlineof a collection, and with aspirations to write a full book of poetry, I made the decision to workthis fragmented collection into a thesis to defend in the spring of 2025. After reaching out toProfessor Carr with a sample of my work, she honored me with the gift of her mentorship.As the collection began evolving, I found myself emphasizing objects: what emotions they hold,their common and uncommon usage, as well as their textures. In the difficulty of expressing grief,I use objects within my poetry to describe memories and sentiments. So, while many of thepoems do not speak about grief explicitly, the objects within them do. Each poem represents aripple in the vast tidal wave of grief.I use somewhat traditional structure for most of these poems, as the language and imagery are atthe heart of this collection. When I break from traditional form, I do so only when it enhancesrather than distracts from the language. I am very intentional with capitalization, writing inlowercase when a poem is meant to be quiet, and writing in uppercase to denote a declarativevoice. This free verse collection blends lyrical, confessional, and experimental styles. It uses sonicdevices like alliteration, assonance, and rhyme, reveals intimate details of my life, andunconventionally plays with language.I’ve divided this collection into four sections. The first section sets the scene, so to speak,providing the reader the necessary details to both understand my poetic style and the subject ofthe collection. The second section speaks more explicitly about grief and its messiness, wherein Idiscuss my sadness, frustrations, and distractive habits. The third section was written during mysummer in New York last year. It discusses the difficulty of a breakup in the midst of grief, andhow the holes left in your heart from different kinds of loss can merge with one another. Thefinal section includes details of my mom, Cara, as well as introspective thoughts on grief and theloss of a mother specifically.Before writing this collection, I hadn’t yet found my “voice”. I teetered between different forms,styles, mimicking whatever I was reading. But as the collection progressed, I noticed theparticular ways I wanted my poems to sound and look and move. The personal subject of thiscollection demanded that I write in my own original voice; steering from that in any regard feltingenuine. So it is with pride that I present this thesis as a true expression of myself, my art, andmy grief.</p
Mongolian classical music: an analysis of its development and a re-examination of its role in Socialist and Post-Socialist Mongolia
Get PDFMongolian classical music from the Socialist-era has generally been understood by Western academics in two ways: either as a forced product of Soviet policy, or as a self-prescribed (or self-imposed) musical culture that had little to do with traditional culture. Neither of these views explain contemporary Mongolia’s continued preoccupation with this music. Contemporary studies on Mongolian music tend to focus on folk music practices and the ways that they have been affected by Socialist-era policies, but I argue that this has led to a misunderstanding or generalization of this music and what it means to the people of Mongolia today. What is lacking is a music-driven discussion of works from this period, and I argue that such a discussion offers insight that both supports and questions current understandings of this music and its role. With exception to a small body of published literature available only in Mongolian, no other published literature has incorporated musical analyses of the works of composers from the Socialist era. This is largely due to difficulties in obtaining scores—many of which were never published. This dissertation therefore seeks to identify the musical developments in Mongolian classical music in the Socialist era and beyond into the Post-Socialist era. To do this, I discuss a selection of works by composers that musically exhibit aesthetic changes that are motivated by relevant socio-political issues. These analyses are not intended to represent individual works in their entirety. Instead, I draw attention to musical details that are pertinent to my discussion, and for this reason, the length and scope of musical analyses will vary.This dissertation will also address Mongolia’s classical music since 1990 and the socio-political factors that have shaped Mongolia’s global identity in the last three decades.
The dissertation is in two parts. The first part constitutes a brief historical account of Mongolia prior to 1921 and after 1921, and it is intended to provide the reader with necessary context relevant to musical developments discussed in part two. Part two will trace the trajectory of classical music’s development in the Socialist era and into the Post-Socialist era.</p
A Receding Water’s Edge: The Impact of Affective Polarization on International Issue Salience
Get PDFThough issue salience research in political science is extensive, less is known about international issue salience and the factors that make international problems more or less important to the American public. I propose affective polarization as a possible explanation and a synthesizing framework for existing schools of thought. Utilizing survey data from the American National Election Studies (ANES), I examine the relationship between affective polarization and international issue salience from 1960 to 2020 at individual and aggregate levels. I find that heightened levels of affective polarization coincide with a decline in international issue salience for both parties in the post-1980 period, though the effect is more pronounced for Republicans. This suggests that affective polarization’s upward trend may increase inward-focused political discourse, overshadowing global concerns. The research also distinguishes between the concepts of affective polarization and partisanship, highlighting inter-party differences.</p
Mongolian music in the Socialist era through the lens of the Mongolian pentatonic scale: the construction of a canon and its effect on folk music culture and identity
Get PDFWestern ethnomusicologists usually characterize the hegemony of Mongolian classical music in the Socialist era as a destructive force to folk music practices (Pegg, 2001). While there is no doubt that this burgeoning category of music led to drastic changes and developments to folk music, this view has misguidedly assumed a position that regards Mongolian classical music as entirely European in its aesthetic content and devoid of folkloric elements. This lecture paper firstly discusses the ways that composers used folk-music elements and practices to construct a canon of Mongolian classical music. I refer to literature on the Mongolian pentatonic scale to theoretically analyze how Socialist-era compositions were informed by the scale's particular characteristics. The pentatonic scale in folk music acted as a symbolic and music-theoretical bedrock that facilitated the synthesis of Mongolian and European musical idioms. However, it also served as a vehicle for composers and Mongolian society at large to adapt to Western modernity while enacting a form of cultural preservation. The paper also discusses pentatonicism in relation to the music of Mongolia’s first pop-rock band, Soyol Erdene. Modifications to folk instruments such as the Morin Khuur and the shift to a European conservatory-model led to changes in the technique and repertoire of folk instruments that continue today in contemporary Mongolia. These musical developments were the result of an inexorable process of cultural modernization, but they also led to changes to the concept and practice of folk music. More than any other folk genre, the Long Song and the preservation of its authenticity became the greatest point of contention for a faction of the cultural intelligentsia who were concerned with the loss of traditional musical culture. As I discuss, the Long Song's inseparable ties to nomadic life and its associations with pre-revolutionary Mongolian culture and history challenged concepts of Socialist-Mongolian identity. In this way, the Long Song's role in the Socialist era provides a point of departure to understand how the changes to folk music resounded beyond the musical sphere and into the social sphere.</p
- …
