Calvin's MSP Final Project Blog Posts

My proof of concept has been coming along well. After purchasing Native Instruments East Asia sample library, I am able to incorporate a variety of Chinese instruments that I otherwise wouldn’t have access to. This is a great tool for me to come up with ideas and lay down parts within my DAW without having access to the instrument itself. I am still in the process of writing my composition, but so far I’ve created a melody and harmonies that my song will revolve around. I plan to add Chinese percussion to give my song a rhythmic back bone and incorporate the lyrics in the form of a rap or spoken word. Overall, the process has been challenging but fun. Exploring the sample library has been a highlight as they offer so many different instruments and parameters.

Reflecting on my meetings with my committee members, I’ve received a lot of great feedback and advice. Prof. Klotz, my committee chair, offered a lot of great production insight into my project. He brought up that I should use studio G as a recording space and helped me work through the scope of my project. I originally wanted to create multiple tracks, however, he recommended that I create one first and do more if I’m able to. He is a great resource for me when I start mixing and mastering so I’m excited to receive feedback on my music. Prof. Osei is another committee member who offered me some great feedback and advice. He suggested that my project was auto-ethnographic which changed the way I viewed and approached my project. In addition, he helped me a lot with my research giving me key terms and authors to look at. His expertise makes him a great committee member for my project. My next deliverable will be a draft of my theoretical framework section of my paper. Now that I’ve done substantial background research for my project, I think writing a draft and receiving feedback on this portion of my paper will be a good next step.

I haven’t thought too much about the future of my project but I plan to release it on YouTube and possibly Spotify. It would be great to reflect on my work after it’s all done and create a space for it online for people to see. If it turns out well, I may create more songs extending it to a full album. This project is a personal and critical so it will definitely have a home in my portfolio. Being able to reference a project like this one will hopefully open me up to more opportunities in the future and I look forward to where it takes me.

The research article, “Perceived diversity norms, cultural identity styles and bicultural identity consolidation in two bicultural groups in Australia”, by Tseung-Wong, Dandy, and Lane presents a study that examines how perceived diversity norms—multiculturalism, assimilation, and polyculturalism—relate to identity styles and bicultural identity consolidation among bicultural Australians. The authors highlight two integrating strategies that help bicultural people navigate the consolidation or duality of their identities: “a hybrid identity style (HIS) that involves mixing elements of both cultures in a novel and unique way; and an alternating identity style (AIS) which involves highlighting different cultural identities depending on the demand of the situation” (Ng Tseung‐Wong,  Dandy, & Lane, 2022, p. 364). As opposed to types, these strategies are described as styles to acknowledge that the integration process is dynamic and fluid. Research shows that identity styles correlate with psychosocial and well-being outcomes in bicultural individuals. A hybrid identity style (HIS) is associated with positive outcomes, such as improved psychological well-being via stronger bicultural identity consolidation, while an alternating identity style (AIS) is linked to negative psychological symptoms due to identity conflict. The authors additionally highlight two main types of diversity ideologies that shape beliefs about demographic diversity: identity-blind and identity-conscious. Identity-blind ideologies, like assimilation, minimize group differences, advocating for nondominant groups to adopt dominant group norms. In contrast, identity-conscious ideologies recognize and promote demographic differences and are reflected in ideas such as multiculturalism which promotes and recognizes group differences (Ng Tseung‐Wong,  Dandy, & Lane, 2022). 

This research article relates to my project as it explores the themes of biculturalism and navigating identity. As I aim to create a Chinese fusion composition that blends my experiences with mainstream and heritage culture, the topics and ideas discussed within the article are fundamental to my research. The authors discuss the two integration strategies of hybrid identity style and alternating identity style that underscore how multicultural people navigate their complex identities. They additionally highlight identity-blind and identity-conscious ideologies which highlight the difference between assimilation and integration. This article provides great insights into the topic of bicultural identity and will undoubtedly help me think through my project.

It was great to hear feedback regarding my pre-production binder. I received a lot of positive feedback overall. David thought the collaboration aspect of my project was very exciting. I brought up that if I couldn’t get in touch with traditional Chinese instrumentalists in Philadelphia, I could use the online service Fiverr which he thought was a good alternative. For more sounds, I decided to purchase a Native Instruments East Asia sample library which features a variety of traditional Chinese instruments. My group also enjoyed the poem that I wrote for the script component. They liked the wordplay and the theme of nature that connects back to traditional Chinese aesthetics. Overall it was great to hear everyone’s feedback.

For my proof of concept, I aim to produce a sample composition or a section of composition using the sample library that I purchased. The sample library is an amazing tool that will allow me to explore the sounds of various instruments that I otherwise wouldn’t be able to get my hands on. I am still in the phase of experimenting and exploring musical ideas, but I intend to start consolidating my ideas and start laying down parts in my DAW.

References

Ng Tseung‐Wong, C., Dandy, J., & Lane, M. (2022). Perceived diversity norms, cultural identity styles and bicultural identity consolidation in two bicultural groups in Australia. International Journal of Psychology, 57(3). https://doi.org/10.1002/ijop.12829

The research article by Yi Zhou and Feng Yu titled, “Integration of traditional Chinese music: An Evaluation of the interactive influence between traditional music and aesthetic thought”, explores the impact and role of Chinese aesthetic thought within traditional Chinese music. The authors explore the three philosophies of Confucianism, Taoism, and Mohism highlighting their perspectives and influence on traditional Chinese music. Confucianism focuses on goodness and harmony, Taoism highlights nature and harmony between heaven and man, and Mohism emphasizes the idea of non-music. The idea of non-music within Mohism opposed the Confucian philosophy “of not seeking utilitarianism and overly emphasizing etiquette and music” (Yu & Zhou, 2024, p. 5). While it isn’t a complete negation of music, it rejects how Confucianism excessively advocates for music. Mohism still affirms the music’s ability to help people relax and feel happy. Much of traditional Chinese art places an emphasis on the relationship between man and nature. While other art forms such as poetry and painting praise and imitate nature, music focuses on man’s connection with nature. The essence of Chinese music is reflected through Lao Zi’s idea of “inaction”. When humans are disturbed and emotionally harmed, returning to nature will help them reach tranquility.  

This article relates to my project as it discusses the relationship between traditional Chinese music and the aesthetic thought that influences it. The philosophies of Confucianism, Mohism, and Taoism all express different perspectives regarding music which will be interesting to consider when I compose my fusion piece. I would love to highlight man’s connection to nature within my piece. The use of technology is extremely prevalent in the contemporary landscape of popular music, so I would like to highlight this contrast within my piece to explore the theme of naturality vs. artificiality. This juxtaposition symbolizes the melding of heritage and mainstream cultures. 

This week, I began the production process for my proof of concept. I explored different sample libraries that feature traditional Chinese instruments. Since I don’t have access to many traditional instruments or the skills to play them, using a sample library will be a great tool that will allow me to feature these instruments in my production. I began brainstorming musical ideas and themes for my composition. I want to highlight the erhu in my composition, so I am in the process of composing a melody to move forward with. I also came up with the idea of sampling pre-recorded traditional Chinese instrumental parts and incorporating them into my composition.

References

Zhou, Y., & Yu, F. (2024). Integration of traditional Chinese music: An evaluation of the interactive influence between traditional music and aesthetic thought. Trans/Form/Ação, 47(5). https://doi.org/10.1590/0101-3173.2024.v47.n5.e02400180

The thesis “A History of Non-Western Bowed Instruments A look into the Eastern History of the Modern-Day Violin” by Sarah A. Bogen discusses the history, construction, and playing techniques of various bowed instruments from Asia. In Chapter 1, Bogen explains the origins of the erhu, a traditional Chinese instrument I have been learning for my project. The instrument has a deep history in China and appears in various spaces as it is played by both amateurs, street beggars, and even conservatory-trained musicians. The erhu is a part of the Huquin family, a family of instruments that describes a spiked fiddle. The spiked fiddle in indigenous to many cultures such as Japan and Turkey and is thought to have arrived to China as it was imported by islamic traders from the east.  The author highlights how there is an ongoing debate on whether the erhu was invented or assimilated into the culture: “There are two schools of thought: that the spike fiddle was imported to China as a distinct apparatus and 2) it was assembled in the country from pre-existing discrete materials.” (Bogen, 2019, 8). Chinese etymology suggests that erhu was introduced by the “Hu” Barbarians of the North and West. The name erhu was derived from the earlier term huqin which translates to barbarian (hu) stringed instrument (qin). Er translates to two which describes the number of strings on the instrument. Based on this, the erhu describes a two-stringed instrument adopted from barbarians. Folk stories passed down by some Chinese ethnic groups on the other hand suggest that the instrument was invented rather than imported.  

This thesis is a useful resource and relates to my project as it provides historical, cultural, and philosophical context for the erhu, an instrument I plan to incorporate into my fusion composition. Learning about the instrument is important for this project as one of my goals is to get in touch with and explore my heritage through music. Learning the instrument’s history adds additional depth to my project as my work explores themes of cultural blending. The question surrounding whether the instrument was assimilated or invented mirrors themes of biculturalism that I highlight within my project. The erhu’s history serves as a metaphor for the bicultural experience demonstrating how cultural elements are not always pure, but rather the result of exchanges and influences over time.

This week, I had a meeting with Prof. Osei Alleyne to discuss my MA project. The meeting was very helpful for my research as he provided a lot of sources, ideas, and general guidance for my project. In the meeting, he highlighted how my project is autoethnographic as I reflect on my own cultural experiences living as a second-generation immigrant in America. As I plan on going out and meeting with a community of traditional Chinese instrumentalists, he suggested that I document my experiences doing this and reflect on them within my paper. I think this is a great idea as it will make my project more personal allowing me to reflect on what I gained through the process of creating this project. He told me to look into the author Soyini Madison as her work hones in on this topic. Some additional research terms he said I should look out for are transculturation, creolization, and hybridization. Overall the meeting was very helpful and sparked many new ideas and directions for my project

References

Bogen, S. (2019). A History of Non-Western Bowed Instruments A look into the Eastern History of the Modern-Day Violin. Long Island University. https://digitalcommons.liu.edu/cgi/viewcontent.cgi?article=1057&context=post_honors_theses

Meghan Phadke’s dissertation, “Being and Belonging in America: Second-Generation Asian American Teachers’ Stories of Negotiating Identity and Culture,” explores negotiations of identity and culture within second-generation immigrants through the lens of second-generation Asian American elementary school teachers. Within Chapter 2, Phadke offers a brief history of immigration highlighting The Immigration and Nationality Act of 1965, Asian immigrants, and second-generation immigrants. The Immigration and Nationality Act of 1965, also known as the Hart-Cellar Act amended the 1952 immigration act as it “removed all elements of second class citizenship from our laws by the [1964] Civil Rights Act (Phadke, 2021, pg. 30). After Jim Crow, the U.S. mobilized this to demonstrate commitment to human rights and democratic values. The policy privileged family reunification allowing entire families to immigrate and establish themselves in the U.S.. Immigrants made up only 5% of the population in 1965 while today, they make up 14% of the population. The impact of the 1965 immigration act is more pronounced for the Asian population as a 98% increase has been observed as Asians account for a quarter of all new immigrants since 1965. This influx of immigrants allows for a “new formation of horizontal rootedness, particularly amongst the children of these immigrants” (Phadke, 2021, pg. 33). Second-generation immigrants experience a distinctive identity in America as they have transnational linkages and identities. Phadke provides demographic data on second-generation immigrants noting that 20 million adults and 16 million children, about a quarter of all American youth, are children of immigrants. Data suggests that second-generation youth are also more economically stable, socially integrated, and educated than first-generation immigrants. 

This dissertation is deeply connected to my project as it underscores how second-generation immigrants navigate and negotiate identity in America. The historical and demographical information that Phadke provides helps us understand the state of immigration within the U.S. and additionally what led up to this point. I find it shocking that a quarter of all American youth are children of immigrants as the issues surrounding cultural identity in my project are becoming increasingly relevant. Phadke additionally highlights the theoretical framework within her dissertation which can be useful in my research as we have related topics. Overall, this is a great resource for me to refer to as it offers a breadth of information on the topic of negotiating identity. 

I really enjoyed hearing feedback on my initial media project. Everyone was very supportive and it seemed like many enjoyed the snippet of audio that I created. David and others thought that it would be interesting if I added a video component to my project. Although my project is music and audio based, I’m not opposed to creating a video that details my process. I think this could be a great addition and serve as a reflection for the overall piece. This is something I will definitely consider, but I’d have to do some training on video editing and camera operation. I’m not too familiar with video but It’d be cool to learn!

References

Phadke, M. (2021). Being and Belonging in America: Second-Generation Asian American Teachers’ Stories of Negotiating Identity and Culture (Order No. 28547900). Available from ProQuest One Academic. (2570180035). http://libproxy.temple.edu/login?url=https://www.proquest.com/dissertations-theses/being-belonging-america-second-generation-asian/docview/2570180035/se-2

In chapter two of Huang’s thesis, Theory and Practice in the Traditional Chinese Music: Observations and Analysis, titled “The Essential Elements of Tonal Theory in Traditional Chinese Music”, Huang underscores how language, philosophical perspective, and geographic features play a role in the development of traditional Chinese music. The relationship between language and music within Chinese music is interesting due to the tonal and monosyllabic nature of the Chinese language. The tone of how a sound or a word is pronounced decides its meaning which is intimately related to pitch inflections within music. For this reason, Huang emphasizes that language and linguistics play more of a role in Chinese music than in the study of European languages in European music. Linguists break down the tonal range of the language into five levels. These five tones, while relatively consistent, can differ depending on the dialect. Huang highlights that there are over 40 different dialects of the language stating that it “not only varies from one ethnic group to another, but also differs from one geographic location to the next within the same ethnic group” (Huang, 1994, pg. 13). The element of tonal inflection within each distinct dialect profoundly influences the development of melodic material and gestures present within Chinese music and adds a microtonal effect to the music. Influenced by the tonal inflections within the Chinese language, microtonality is also a distinct trait of traditional Chinese instruments. Many traditional Chinese instruments such as the erhu and ku-chyn are fretless allowing for increased control and variance over pitch. While fretted instruments also exist, pitch nuance is still prominent through altering the pressure on the strings to create a microtonal effect.

Overall, this thesis offers some interesting information regarding the influences of traditional Chinese music that is heavily related to my project. I’ve never really thought about how features such as tonality in the Chinese language could play a role in shaping Chinese music. As a fluent Chinese speaker, I find these ideas fascinating. The notion of how tonal inflections in the Chinese language produce a microtonal effect within the music is an idea I can incorporate into my composition. It could be interesting to explore microtonality along with prominent modern production techniques such as autotune within my composition to highlight a theme of naturality vs artificiality reflecting prominent themes in traditional music and modern music.

This week, I completed the LinkedIn training modules “Prepping Tracks for Mastering”, “Mastering the Song”, and “Audio Mastering Techniques”. As I have a decent handle on Mixing, my next step was to learn more about the mastering process, a phase of audio production that I’m not as familiar with. These videos helped a lot and introduced me to techniques and tips to help me get started. I’d like to practice on some productions I’ve mixed to gain some experience, but it’s interesting to see the difference in approach as each move you make is affecting the entire track rather than an individual part within the track.

Huang, H. (1994). Theory and Practice in the Traditional Chinese Music: Observations and Analysis. https://www.proquest.com/docview/304142235/abstract?parentSessionId=B%2FN6J8A%2BjswhI52F2qajydgotQi0WOEfd8NEvEM8%2FcA%3D&pq-origsite=primo&accountid=14270&sourcetype=Dissertations%20&%20Theses

Reflecting on my research so far, I think that my progress is coming along nicely. I’ve found a lot of helpful resources related my project including research on cultural identity, Chinese traditional music, and Chinese Philosophy. On the topic of cultural identity, I’ve found a that the theory of cultural adaptation and biculturalism is particularly insightful in helping me think through my project and I’m very happy with the resources I have covering this topic. I’d like to find more resources on how Chinese philosophy impacts and influences elements in traditional Chinese music which will be the next step in my research process.

On the production side of things, I’ve made a lot of progress on learning mixing, recording, and composition techniques through LinkedIn learning. These skills will be extremely helpful within the production process and help my work sound professional. My meeting with Jack Klotz also helped a lot with my project vision. Rather than creating multiple tracks, he suggested that I focus on creating one meaningful and detailed composition. I think that this was a good idea since composing, recording, mixing, and mastering multiple tracks may be too time consuming and difficult to manage. While I have a handle on composing, recording, and mixing, I’d like to learn more about mastering which will be the next step in my production process. 

The development of my research is playing a big role in influencing my approach to the creation of this composition. It’s interesting to think about how I can incorporate theoretical ideas such as cultural frame switching into my composition. This can be manifested in various ways including contrast in sections or composition techniques such as call and response. One section can sound stylistically more Chinese while the other can reflect mainstream music replicating the idea of cultural frame switching in a musical form. As I continue research for my project, I hope to develop similar ideas where I can manifest theoretical ideas in a musical form and incorporate them into my composition.

Beginning the second half of the semester, I’m most looking forward to working on the initial creation of my project. As the initial media and proof of concept assignments are coming up, I’d like to finally start creating and work on initial ideas that can act as starting points for my project. I’m also looking forward to connecting with local musicians who play traditional Chinese instruments. This will be a fun networking process that will connect me with people who share similar interests as me and I hope to form new friends and connections in the process. 

The book, Becoming Intercultural: An Integrative Theory of Communication and Cross-Cultural Adaptation, by Young Yun Kim, explores the Theory of Cross-Cultural Adaptation. Within the chapter, “Intercultural Transformation”, Kim discusses the concept of Intercultural Identity which she describes as “an acquired identity constructed after the early childhood enculturation process through the individual’s communicative interactions with a new cultural environment” (Kim, 2001, pg. 191). This concept highlights how identity is shaped not only by childhood influences but also by new cultural experiences. This idea suggests that a person’s identity is not a state, but rather a continuum and an ongoing evolutionary process towards psychological integration and health. As a result, developing a person’s intercultural identity places them in a position where they are constantly “negotiating ever new formations of reality”. Adaptation is by no means a smooth process and can be extremely stressful. This can cause individuals to regress to their original cultural identity as feelings of alienation and struggles with the adaptation process arise. As an individual’s intercultural identity continues to evolve, they are able to better navigate the different cultures allowing them to make more deliberate choices according to the context of the situation.

The idea of intercultural identity is highly relevant to my project as it reflects on the blending of cultures which is a prominent theme in my musical composition. Kim’s emphasis on interculturation as a constant process rather than a fixed state aligns with my exploration of how biculturalism challenges the ideas of cultural purity and assimilation. In addition, the chapter also highlights the difficulties of developing an intercultural identity which resonates with the project’s reflection on the struggles of biculturalism. Overall, this book is a great resource that provides a wealth of information regarding the theory of cultural adaptation and intercultural identity. These ideas are deeply related to my project and can play a role in informing my creative decisions.

This past week, I made progress on research for my project. I dove deeper into research on cultural identity by exploring the theory of cultural adaptation through Kim’s book. In addition, I found more sources on Chinese philosophy which is another important research component for my project. This week, I’d like to search for a third committee member, preferably one who specializes in philosophy so I can have diversity within my committee. I have Prof. Klotz as my production specialist and Prof. Alleyne as my culture specialist, so I’d like my final committee member to have a background in philosophy in order to cover all my bases.

References
Young Yun Kim. (2001). Becoming Intercultural : An Integrative Theory of Communication and Cross-Cultural Adaptation. SAGE Publications, Inc. https://web-p-ebscohost-com.libproxy.temple.edu/ehost/ebookviewer/ebook/ZTAwMHhuYV9fNDc0MTcxX19BTg2?sid=186895f8-8a03-400b-ae1a-909e38ca3ce7@redis&vid=0&format=EB&rid=1

The research article “Integration of Traditional Chinese Music: An Evaluation of the Interactive Influence Between Traditional Music and Aesthetic Thought” explores the integration of aesthetic and philosophical influences within traditional Chinese Music and its impact. The three aesthetic concepts the article explores are Confucianism, Taoism, and Mohism. Confucianism emphasizes moderation, goodness, and harmony over beauty, which is reflected in traditional Chinese operas and folk songs as they are simple and sincere in nature. Confucius also highlights the role of education in music stressing its ability to mold people’s minds and morality as a means of cultivating their sentiments and noble characters. The core concepts within Taoist music aesthetic thought center around “harmony between heaven and man”, “natural harmony”, “emptiness and stillness”, and “nature”. Taoism within traditional Chinese music values simplicity, purity, and ethereality promoting the idea that “great music has the faintest notes”. This attitude reflects detachment as Taoist ideas emphasize the naturality of music and that it should not be excessively interfered with. Mohist music aesthetic thought is more pragmatic suggesting that music should be used to promote social order and governance. Mohist also stresses using music as a tool for moral education (Zhou & Yu, 2024).

Understanding the integration of Chinese aesthetic thought and philosophy within traditional Chinese music is valuable to my project as it plays a significant role in influencing the nature and sound of the music. These concepts and ideas within these philosophies can inform my approach to creating a fusion piece that incorporates stylistic elements of traditional Chinese music. By drawing on the principles of harmony, balance, and natural expression found in Confucianism, Taoism, and Mohism, I can craft a composition that reflects the cultural depth of traditional Chinese music while creating a unique blend with contemporary musical styles. This integration will allow my piece to resonate with the values of Chinese aesthetics while exploring new artistic possibilities.

This week I completed the training module, “Music Production: Techniques and Concepts” on LinkedIn learning. The module explores the entirety of the music production process from beginning to end. This training was very helpful as it provided a guideline for how to approach music production offering techniques and tips ranging from planning and pre-production to post-production. In addition to completing this training module, I also met with Prof. Jack Klotz to talk about my project. During the meeting, I introduced my project to him and he gave me some good information and feedback regarding booking studio time, research, and the production process. Rather than doing multiple songs, he suggested that I focus on creating one track. This allows for the piece to be more detailed as composing, mixing, and mastering multiple tracks may be too much to juggle.

References

Zhou, Y., & Yu, F. (2024). Integration of Traditional Chinese Music: An Evaluation of the Interactive Influence Between Traditional Music and Aesthetic Thought. Trans/Form/Ação, 47(5). https://doi.org/10.1590/0101-3173.2024.v47.n5.e02400180

Within my project, I aim to explore ideas of cultural identity as my project reflects my experiences with culture as a second-generation immigrant in America. The research article titled “Living at the Crossroads of Cultural Worlds: The Experience of Normative Conflicts by Second Generation Immigrant Youth”, by Giguère, Lalonde, and Lou, explores conflicts faced by second-generation South Asian and East Asian youth in Canada, providing insight into the bicultural experience. Within the article, the authors discuss various ideas that can help readers better understand the relationship between mainstream and heritage cultures as it relates to second-generation immigrants. One idea that is discussed is the cultural differences between first-generation parents and second-generation youth. The parents’ knowledge and understanding of culture are rooted in direct experience from their original country typically frozen at their time of departure while the youth access their heritage through their familial experiences. In this context, parents often attempt to maintain heritage norms by encouraging their children to adopt behaviors and norms that are closely tied to family traditions and family honor. The authors note how second-generation immigrants are exposed to the norms of mainstream culture on a deeper level which leads to greater involvement in mainstream culture. For example, the authors state that “it is easier for these young people to master the mainstream languages, and more likely for them to acquire autonomy norms that are typically not supported by the heritage culture” (Giguère et al., 2010). While immigrant parents often attempt to preserve heritage by instilling it within their children, these sets of norms can conflict with the values and beliefs youth are exposed to through mainstream culture. Another concept the authors explain within the article is the idea of cultural frame switching: “when individuals alternate between different cultural interpretive frames as a function of the cues in their environment” (Giguère et al., 2010). The cultural identity of these youths is shaped by environmental cues in different contexts. This may allow them to employ a particular set of norms considering the situation and ignore the other less relevant set of norms. One example of this is how second-generation immigrants may adopt heritage norms at home and mainstream norms at school. As opposed to conflict between cultural groups, it can be better characterized as conflict between familial and mainstream norms.

Overall, this research article is relevant to my project as it provides insight into the experiences of second-generation immigrants. Understanding how mainstream culture and heritage culture interact is an important aspect of my project that can help me unpack the topic of cultural identity as it pertains to creating an EP that fuses Chinese heritage with mainstream American culture. Understanding how these elements interact with each other can help inform my creative decisions and offer insight into my project.

This week, I created a timeline for my project and found more research on the topic of cultural identity. For this upcoming week, I’d like to dive deeper into the research and take notes on the theories that can help me develop a better understanding on the topic of cultural identity. Further more, I’d like to do some research on Chinese philosophy and aesthetics such as Taosim, Confucianism, and Mohism and how manifests itself within traditional Chinese music. I’d also like to reach out to potential committee members this upcoming week.

Bibliography

Giguère, B., Lalonde, R., & Lou, E. (2010). Living at the Crossroads of Cultural Worlds: The Experience of Normative Conflicts by Second Generation Immigrant Youth. Social and Personality Psychology Compass, 4(1), 14–29. https://doi.org/10.1111/j.1751-9004.2009.00228.x