ASU Electronic Theses and Dissertations
This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media.
In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the ASU Library Catalog.
Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository ETD Library Guide or contact the ASU Graduate College at gradformat@asu.edu.
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Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
This document serves as a comprehensive project centering on a new performing edition of Pierre Danican Philidor’s (1681-1731) Trio Suite No. 2 in E Minor of 1722, one of a collection of six trio suites presented to the French court, following a series of earlier, more well-known suites (1716-1718). The project itself contains a performance edition with a fully realized harpsichord part, a recording featuring entirely modern instruments in modern pitch with a special attention to period affect and style, and finally a written document contextualizing the Philidor family, the French court establishment, and helpful performance practice guidelines for musicians. The purpose of this project is: to both bring to light and make accessible the music of this member of the Philidor clan, to encourage a greater understanding of this family and their musical place in the French establishment, and to build a bridge between the specialization of Historically Informed Performance (HIP) and the modern instrumentalist, particularly conservatory students and professionals unfamiliar or uncomfortable with this material. Ideally, the result will be more frequent programming of French court chamber repertoire such as this work in non-specialist settings and venues. Such programming goals should not detract from HIP and the period instrument field, but rather help this music to expand in interest across a wider classical music audience, and thus by extension also expand interest in the historical performance movement.
ContributorsJohnson, Michael (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Schmelz, Peter J (Committee member) / Arizona State University (Publisher)
Created2023
Description
Ruth Gipps was an English composer, performer, and conductor whose unique experiences and opinions shaped her compositional output and the musical world around her. Gipps was a conflicted individual throughout her life, facing challenges as an outsider in almost every area of her professional life: child prodigy turned adult musician, outspoken conservative English composer positioned against a new international style, and woman in a male-dominated space as an orchestral performer and conductor. Perhaps as a result of her many struggles, she developed internal dissonances between her beliefs, her words, and her actions. These inner conflicts, manifesting in her musical voice as well as her work as a conductor, greatly impacted her career and oeuvre. Despite her inner turmoil, Gipps was always passionately and unapologetically expressive of her personality and beliefs, refusing to compromise or change her behavior even when it negatively impacted her reputation and opportunities. It was this intensity and dedication that enabled her to positively impact musicians in her life, whom she deeply cared about, and to communicate with performers and listeners of her compositions. This document reviews the literature about Gipps, which includes two books by Jill Halstead as well as several dissertations. Information from these sources directly addressing Gipps as well as other pertinent literature is used to explore the disconnects and conflicts that characterized Gipps’s life and music. A discussion of four of Gipps’s oboe family works, Kensington Gardens Suite, op. 2 (1938), The Piper of Dreams, op. 12b (1940), Oboe Concerto in D minor, op. 20 (1941), and Threnody, op. 74 (1990), relates these impactful conflicts to Gipps’s unique musical voice and her contributions to oboe repertoire.
ContributorsDeMouy, Laura Anne (Author) / Schuring, Martin (Thesis advisor) / Norton, Kay (Committee member) / Buck, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2022
Description
ABSTRACT
The bassoon has the ability to play in varying styles across multiple genres with repertoire spanning from the early Baroque era to the present day. Popular and frequently played pieces for the bassoon, such as concerti by Vivaldi, Mozart, and Weber, are frequently performed in recital, yet the rich musical tradition and repertory of Romanian folk music is seldom performed in the recital hall. The main reason for the shortcoming of this style of music in the bassoon repertoire can be attributed to the sheer lack of prominent composers writing original works for the bassoon in Romania compared to Western Europe.
The purpose of this project is to add Romanian folk music to the bassoon repertoire by arranging and recording three pieces for bassoon and piano: Romanian Rhapsody No. 1 in A Major and Romanian Rhapsody No. 2 in D Major by George Enescu and the six-movement work Romanian Folk Dances by Béla Bartók.
Included in this project is a section covering historical information on the arranged compositions, procedures of the transcription that explain the reasoning to alterations and adjustments from the original score are also incorporated in this document. Lastly, the transcribed scores and recordings of the arrangements are included in this document.
The bassoon has the ability to play in varying styles across multiple genres with repertoire spanning from the early Baroque era to the present day. Popular and frequently played pieces for the bassoon, such as concerti by Vivaldi, Mozart, and Weber, are frequently performed in recital, yet the rich musical tradition and repertory of Romanian folk music is seldom performed in the recital hall. The main reason for the shortcoming of this style of music in the bassoon repertoire can be attributed to the sheer lack of prominent composers writing original works for the bassoon in Romania compared to Western Europe.
The purpose of this project is to add Romanian folk music to the bassoon repertoire by arranging and recording three pieces for bassoon and piano: Romanian Rhapsody No. 1 in A Major and Romanian Rhapsody No. 2 in D Major by George Enescu and the six-movement work Romanian Folk Dances by Béla Bartók.
Included in this project is a section covering historical information on the arranged compositions, procedures of the transcription that explain the reasoning to alterations and adjustments from the original score are also incorporated in this document. Lastly, the transcribed scores and recordings of the arrangements are included in this document.
ContributorsRice-Misura, Sarah Burnett (Author) / Micklich, Albie (Thesis advisor) / Buck, Elizabeth (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2020