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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- All Subjects: Music
Description
Historically, music and the experiences of deaf or hard-of-hearing (DHH) individuals have been intertwined in one manner or another. However, music has never ignited as much hope for the “improvement” of the Deaf experience as during the American oralist movement (ca. 1880-1960) which prioritized lip-reading and speaking over the use of sign language. While it is acknowledged that the oralist movement failed to provide the best possible education to many American DHH students and devastated many within the Deaf community, music scholars have continued to cite publications by oralist educators as rationales for the continued development of music programs for DHH students.
This document is an attempt to reframe the role of music during the American oralist movement with a historical account of ways music was recruited as a tool for teaching vocal articulation at schools for the deaf from 1900 to 1960. During this time period, music was recruited simply as a utility to overcome disability and as an aid for assimilating into the hearing world rather than as the rich experiential phenomenon it could have been for the DHH community. My goal is to add this important caveat to the received history of early institutional music education for DHH students. Primary sources include articles published between 1900 and 1956 in The Volta Review, a journal founded by the oralist leader Alexander Graham Bell (1847-1922).
This document is an attempt to reframe the role of music during the American oralist movement with a historical account of ways music was recruited as a tool for teaching vocal articulation at schools for the deaf from 1900 to 1960. During this time period, music was recruited simply as a utility to overcome disability and as an aid for assimilating into the hearing world rather than as the rich experiential phenomenon it could have been for the DHH community. My goal is to add this important caveat to the received history of early institutional music education for DHH students. Primary sources include articles published between 1900 and 1956 in The Volta Review, a journal founded by the oralist leader Alexander Graham Bell (1847-1922).
ContributorsLloyd, Abby Lynn (Author) / Norton, Kay (Thesis advisor) / Gardner, Joshua (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2017
Description
A resurgence of the American art song is underway. New art song composers such as Adam Guettel, Michael John LaChiusa, and Georgia Stitt are writing engaging and challenging songs that are contributing to this resurgence of art song among college students. College and University musical theatre programs are training performers to be versatile and successful crossover artists. Cross-training in voice is training a performer to be capable of singing many different genres of music effectively and efficiently, which in turn creates a hybrid performer. Cross-training and hybridity can also be applied to musical styles. Hybrid songs that combine musical theatre elements and classical art song elements can be used as an educational tool and create awareness in musical theatre students about the American art song genre and its origins while fostering the need to learn about various styles of vocal repertoire.
American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive.
Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song.
American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive.
Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song.
ContributorsKlofach, Carrie Ann (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2018
Description
The close relationship between mathematics and music has been well documented in Western cultures since at least the time of the ancient Greeks. While many connections have been made between math and music over the centuries, it seems that many modern researchers have attempted to create interdisciplinary bridges between these disciplines by using mathematical principles to explain several essential aspects of music: harmony, melody, form, and rhythm. Using these established connections, in addition to several of my own, I have created an undergraduate level survey of Western music course for a population of mathematically inclined students. This approach makes music history comprehensible, relevant, and engaging to my target demographic.
The course is organized into three units. The first unit begins with the music of Ancient Greece and Early Christianity and concludes with music of the Renaissance (roughly 1300-1600). The second unit will cover what classical musicians call the “common practice period” (roughly 1600-1900). This span of time covers three musical eras – Baroque, Classical, and Romantic. The final unit will cover the 20th century up to the present. During this course, I introduce the students to Western music using examples, concepts, terminology, and methodology derived from the world of mathematics. These include Pythagorean mathematics, geometry, simple algebra and fractions, the golden mean, the Fibonacci sequence, matrices, set theory, and many more. I have written the chapters as scripts for an online version of the class. The writing style in the chapters is therefore informal and contrasts with the tone of the other parts of the thesis.
The course is organized into three units. The first unit begins with the music of Ancient Greece and Early Christianity and concludes with music of the Renaissance (roughly 1300-1600). The second unit will cover what classical musicians call the “common practice period” (roughly 1600-1900). This span of time covers three musical eras – Baroque, Classical, and Romantic. The final unit will cover the 20th century up to the present. During this course, I introduce the students to Western music using examples, concepts, terminology, and methodology derived from the world of mathematics. These include Pythagorean mathematics, geometry, simple algebra and fractions, the golden mean, the Fibonacci sequence, matrices, set theory, and many more. I have written the chapters as scripts for an online version of the class. The writing style in the chapters is therefore informal and contrasts with the tone of the other parts of the thesis.
ContributorsCueva, Darren Luis (Author) / Norton, Kay (Thesis advisor) / Wells, Christopher (Committee member) / Schmidt, Margaret (Committee member) / Arizona State University (Publisher)
Created2019
Description
The purpose of this document is to identify contemporary issues facing female-identifying professional trombonists today. Interviews were conducted with three prominent women in the international trombone community, including questions that sought to foster discussion on the extent to which their experience as professional trombonists was influenced by their gender. The topic of microaggressions emerged as significant, as it became clear throughout the interview process that these women experience microaggressions far more commonly than overt gender discrimination, as did the topic of coping mechanisms. The interview questions also sparked discussions of identity, self-motivation, and local cultural norms within the context of each woman’s musical career.
ContributorsBroome-Robinson, Julia (Author) / Edwards, Bradley (Thesis advisor) / Swoboda, Deanna (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2020
Description
Throughout western clarinet art music, there are not only a large number of great performers and classical works, but also a valuable body of literature that has laid a solid foundation for clarinet development and global dispersion. By contrast, Chinese clarinet literature is lacking in quantity and global distribution. However, this is the first comprehensive study that discloses the mysterious mask of China’s clarinet art.
This study does not merely discuss the Chinese clarinet history, but it also introduces important historical events that influenced the development of the Chinese clarinet industry (excluding manufacturing), including Chinese military bands, clarinet music, pedagogy, clarinet figures, and its future direction.
In the conclusion of this paper, the author discusses the deficiency of the Chinese clarinet industry and makes suggestions for solving problems with clarinet players practicing more technique rather than focusing on musicianship, educators’ lack of concentration on teaching and academic research, and the shortage of Chinese clarinet works. Additionally, the author appeals to Chinese clarinet players to actively participate in international activities and the Chinese government to increase incentives to introduce high-level Chinese talents overseas to help make China a better country in any field.
This study does not merely discuss the Chinese clarinet history, but it also introduces important historical events that influenced the development of the Chinese clarinet industry (excluding manufacturing), including Chinese military bands, clarinet music, pedagogy, clarinet figures, and its future direction.
In the conclusion of this paper, the author discusses the deficiency of the Chinese clarinet industry and makes suggestions for solving problems with clarinet players practicing more technique rather than focusing on musicianship, educators’ lack of concentration on teaching and academic research, and the shortage of Chinese clarinet works. Additionally, the author appeals to Chinese clarinet players to actively participate in international activities and the Chinese government to increase incentives to introduce high-level Chinese talents overseas to help make China a better country in any field.
ContributorsZhu, Shuang (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Thesis advisor) / Wells, Christopher (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2017