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.
Displaying 1 - 4 of 4
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- All Subjects: pedagogy
- All Subjects: Song cycles
- Creators: Holbrook, Amy
Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Pre-collegiate clarinet instructors are often challenged to teach students both fundamental skills and repertoire with limited instructional time. Insufficient time may cause fundamental skills to be addressed at the expense of repertoire or repertoire study may limit time spent on fundamental development. This document provides a suggested repertoire list that categorizes pre-collegiate clarinet literature based on the fundamental skill addressed in each included piece. Teachers can select repertoire that allows students to concurrently refine a fundamental skill while preparing a piece for performance. Addressed fundamental topics include embouchure, expanding the range into the clarion and altissimo registers, articulation, breathing, intonation, finger technique, and musicality.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
ContributorsAustermann, Kelly R (Author) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2014
Description
Collaborative piano skills are not only important for pianists. Many of the skills that collaborative pianists use regularly are the same skills used by music educators, music therapists, and vocal and instrumental professionals. If these skills were included in the class piano curriculum of music majors for whom piano is not their primary instrument, students might be better prepared for essential tasks they will accomplish in their future careers. This study seeks to discover the extent to which collaborative piano skills such as sight-reading, collaboration with a singer or instrumentalist, and score reduction are incorporated into the class piano courses offered in Arizona. A survey was sent in 2021 to all community college and university instructors of class piano in Arizona, asking them about the role, frequency, and assessment methods of collaborative piano skills in their courses. Public information was also gathered from institutional websites regarding course curriculum. To collect more detailed information regarding the pedagogical practices of Arizona class piano educators, I interviewed four professors who develop and implement class piano curricula in Arizona.
The results of this study suggest that Arizona class piano educators desire to incorporate more collaborative piano skills in their courses. The goal of this research is to bring awareness to the discrepancy in class piano curriculum standards with regards to collaborative piano skills across Arizona and spur pedagogical dialogue among educators regarding ways to improve programs. These enhancements will ultimately serve to give each student the best possible preparation for a career in music.
ContributorsSherrill, Amanda May (Author) / Campbell, Andrew (Thesis advisor) / DeMaris, Amanda (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2022
Description
In an interview with the author, composer Chen Yi shared thoughts regarding her inspiration to compose the piece As in a Dream. She composed the first version in 1988 for soprano, violin, and cello. Left unpublished, this work was re-done in 1994 with the Chinese instruments zheng and pipa in place of the violin and cello. As in a Dream is a setting of two linked poems of six lines each by Qingzhao Li, one of the earliest female poets in China. Chen Yi kept the voice part the same in the two versions, but adapted the accompaniment to suit the Chinese instruments.
This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese.
Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry.
This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese.
Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry.
ContributorsIp, Hoi Lam (Author) / Britton, David (Thesis advisor) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015