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 - 6 of 6
Filtering by
Description
Every year hundreds of aspiring musicians audition for positions with professional orchestras throughout the United States. This study is designed to provide a comprehensive look at professional orchestral auditions for trumpet. While other resources rely on the single opinion of their author, this study gathers information from a broad range of sources to develop its conclusions. This project was completed in three phases. In the first phase, lists of excerpts from trumpet auditions were compiled. In the second phase, an online survey of musicians who have served on a trumpet audition committee was conducted. In the final phase, four principal trumpet players of major orchestras and one conductor were interviewed to look further into the criteria and procedures used in orchestral trumpet auditions. The results of this study can be grouped into four categories: the desired qualities sought in a trumpet audition, common mistakes and concerns for those taking auditions, common mistakes and concerns for audition committees, and a discussion of the top fifteen excerpts asked in auditions. The data from this study can be used to consider two different perspectives: what does an aspiring trumpet player need to do to win an audition? And also, what should a committee want to hear? Although there is a broad range of opinion when considering trumpet auditions, certain standards remain. Also, while most of those involved in this study agree that the audition process is among the fairest ways to determine the winner of a job with an orchestra, they also agree that significant changes to the process still need to be made. This is especially true with reference to the types of excerpts asked and the audition procedures used.
ContributorsHunsicker, John David (Author) / Hickman, David (Thesis advisor) / Hackbarth, Glenn (Committee member) / Hill, Gary (Committee member) / Pilafian, J. Samuel (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this project was to provide a pedagogical resource for students and teachers to utilize when preparing six standard formative pieces from the euphonium repertoire. The guided practice sections are written in plain English with several instances of first person writing to explain certain concepts in a less formal way. This was done so that any teacher, regardless of level could help a younger, more inexperienced student. In addition, the sections of guided practice were written to help those teachers who may or may not be intimately familiar with the works chosen. The recording was designed to present the music in current published format, with no improvisation by the soloist. The solos that were chosen are either college preparatory pieces, or formative works for the younger collegiate musician. All of the pieces included are published, and as of September 2010, available for purchase. The works included are: Six Studies in English Folk Song, by Ralph Vaughan Williams, ed. Paul Droste, Introduction and Dance, by J. Edouard Barat, ed. Glenn Smith, Andante et Allegro, by Joseph- Guy Ropartz, ed. Shapiro, Sonata for Unaccompanied Euphonium (or Trombone), by Fred L. Clinard, Jr., Suite for Baritone, by Don Haddad, and Andante and Rondo, by Antonio Capuzzi, ed. Philip Catelinet.
ContributorsStuckemeyer, Pat (Author) / Pilafian, Samuel (Thesis advisor) / Ericson, John Q. (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2010
Description
ABSTRACT
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
ContributorsBreadon, Thomas, Jr (Author) / Micklich, Albie (Thesis advisor) / Creviston, Christopher (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2015
Description
Since 1913, some of the world’s finest trumpeters have utilized the advantages of
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
ContributorsEwing, Bryan Christopher (Author) / Hickman, David (Thesis advisor) / Humphreys, Jere T (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2016
Description
In preparation for an orchestral audition, one of the first considerations a trombonist will have in the study of an excerpt is the question of tempo. The selection of an appropriate tempo for a musical work is key to a successful performance of that work and can make the difference between winning an audition and losing it.
This project identifies the tempo of the top sixteen tenor trombone excerpts one is likely to perform in an audition by analyzing the tempo in recordings of professional orchestras. The data generated in the measurements of those recordings is analyzed in an effort to determine an appropriate tempo around which a trombonist preparing these excerpts might center their work. The goal of this project is to provide a resource for trombonists and trombone teachers as an aid in their determination of the ideal tempo of these excerpts.
This project identifies the tempo of the top sixteen tenor trombone excerpts one is likely to perform in an audition by analyzing the tempo in recordings of professional orchestras. The data generated in the measurements of those recordings is analyzed in an effort to determine an appropriate tempo around which a trombonist preparing these excerpts might center their work. The goal of this project is to provide a resource for trombonists and trombone teachers as an aid in their determination of the ideal tempo of these excerpts.
ContributorsO'Neal, Andrew Stephen (Author) / Edwards, Bradley (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2020
Description
By examining the cognitive mechanisms behind human memory, the author hypothesizes that instrumental conductors can more quickly and effectively internalize music scores. With this theory, conductors could offer more informed and nuanced communications to their ensembles. Furthermore, these ideas could be incorporated into how conducting is taught to younger students by cultivating a more in-depth understanding of the music being studied.
This research paper surveys current trends in cognitive science related to the interactions of long-term memory (LTM) and short-term memory (STM) concerning score study and memorization employed by instrumental conductors. The research is divided into three sections, beginning with an examination of the key literature from the field of cognitive science. It continues with an overview of current musicological research and applications and finally concludes with a review of current instrumental conducting pedagogy that include discussions of memory. Moreover, recommended steps and a potential framework to incorporate cognitive science research into future conducting pedagogies are further outlined. The primary cognitive theory of focus is the Working Memory Theory of Alan Baddeley and Graham Hitch.
This research paper surveys current trends in cognitive science related to the interactions of long-term memory (LTM) and short-term memory (STM) concerning score study and memorization employed by instrumental conductors. The research is divided into three sections, beginning with an examination of the key literature from the field of cognitive science. It continues with an overview of current musicological research and applications and finally concludes with a review of current instrumental conducting pedagogy that include discussions of memory. Moreover, recommended steps and a potential framework to incorporate cognitive science research into future conducting pedagogies are further outlined. The primary cognitive theory of focus is the Working Memory Theory of Alan Baddeley and Graham Hitch.
ContributorsLucas, Cullan Baynes (Author) / Caslor, Jason (Thesis advisor) / Gardener, Joshua (Committee member) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017