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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Description
ABSTRACT études; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études.; These works rarely go by the title "étude;," and have not been the focus of much scholarly research. Ensemble études; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble études; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études; in a group, this document introduces creative ways that works for violin ensemble can be used as both études; and performance pieces. The first two chapters explore the history and philosophy of the violin étude; and multiple-violin works, the practice of arranging of solo études; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude; study from solo étude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: étude; for Four Violins, with an explanation of the process and techniques used to create this ensemble étude.; This work is an example of the musical and technical integration essential to étude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble études; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble études; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.
ContributorsLundell, Eva Rachel (Contributor) / Swartz, Jonathan (Thesis advisor) / Rockmaker, Jody (Committee member) / Buck, Nancy (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project was to: (1) describe a brief history of Salvation Army works for euphonium and piano that are relevant to the larger euphonium repertoire, and (2) produce a professional-quality compact disc recording of these works for study and reference. Part I of this project is an annotated bibliography discussing selected works for euphonium and piano written exclusively by Salvation Army composers. Each bibliographic entry is accompanied by a brief annotation, including information on each composer, hymn tunes used in each work, and difficulties encountered in performance. Part II of this project consists of a professional-level recording of these works. The recording and bibliography is intended to serve as a reference guide for students and teachers of Salvation Army euphonium literature, and is also intended to serve as a pedagogical tool utilized in the development of high school and university-level euphonium students. Five solos and one duet with piano accompaniment were selected for this project, works that represent a wide variety of Salvation Army compositional styles. The works also cover a wide range of technical and musical challenges, and are appropriate for study by both undergraduate and graduate students of music. All of the works are currently in publication as of this writing. The following works are included in this project: "The Song of the Brother" by Erik Leidzén, "Ransomed" by George Marshall, "Ochills" by Ernest Rance, "The Better World" by Norman Bearcroft, "Symphonic Rhapsody for Euphonium" by Edward Gregson, and "Timepiece" by Norman Bearcroft.
ContributorsDraper, Andrew (Author) / Pilafian, Samuel (Thesis advisor) / Hickman, David (Committee member) / Mook, Richard (Committee member) / Humphreys, Jere (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2012
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
Description
Most violinists of the Western classical tradition are untrained in the aural skills and left-hand techniques of microtonal intervals. This document surveys the nature of the problem and presents a manual for self-teaching the three-quarter tone step—the equal tempered ‘neutral second’ (N2) a quarter tone between the major and minor second intervals—through the melodic syntax of specific Persian classical music (PCM) modes. While the paper does not teach PCM performance, it does offer a method of melodic functional hearing through a new solmization system designed specifically for PCM. Additionally, the paper guides readers through the PCM repertoire by grouping modes with a shared functional usage of the N2. Combined with the pedagogical research of learning modalities and Edwin Gordon’s Music Learning Theory, these tools provide violinists with a method for achieving the aural accessibility and performance mastery of the N2. This process serves as a future model for learning unfamiliar intervals both within and without the Western classical tradition.
ContributorsDiBarry, Michael (Author) / McLin, Katherine (Thesis advisor) / Buck, Nancy (Committee member) / Knowles, Kristina (Committee member) / Arizona State University (Publisher)
Created2020