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
The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the process of learning a concerto. The Concerto was inspired by internationally known saxophonist, Sigurd Rascher, who demonstrated for Brant the extent of his abilities on the saxophone. These abilities included use of four-octave range and two types of extended techniques: slap-tonguing and flutter-tonguing. Brant incorporated all three elements in his Concerto, and believed that only Rascher had the command over the saxophone needed to perform the piece. To prevent the possibility of an unsuccessful performance, Brant chose to make the piece unavailable to saxophonists by leaving the Concerto without a reduction. Subsequently, there were no performances of this piece between 1953 and 2001. In 2011, the two directors of Brant's Estate decided to allow for a reduction to be written for the piece so that it would become more widely available to saxophonists.
ContributorsAmes, Elizabeth (Pianist) (Author) / Ryan, Russell (Thesis advisor) / Levy, Benjamin (Committee member) / Hill, Gary (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2013
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this research paper is to discuss John Carter's Cantata, the musical development of this composition, and provide a brief history of this African American musician and composer. Presently, there exists very little research regarding Carter's life and compositions. From a musician's perspective, this paper discusses the challenges of singing and performing the Cantata for future performers and provides a reference for their preparation. This project also examines John Carter's musical style and analyzes the structure of the Cantata. African-American folk songs were an inspiration to Carter's compositions, especially this particular work. As an African-American, his life and background played a role in his inspiration of composition. With borrowed music, he reveals a basic truth about this period of American history; how the lives of slaves influenced in the development of this particular genre. Additionally, John Carter's style of composition is examined, including the application of jazz and modal scales in his Cantata. Performance practice is examined for both the singer and pianist in a way that best represents the composer's original and unique intent. From vocal safety to breath control, a singer may find several challenges when performing this eclectic piece. This paper provides a guide for singers. A brief overview of the pianist's role in the Cantata is also included. Characteristic words of the African-American vernacular found in Carter's Cantata are briefly discussed and identified (i.e. "them" vs. "dem"). It is essential that any performer, both beginning and advanced, should have a proper understanding of the concepts that Carter had so carefully crafted. This paper endeavors to provide a deeper sense of understanding to what Carter had intended for both the performer and the listener.
ContributorsNa, Bora (Author) / Britton, David (Thesis advisor) / Bush, Jeffrey (Committee member) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
ContributorsZhang, Dongfang (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
Classical pianists have struggled to reconcile personal artistic growth with the economic and cultural realities of a career as a musician. This paper explores the existing structure of North American undergraduate piano education and its development alongside sociological and cultural changes in the twentieth century. Through document study and interviews, I look at three different models of undergraduate piano curricula. Chapters One and Two explore the issues and history surrounding the traditional piano curriculum. Chapters Three and Four draw on interviews to study two different North American undergraduate curricula: a piano curriculum within a liberal arts environment of an American Conservatory-College, and a piano curriculum within a Canadian University Faculty of Music. Chapter Five concludes with a summary of these findings and potential recommendations for implementation. In this study, I suggest that changes to piano curricula were made because of a differing approach, one in which music is seen as an entrepreneurial vocation. These changes point to a discrepancy between what is being provided in the curriculum, and the actual skills that are needed in order to thrive in today's economy. Awareness of the constant flux of the current professional climate is necessary in order for pianists to channel their skills into the world. I theorize that changes in curricula were made in order to provide a better bridge for students to meet realistic demands in their career and increase their ability to impact the community.
ContributorsChoi, Rosabel (Author) / Kim, Kwang-Wu (Thesis advisor) / Campbell, Andrew (Committee member) / Hamilton, Robert (Committee member) / Levy, Benjamin (Committee member) / Pagano, Caio (Committee member) / Arizona State University (Publisher)
Created2013
Description
This document examines the many ways in which the arts can benefit rural areas. It aims to illuminate potential opportunities found in rural areas for all types of artists, and discusses important points on building arts programs, organizations, and events in these areas. Having a strong arts presence can positively impact the economy, education system, community and well-being in rural areas. The arts help to strengthen community identity, provide exposure to new artistic experiences while preserving local culture, create a more resilient economy, strengthen the education system, and provide a creative outlet for community members. Musicians visiting a rural community have access to a unique and fulfilling opportunity to create, advocate, share and learn. Creating short and long term arts programs and organizations within these communities is an important way of guaranteeing a more sustainable presence of the arts. This document outlines rural areas and their typical characteristics, discusses the impact the arts can have on the rural economy, education system, and well being of the community and its individuals, and explores the many opportunities and experiences available to visiting artists and musicians in rural areas. It also discusses key issues and approaches when creating arts programs, events, and organizations in rural areas. Interviews with rural residents, artists and musicians, and arts advocates, along with the author’s personal experiences and observations provide unique insight into arts advocacy in rural areas, and why it is important.
ContributorsOff, Sarah Nicole (Author) / Jiang, Danwen (Thesis advisor) / Schmidt, Margaret (Thesis advisor) / Rockmaker, Jody (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2017
Description
Korean composer Youngmin Jin (b. 1959) has composed in a wide variety of genres, including works for solo instruments, chamber music ensembles, orchestra, and opera. Jin has written only five solo piano pieces. This paper discusses three of these works for solo piano: Tschum für Klavier (1998), From Childhood for Piano (2014), and A Little Talk for Piano (2016-2017). Prior to the description of these pieces, the document provides a biography of the composer and introduces his compositional features through examples from his music for other genres. Jin has a flexible approach to tonal organization, which he calls SinJoseong. In certain works he employs such Korean elements as pentatonicism, ornamentation, and distinctive Korean rhythms, incorporating them into his music in Western forms and idioms. Jin's later style tends toward clarity and the use of basic elements, a trend that is evident in the two later piano works discussed here, in particular in their formal structures and their sharing and transforming of motives.
The examination of the content and features of these three piano pieces by Youngmin Jin is augmented by information gained through interviews with the composer. A link to my recording of these works is provided in support of the discussion.
ContributorsLee, Eunhwa (Author) / Holbrook, Amy (Thesis advisor) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2022
Description
This research will explore the compositional approaches of Henry Cowell and John Cage to reveal piano techniques for the practice and performance of selected works. The discussion will focus on Henry Cowell’s Three Irish Legends and Six Ings, as well as John Cage’s The Perilous Night. An important contribution of Cowell was to further the use of tone clusters, applied in his Three Irish Legends by playing directly with the forearm, fists, and palm. Cowell’s Six Ings employ rhythmic experimentation, particularly in the first, second, and sixth pieces. He also uses tone color to portray specific programmatic features. John Cage greatly advanced the prepared piano from its earliest beginnings, as evidenced significantly in The Perilous Night. The present study will include advice on piano preparation, along with performance challenges and solutions.
ContributorsLiu, Xuan (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2020
Description
The practice strategies that musicians employ can be made more effective by leveraging existing research about memory and learning. Musicians often use strategies that feel intuitive, such as massed practice and rote repetition, but that research has proven ineffective. When they do employ strategies that are effective, such as varied practice and chunking, they often do not understand the reasons why they are effective and therefore cannot use the principles behind effective learning to generate new approaches when faced with an unfamiliar challenge or learning plateau. In this paper, I propose that, through developing knowledge of the research surrounding learning and memory, musicians can acquire insight into the learning process and develop the ability to self-generate effective practice strategies that address issues specific to their own practice. As a result, they can avoid common learning pitfalls and gain greater confidence in their ability to approach learning complicated skills and taking on big projects. This paper examines and distills recent research of effective learning into an in-depth and practical document for use by musicians. Additionally, this document interprets and applies existing research-based learning strategies—such as retrieval practice, spaced repetition, varied practice, interleaved practice, and chunking—to musical practice through the lens of contemporary percussion repertoire. Readers of this work will develop an in-depth understanding of memory and learning and be able to apply that information practically and immediately in their own practice.
ContributorsKirk, Anthony (Author) / Compitello, Michael (Thesis advisor) / Campbell, Andrew (Committee member) / Bolanos, Gabriel (Committee member) / Arizona State University (Publisher)
Created2024