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: Arranging
- All Subjects: Piano music--Analysis, appreciation.
- Genre: Scores
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.
ContributorsLanier, William Hudson (Author) / Koonce, Frank (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
Biblical references play an important role in traditional programmatic music. Composers such as Kuhnau, Haydn, Liszt, Messiaen, and Bolcom produced considerable amounts of piano repertoire with biblical allusions: Musical Presentations of Some Biblical Stories in 6 Sonatas (1700) by Kuhnau, The Seven Last Words from Our Saviour on the Cross (1787) by Haydn, The Way of Cross (1878-1879) by Liszt, Twenty Contemplations on the Infant Jesus (1944) by Messiaen, and The Garden of Eden: Four Rags for Piano (1969) by Bolcom. The twentieth century American composers William Bergsma and Louis Weingarden participated in this tradition by producing piano pieces that contain direct biblical quotations. These works, which have received little attention, include two movements from Tangents (1951) by Bergsma and Triptych: Three Pieces for Piano (1969) by Weingarden.
This paper provides a comprehensive analysis of these piano works, considering structural, rhythmic, harmonic, and melodic elements. In particular, the paper examines Bergsma and Weingarden’s work through the technique of word painting in order to illuminate the relationship between the biblical text and music. Key findings include that Bergsma’s Tangents contains dissonant harmonies and irregular rhythms to reflect the agony of people on the biblical Judgement day, while the use of tonality reflects God’s love in other parts. Similarly, Weingarden uses an illustrative style of word painting in Triptych to closely reflect this biblical narrative and scene through the combination of some twelve-tone techniques with chromaticism. These works present a high degree of pianistic and musical elaboration that incorporates twentieth-century compositional techniques, and this paper argues that they merit more attention for recitals by college-level and professional pianists. This paper begins with an introduction which provides the methodological approach used in the paper and a biography of each composer. It then progresses to an analysis of Bergsma’s Tangents, followed by an analysis of Weingarden’s Triptych.
This paper provides a comprehensive analysis of these piano works, considering structural, rhythmic, harmonic, and melodic elements. In particular, the paper examines Bergsma and Weingarden’s work through the technique of word painting in order to illuminate the relationship between the biblical text and music. Key findings include that Bergsma’s Tangents contains dissonant harmonies and irregular rhythms to reflect the agony of people on the biblical Judgement day, while the use of tonality reflects God’s love in other parts. Similarly, Weingarden uses an illustrative style of word painting in Triptych to closely reflect this biblical narrative and scene through the combination of some twelve-tone techniques with chromaticism. These works present a high degree of pianistic and musical elaboration that incorporates twentieth-century compositional techniques, and this paper argues that they merit more attention for recitals by college-level and professional pianists. This paper begins with an introduction which provides the methodological approach used in the paper and a biography of each composer. It then progresses to an analysis of Bergsma’s Tangents, followed by an analysis of Weingarden’s Triptych.
ContributorsHwang, John Yoontae (Author) / Meir, Baruch (Thesis advisor) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
This is a solo guitar transcription of the first five movements, known as the "Joyous Mysteries," of the Mystery Sonatas by Heinrich Ignaz Franz von Biber, accompanied by a history of the sonata collection, an analysis of the process of translating a Baroque solo sonata to the guitar, and a guide for performance. The work was chosen because of its significance and popularity within violin repertoire, and the suitability of the solo sonata genre for performance on a guitar. The first section of this project addresses the history and appeal of Biber and the Mystery Sonatas. It is supplemented by a brief survey of guitar transcriptions of Biber's compositions, and the value of the present edition in modern guitar literature. The second section explores the process and challenges of arranging the Mystery Sonatas for solo guitar, followed by a summation of the general allowances and limitations the genre offers to arrangers. The third section focuses on performance practice issues encountered in adapting this series and other Baroque solo sonatas to the guitar. The project concludes with the arrangement, complemented with the original violin and continuo parts for comparison.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
ContributorsLake, Brendan (Author) / Koonce, Frank (Thesis advisor) / Oldani, Robert W. (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2014