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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- Creators: Bolanos, Gabriel
Description
The Serenade (after Plato’s “Symposium”) was composed by American composer, Leonard Bernstein (1918-1990) in 1954. The instrumentation of this piece is for solo violin, string orchestra, harp, and percussion, and the only existing piano reduction was arranged by the composer himself. Musical expression markings are exceptionally crucial in Bernstein’s music because these markings can indicate the complexity of the rhythmic patterns, grouping of notes, and musical textures more directly to the performers. This piano reduction has many unplayable and awkward passages due to the technical challenges and oversized chords. Additionally, it is missing some of the musical expression markings such as breath marks and slurs from the full score. It also does not have any instrumentation markings which leads to the fact, the piano, at times, may have difficulties imitating the orchestra.My aim for the newer piano reduction is to make it sound more acoustically similar to an orchestra by adding missing musical components and also modifying the technically challenging passages to be more comfortable to play. My paper demonstrates the process in creating the new piano reduction while explaining the modifications and selections of the voices. Many approaches I used in this project are also applicable to other orchestra reductions. This Serenade is a wonderful piece for both violinists and pianists, I hope my revised piano reduction could benefit more performers in the future. A complete piano reduction will be in the appendix.
ContributorsGuo, Hongzuo (Author) / Ryan, Russell (Thesis advisor) / Bolanos, Gabriel (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2022
Description
Pacific Suite (2016) is a four-movement work for solo piano composed by the author of this paper, Holly Kordahl, that incorporates elements of several musical idioms, including Impressionism, tintinnabuli (as in the music of Arvo Pärt), post-modernism, minimalism and improvisation. This Doctorate of Musical Arts project consists of a descriptive paper, analysis, score and recording. The piece features varying levels of performer independence and improvisation along with notated music. Each movement is named after a different environment of the Pacific Ocean: Great Barrier Reef, Mariana Trench, Sunlit Zone, and Bikini Atoll.
Pacific Suite is engaging to mature pianists and accessible to students. The score of Pacific Suite is a blank canvas in some ways; almost all dynamics, tempi, pedaling, and fingerings are to be determined by the performer. The first movement, Great Barrier Reef, presents different musical vignettes. The second movement, Mariana Trench, requires the performer to improvise extensively while following provided instructions. The third movement, Sunlit Zone, asks the performer to improvise on a theme of Debussy. The final movement, Bikini Atoll, illustrates events of nuclear testing at Bikini Atoll in the 1940s.
Pacific Suite is engaging to mature pianists and accessible to students. The score of Pacific Suite is a blank canvas in some ways; almost all dynamics, tempi, pedaling, and fingerings are to be determined by the performer. The first movement, Great Barrier Reef, presents different musical vignettes. The second movement, Mariana Trench, requires the performer to improvise extensively while following provided instructions. The third movement, Sunlit Zone, asks the performer to improvise on a theme of Debussy. The final movement, Bikini Atoll, illustrates events of nuclear testing at Bikini Atoll in the 1940s.
ContributorsKordahl, Holly (Author) / Meir, Baruch (Thesis advisor) / Bolanos, Gabriel (Committee member) / Campbell, Andrew (Committee member) / Hamilton, Robert (Committee member) / Ryan, Russell (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