ETDs

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 - 2 of 2
Filtering by

Clear all filters

150294-Thumbnail Image.png

Three early twentieth century tango songs arranged for brass quintet

Description
Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango…

Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango songs are presented here: "Elegante Papirusa" by Tito Roccatagliata, "A La Gran Muñeca" by Jesús Ventura, and "La Cotorrita" by Samuel Castriota. The arrangements follow the style of three early recordings produced by The Victor Talking Machine in 1920 and 1922, as performed by two authentic Argentine orquesta típicas: Orquesta Típica Select and Orquesta Típica Fresedo. A brief history of the style and instrumental evolution of tango music from its influences and origins up until 1920 is discussed, followed by a detailed account of the musicians and circumstances involved in the three early recordings. An explanation of the issues encountered by the author in adapting the early tango style to the brass quintet setting is discussed, along with the solutions realized in order to make the project successful and practical for a moderately advanced brass quintet. The full brass quintet scores are provided as part of the Appendix.
ContributorsCamacho, Gustavo (Musician) (Author) / Ericson, John Q (Thesis advisor) / Pilafian, Samuel (Committee member) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2011
151259-Thumbnail Image.png

Female Greek virtue in the House of Atreus: daughters of Agamemnon as depicted in Handel's Oreste, Gluck's Iphigénie en Tauride, and Strauss's Elektra

Description
This doctoral project involves a multi-disciplined analysis concerning Agamemnon's daughters (Iphigenia, Electra, and Chrysothemis) and how these women's gender and virtues were depicted as compared with ideal Greek women in antiquity. Three composers in three different eras adapted the literary and musical depictions of these women based on the composer's…

This doctoral project involves a multi-disciplined analysis concerning Agamemnon's daughters (Iphigenia, Electra, and Chrysothemis) and how these women's gender and virtues were depicted as compared with ideal Greek women in antiquity. Three composers in three different eras adapted the literary and musical depictions of these women based on the composer's society, culture, audience expectations, musical climate and personal goals. George Friedrich Handel's Oreste (1734), Christoph Willibald von Gluck's Iphigénie en Tauride (1779) and Richard Strauss's Elektra (1909) are the main operas used for this analysis. The Mycenaean House of Atreus, a dynasty which the ancient Greeks traced back to the time of the Trojan War in the 12th century BCE, figures prominently in Greek mythology and ancient Greek literature concerning the Trojan War. The House of Atreus included Agamemnon, King of Mycenae and commander of the Greeks at Troy, his wife Clytaemnestra, their son Orestes, and their daughters: Iphigenia, Electra, and Chrysothemis. For over three thousand years, the legend of this ancient family has inspired musical scores, plays, poetry, architecture, sculpture, paintings, and movies. Numerous studies examine the varying interpretations of the House of Atreus myths; few, if any, address the ways in which female Greek virtues are depicted operatically within the myths. In the music of Handel's Oreste, Gluck's Iphigénie en Tauride and Strauss's Elektra, Agamemnon's daughters contradict the ideal Greek woman while still exhibiting heroic or idealistic virtues. The analysis of the operas in their social contexts will address the audience expectations and composers' dramatic interpretations of the myth. This analysis will include: a brief overview of ancient Greek culture and gender roles; a literary comparison of the original dramas to the librettos; societal audience expectations in their historical contexts; musical, philosophical, and literary influences on the composers; and an examination of music composed in two different centuries and in three different styles. The brief historical, cultural, literary, and musical analyses highlight the absence and presence of ancient Greek virtues, and how these women can be presented both as heroic, or virtuous, and unvirtuous in the same production.
ContributorsRocklein, Robyn Michele (Author) / FitzPatrick, Carole (Thesis advisor) / Campbell, Andrew (Committee member) / Dreyfoos, Dale (Committee member) / Mills, Robert (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012