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.
Displaying 21 - 30 of 35
Description
Aspiring opera singers receive training in many different areas including vocal technique, acting, foreign languages, and role preparation to help them prepare for the demands of the standard operatic repertoire. Many of the operatic roles within the standard repertoire are too demanding in their entirety for young singers who are still developing physically and intellectually. Vocal health is a great concern for young voice students and their teachers. An operatic role which demands more stamina or control than a student is currently capable of executing in a healthy way can result in vocal trauma. To avoid assigning repertoire to students which may push their limits, many undergraduate vocal students are not given the opportunity to perform an operatic role in its entirety until after they have graduated.
Pauline Viardot’s operetta Cendrillon provides a solution to the often difficult task of giving experience to young singers without causing them potential harm. The knowledge Viardot gained by having a career both as an opera singer and a voice teacher resulted in a composition which contains full operatic roles that many young singers could capably perform. Viardot was sensitive to the issues that many young singers face, and as a result, she created an operetta which voice faculty can feel comfortable assigning to their students. In order to understand the demands of Cendrillon on young opera singers, this project included a performance of the piece with undergraduate voice students, many of whom had never been in an opera before. Through this process and a comparison of Cendrillon with some of the repertoire these singers will encounter later in their careers, it is clear that Viardot’s insightful compositional style provided a smooth transition for these relatively inexperienced students.
Pauline Viardot’s operetta Cendrillon provides a solution to the often difficult task of giving experience to young singers without causing them potential harm. The knowledge Viardot gained by having a career both as an opera singer and a voice teacher resulted in a composition which contains full operatic roles that many young singers could capably perform. Viardot was sensitive to the issues that many young singers face, and as a result, she created an operetta which voice faculty can feel comfortable assigning to their students. In order to understand the demands of Cendrillon on young opera singers, this project included a performance of the piece with undergraduate voice students, many of whom had never been in an opera before. Through this process and a comparison of Cendrillon with some of the repertoire these singers will encounter later in their careers, it is clear that Viardot’s insightful compositional style provided a smooth transition for these relatively inexperienced students.
ContributorsBerman, Lauren Rebecca (Author) / FitzPatrick, Carole (Thesis advisor) / Campbell, Andrew (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2017
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 research paper creates a modern score transcription of selected choral works by composer Alexander Chesnokov. The life and works of Alexander Chesnokov are almost completely unknown in the United States. A collection of his works is housed in the New York Public Library (NYPL). Selected transcripts from this collection provide insight into the works and style of Alexander Chesnokov. They may also serve as a study guide and point for further research and explorations into the life and compositions of this Russian composer. The sets of transcriptions within this paper were created from a microfilm copy from the NYPL's archival holdings. This study comprises transcriptions of selected scores, a discussion of errors and editorial choices, text translations, and a brief history of choral performance and style during pre-revolutionary Russia, the time period during which this composer lived and wrote.
ContributorsSmolnik, Carric (Author) / Gentry, Gregory (Thesis advisor) / Reber, William (Committee member) / Rockmaker, Jody (Committee member) / Campbell, Andrew (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2011
Description
Yuko Uébayashi is a composer who was born in Japan and presently resides in France. She composed Misericordia for Flute and String Quartet for Carol Wincenc in 2013. The National Flute Association (NFA), the most active flute society in America, hosted the Misericordia performance during its annual convention in Chicago in 2014. Uébayashi’s flute works have not only been frequently performed at NFA conventions, but also at other well-known flute festivals since 2006, the year of her U.S. debut. Many current flutists are motivated to learn and play her compositions; however, there is little published literature about her works. Understanding her unique compositional style and obtaining a better knowledge of her music and compositional practices will help flutists and other musicians better perform and enjoy her music. With a performance guide and a detailed discussion of Misericordia, flutists and other musicians will understand why Uébayashi’s music is unique and why it is increasingly well-loved by so many players. This research paper will explore Uébayashi’s life, musical friendships, and most specifically, Misericordia.
ContributorsHam, Na Young (Author) / Buck, Elizabeth (Thesis advisor) / Campbell, Andrew (Committee member) / Feisst, Sabine (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2019
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
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
Contemporary Chinese composers have a rich palette from which to draw inspirations of the distinctive timbres of ancient instruments, the diverse musical types, and the development of musical instruments. Zhou Long, an internationally recognized Chinese-American composer, has created a compositional style that transfers the sounds and techniques of ancient Chinese musical traditions to modern Western instruments. An examination of Zhou Long’s compositions Secluded Orchid and Spirit of Chimes demonstrates his synthesis of Chinese and Western techniques as well as cross-cultural integration. To gain a better understanding of the compositional process of these two piano trios, the author conducted a personal interview with Zhou Long on October 21, 2016, during which he provided unique insight into the influences and inspirations of these pieces. This document describes how the history of ancient Chinese music, the Chinese Cultural Revolution, as well as Zhou Long’s life and education, influenced Seclude Orchid and Spirit of Chimes. The inspirations, formal structures, harmonic language, and compositional techniques that are presented in these works are also discussed. Finally, other repertoires of Zhou Long that share similar ideas or inspirations are explored.
ContributorsLi, Xiaolin (Author) / Jiang, Danwen (Thesis advisor) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Swartz, Jonathan (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 document focuses on rarely performed piano transcriptions. A total of 28 works are discussed. These works have high artistic value and should not be forgotten by pianists. Most of the transcribers are renowned pianists, such as Harold Bauer and Alfred Cortot, or composers themselves. Unfortunately, these works are seldom played in today's public concerts, or on online resources such as YouTube, Vimeo, or iTunes. Some people may think these works are neglected because the scores are hard to find, but they can be easily obtained online. Pianists around the world can access these scores in just a few minutes via the Internet.
In this research document, I discuss the transcriptions one by one. First, I introduce the background of the pieces, the composers, and the transcribers. Then, through comparison of the original pieces with the transcribed ones, I discuss the approaches of transcription and highlight the special features of each work. Finally, I recommend the concert occasions appropriate for the transcriptions based on their characteristics. I offer many musical examples from the works discussed. These excerpts should help the pianist to understand the style and technical difficulty, as well as to decide if the work meets their programming needs.
In this research document, I discuss the transcriptions one by one. First, I introduce the background of the pieces, the composers, and the transcribers. Then, through comparison of the original pieces with the transcribed ones, I discuss the approaches of transcription and highlight the special features of each work. Finally, I recommend the concert occasions appropriate for the transcriptions based on their characteristics. I offer many musical examples from the works discussed. These excerpts should help the pianist to understand the style and technical difficulty, as well as to decide if the work meets their programming needs.
ContributorsHuang, Kuang-Li (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Hamilton, Robert (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT
As a composer, Chou Wen-Chung (1923-2019) was a learner and inheritor of Chinese traditional music culture and was committed to carrying it forward. As a native of China who had his primary musical training in the West, Chou Wen-Chung was one of the first Chinese composers to make his mark on Western music. He successfully combined Western elements and Chinese tradition in his music. Chou Wen-Chung was one of the few prominent East Asian composers known in the Western musical world, and his music therefore has had a strong influence on other Chinese composers.
In order to understand more clearly his music, I analyzed his chamber work: Yü Ko. This piece was composed in 1965 for 9 instruments: Violin, Alto Flute, English Horn, Bass Clarinet, 2 Trombones, 2 Percussion and Piano. Inspired by the ancient Chinese musical instrument the Qin (also called guqin, or “ancient qin”), which is a plucked seven-string instrument, Chou Wen-Chung composed Yü Ko. Literally meaning “fisherman’s song,” this work was composed originally for the Qin, based on a melody composed by Mao Min-Zhong who was a very noted scholar and Qin player of the late Southern Song dynasty (C.E.1127-1276).
This paper provides Chou Wen-Chung’s biography, compositional styles and developments. It lists and explains the most common Chinese traditional cultural elements which he used in his compositions. In particular, it introduces the Qin in detail from the external structure, performance techniques, sound characteristics, the tablature notation, and compositional methods.
This document also includes a detailed analysis of Yü Ko in terms of the orchestration, pitch, tonal material, structure and tempo, dynamic and musical materials, and explains Chou Wen-Chung’s imitation of the Qin as well as the influence of Western music shown in this piece.
As a composer, Chou Wen-Chung (1923-2019) was a learner and inheritor of Chinese traditional music culture and was committed to carrying it forward. As a native of China who had his primary musical training in the West, Chou Wen-Chung was one of the first Chinese composers to make his mark on Western music. He successfully combined Western elements and Chinese tradition in his music. Chou Wen-Chung was one of the few prominent East Asian composers known in the Western musical world, and his music therefore has had a strong influence on other Chinese composers.
In order to understand more clearly his music, I analyzed his chamber work: Yü Ko. This piece was composed in 1965 for 9 instruments: Violin, Alto Flute, English Horn, Bass Clarinet, 2 Trombones, 2 Percussion and Piano. Inspired by the ancient Chinese musical instrument the Qin (also called guqin, or “ancient qin”), which is a plucked seven-string instrument, Chou Wen-Chung composed Yü Ko. Literally meaning “fisherman’s song,” this work was composed originally for the Qin, based on a melody composed by Mao Min-Zhong who was a very noted scholar and Qin player of the late Southern Song dynasty (C.E.1127-1276).
This paper provides Chou Wen-Chung’s biography, compositional styles and developments. It lists and explains the most common Chinese traditional cultural elements which he used in his compositions. In particular, it introduces the Qin in detail from the external structure, performance techniques, sound characteristics, the tablature notation, and compositional methods.
This document also includes a detailed analysis of Yü Ko in terms of the orchestration, pitch, tonal material, structure and tempo, dynamic and musical materials, and explains Chou Wen-Chung’s imitation of the Qin as well as the influence of Western music shown in this piece.
ContributorsSong, Yiqian (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2020