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: Feisst, Sabine
Description
The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them separately in a music studio, then mixed them together into one recording. This document focuses on the critical investigation and description of the piece with a brief theoretical analysis, a discussion of performance difficulties, and guitar preparation. The composer approved the use and the scope of this project. Bryan Johanson is one of the leading contemporary composers for the guitar today. 13 Ways of Looking at 12 Strings is a unique guitar dictionary that takes us from Bach to Hendrix and highlights the unique capabilities of the instrument. It utilizes encoded messages, glass slides, metal mutes, explosive "riffs," rhythmic propulsion, improvisation, percussion, fugual writing, and much more. It has a great potential to make the classical guitar attractive to wider audiences, not limited only to guitarists and musicians. The main resources employed in researching this document are existing recordings of Johanson's other compositions and documentation of his personal views and ideas. This written document uses the composer's prolific and eclectic compositional output in order to draw conclusions and trace motifs. This project is a significant and original contribution in expanding the guitar's repertoire, and it uniquely contributes to bringing forth a significant piece of music.
ContributorsSavic, Nenad (Author) / Koonce, Frank (Thesis advisor) / Rotaru, Catalin (Committee member) / McLin, Katherine (Committee member) / Feisst, Sabine (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
Description
According to the profile of the World Directory of Minorities and Indigenous Peoples, the Philippines consists over a hundred ethnolinguistic groups, twenty-seven of which were direct descendants of prehistoric settlers in the country. As a nation of diverse indigenous cultures, multiple precolonial rituals are practiced even after four centuries of Western occupation. Beside strong oral and written traditions, Filipino contemporary music contributed to the preservation of these indigenous societies. Filipino composers in the second half of the twentieth century and beyond were able to incorporate native musical concepts with Western compositional language, thereby producing a new style of contemporary music unique to the Philippines. This development did not only bring greater awareness of indigenous music to city-dwelling Filipinos, but also to the larger Western music community. While newer works from Western classical composers are performed frequently today, pieces for violin by contemporary Filipino composers are largely unknown. In this research paper the author aims to bring understanding of and visibility to Filipino contemporary music to the Western violin community through an in-depth analysis of two representative works for solo violin: Abot-Tanaw II (1984) by Filipino National Artist of Music Dr. Ramon Santos, and Darangun (1985) by award-winning composer Conrado Del Rosario.
The research paper will first explore a brief history of the Philippines and its relationship with Western classical music, from precolonial times to the twenty-first century. The succeeding chapters will be devoted to the in-depth study of the two solo violin works. After providing a biography of each composer, I will present the backgrounds and contexts of their respective works. Finally, the present author will provide thorough structural analyses of these pieces and interpretative suggestions to serve as a general performance guide for interested violinists. To gather substantial data for these chapters, the author collaborated with the composers through virtual personal interviews and electronic communication.
This research paper culminated in a lecture recital performed by the author on October 21, 2021 in Katzin Hall of the School of Music, Dance and Theater at Arizona State University, Tempe, Arizona.
ContributorsSoberano, Ramon Alfonso Cobangbang (Author) / Jiang, Danwen (Thesis advisor) / Feisst, Sabine (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2021
Description
In 1568, Vincenzo Galilei published the first edition of Fronimo as a guide to the art of intabulating vocal music for the lute. A second edition was released in 1584 in which Galilei presents “26 Ricercari” to demonstrate the sound of each Glarean mode. These short works provide a methodical approach to experiencing the Renaissance modes through his beautiful writing for the lute.
This research project focuses on the “26 Ricercari” and explores the challenges of transcribing and arranging Renaissance lute tablatures to be played on the guitar. Topics such as making decisions for voicings, fingerings, tactus reductions, and formatting are examined. Historically-informed playing suggestions such as articulations, lute techniques, and tempo are also included.
Many lute and vihuela works, like the ricercari, have not yet been transcribed. The ricerari tablatures are idiomatic and instantly playable for guitarists who are familiar with different forms of tablature, but most classical guitarists today are familiar only with modern staff notation. Because of this, Galilei’s works have been wrongfully neglected.
My project presents the first guitar edition of these works, along with the documentation of my methodology, and serves as an aid to others for transcribing lute tablatures.
This research project focuses on the “26 Ricercari” and explores the challenges of transcribing and arranging Renaissance lute tablatures to be played on the guitar. Topics such as making decisions for voicings, fingerings, tactus reductions, and formatting are examined. Historically-informed playing suggestions such as articulations, lute techniques, and tempo are also included.
Many lute and vihuela works, like the ricercari, have not yet been transcribed. The ricerari tablatures are idiomatic and instantly playable for guitarists who are familiar with different forms of tablature, but most classical guitarists today are familiar only with modern staff notation. Because of this, Galilei’s works have been wrongfully neglected.
My project presents the first guitar edition of these works, along with the documentation of my methodology, and serves as an aid to others for transcribing lute tablatures.
ContributorsOeth, John (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2020