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 1 - 8 of 8
Filtering by
- Creators: Campbell, Andrew
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 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
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
While Aleksandr Borodin enjoyed a varied career as a composer, he was a chemist by profession and made his living as such. Although his focus was primarily on academic life as a chemistry professor, his musical style still managed to evolve in remarkable ways: from a more Western-European style to the style of Russian nationalism of the late 19th century. While Borodin did compose early chamber works featuring the piano, during this stylistic shift, his chamber music output notably excluded the piano, as he switched his focus to string quartets. Additionally, he dedicated many of these later years to producing large-scale symphonic works and the opera Prince Igor. The purpose of this project is to address a lost opportunity: There is sadly no chamber music in Borodin’s mature style that features the piano. His masterpiece, Prince Igor, is the work of a mature composer, and Konchakovna’s Cavatina from the opera’s second act was chosen to serve as the basis for an arrangement for traditional piano trio: violin, cello, and piano. This aria for contralto is rare in that the themes and orchestration all are attributed to Borodin, while much of the rest of the opera was completed by other composers of the time.
I have created two arrangements of this scene: a literal transcription that maintains the integrity of the original composition, in which the vocal line of the aria is given primarily to the violin, while the orchestral parts are divided between the cello and the piano, and a second arrangement that alters much of the piece for compositional variety, in the spirit of other arrangers such as Franz Liszt or Jascha Heifetz. In the second version, there are creative interpolations, countermelodies, harmonies, and new figuration to fully utilize the qualities of a piano trio. This paper explains the methods used in the creation of these arrangements, accompanied by examples from the score, and can serve as a model for other musicians who wish to create their own arrangements of pre-existing musical materials.
ContributorsArch, Nathan (Author) / Campbell, Andrew (Thesis advisor) / Rockmaker, Jody (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2023
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
The purpose of this document is to create a template for a master’s degree in Collaborative Piano using data collected from an online survey and from publicly available information on institutional websites. The history and development of the graduate collaborative piano degree in the United States is examined to provide the background to this research. In addition to the degree template, other aspects useful for the creation of such a degree are discussed, including proposed required and optional courses, financial considerations, community outreach opportunities, and balancing off-campus professional engagements with on-campus academic duties. A list of all institutions currently offering collaborative piano degrees at the graduate level is included in the appendix.
The degree template conforms to the requirements of the National Association of Schools of Music (NASM) in order to allow the greatest number of institutions the ability to embrace the curriculum. Designed to be flexible within the overall requirements of the degree, the proposed curriculum favors a balanced approach between instrumental and vocal collaboration, with a combination of traditional courses, project-based courses, and customizable elective courses designed to develop important competencies in collaborative piano. Both solo and collaborative applied lessons would be required, with three coached collaborative recitals and one uncoached collaborative recital required to fulfill the degree requirements. The project-oriented Collaborative Piano Seminar course has the flexibility to allow team teaching or community partnerships and requires an off-campus class performance once per academic year.
The goal of this template is to provide a pedagogically solid foundation for a master’s degree in collaborative piano, with the flexibility to add a variety of elective courses best suited to the needs and talents of the students, faculty, and institution. The synthesis of classical and popular styles within the curriculum is designed to give the collaborative pianist diverse musical competencies in order to succeed and thrive as a professional musician in the 21st century, whether the student continues with self-education after the master’s degree, pursues further study at the doctoral level, or enters the professional world.
The degree template conforms to the requirements of the National Association of Schools of Music (NASM) in order to allow the greatest number of institutions the ability to embrace the curriculum. Designed to be flexible within the overall requirements of the degree, the proposed curriculum favors a balanced approach between instrumental and vocal collaboration, with a combination of traditional courses, project-based courses, and customizable elective courses designed to develop important competencies in collaborative piano. Both solo and collaborative applied lessons would be required, with three coached collaborative recitals and one uncoached collaborative recital required to fulfill the degree requirements. The project-oriented Collaborative Piano Seminar course has the flexibility to allow team teaching or community partnerships and requires an off-campus class performance once per academic year.
The goal of this template is to provide a pedagogically solid foundation for a master’s degree in collaborative piano, with the flexibility to add a variety of elective courses best suited to the needs and talents of the students, faculty, and institution. The synthesis of classical and popular styles within the curriculum is designed to give the collaborative pianist diverse musical competencies in order to succeed and thrive as a professional musician in the 21st century, whether the student continues with self-education after the master’s degree, pursues further study at the doctoral level, or enters the professional world.
ContributorsFincher, Aimee Elisabeth (Author) / Campbell, Andrew (Thesis advisor) / Rockmaker, Jody (Committee member) / Ryan, Russell (Committee member) / Schildkret, David (Committee member) / Yeo, Douglas (Committee member) / Arizona State University (Publisher)
Created2020
Description
This research will explore the compositional approaches of Henry Cowell and John Cage to reveal piano techniques for the practice and performance of selected works. The discussion will focus on Henry Cowell’s Three Irish Legends and Six Ings, as well as John Cage’s The Perilous Night. An important contribution of Cowell was to further the use of tone clusters, applied in his Three Irish Legends by playing directly with the forearm, fists, and palm. Cowell’s Six Ings employ rhythmic experimentation, particularly in the first, second, and sixth pieces. He also uses tone color to portray specific programmatic features. John Cage greatly advanced the prepared piano from its earliest beginnings, as evidenced significantly in The Perilous Night. The present study will include advice on piano preparation, along with performance challenges and solutions.
ContributorsLiu, Xuan (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2020
Description
ABSTRACT
"The Soul Unto Itself," a chamber music song cycle, was commissioned by the author, Rosa LoGiudice, and composed by William Clay, a doctoral candidate in composition at Arizona State University. The cycle was conceived and composed in the summer and fall of 2019. The chamber ensemble was a sextet comprised of Megan Law, mezzo-soprano, Kristi Hanno, clarinet, Emilio Vazquez, violin, Rittika Gambhir, bassoon, Nathaniel De la Cruz, double bass, and Rosa LoGiudice, piano, all based in Tempe, Arizona. The song cycle was premiered in a lecture recital on December 8, 2019 at Hammer and Strings Conservatory in Gilbert, AZ.
"The Soul Unto Itself" is a cycle of six songs based on poems of Emily Dickinson. The poems all have common themes of personal transformation achieved through the introspective observations of the poet. An unusual chamber ensemble was chosen to include instruments not commonly used in vocal chamber music in order to create a greater variety of musical colors and timbres. This project included the creation of the musical score, a live performance that was video recorded, and the research paper. This document discusses the process of working with the composer, rehearsing the music as it was being composed, and negotiating revisions necessary to make the music more effective in performance. Each song is discussed in detail, especially the connection between the music and poetry, the overall form of the song, revisions discussed and implemented, and important motivic relationships between the songs that unify the cycle. In summary, the process of collaborating with a composer is a rewarding experience for both the performers and the composer, as everyone is challenged to improve their craft and overcome obstacles to achieve a successful performance.
"The Soul Unto Itself," a chamber music song cycle, was commissioned by the author, Rosa LoGiudice, and composed by William Clay, a doctoral candidate in composition at Arizona State University. The cycle was conceived and composed in the summer and fall of 2019. The chamber ensemble was a sextet comprised of Megan Law, mezzo-soprano, Kristi Hanno, clarinet, Emilio Vazquez, violin, Rittika Gambhir, bassoon, Nathaniel De la Cruz, double bass, and Rosa LoGiudice, piano, all based in Tempe, Arizona. The song cycle was premiered in a lecture recital on December 8, 2019 at Hammer and Strings Conservatory in Gilbert, AZ.
"The Soul Unto Itself" is a cycle of six songs based on poems of Emily Dickinson. The poems all have common themes of personal transformation achieved through the introspective observations of the poet. An unusual chamber ensemble was chosen to include instruments not commonly used in vocal chamber music in order to create a greater variety of musical colors and timbres. This project included the creation of the musical score, a live performance that was video recorded, and the research paper. This document discusses the process of working with the composer, rehearsing the music as it was being composed, and negotiating revisions necessary to make the music more effective in performance. Each song is discussed in detail, especially the connection between the music and poetry, the overall form of the song, revisions discussed and implemented, and important motivic relationships between the songs that unify the cycle. In summary, the process of collaborating with a composer is a rewarding experience for both the performers and the composer, as everyone is challenged to improve their craft and overcome obstacles to achieve a successful performance.
ContributorsLoGiudice, Rosa Mia (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2020