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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- Genre: Doctoral Dissertation
- Creators: Shen, Wei
- Creators: Swoboda, Deanna
This paper presents evidence that before Hampel, hand horn was in use and called for by composers. Because of the number of works for horn he generated before and during Hampel's life, Telemann's pieces provide powerful insight into the use of Baroque horn. Musical examples originate from passages in Telemann's works where the horn performs in a solo capacity and the music requires the performer to produce pitches outside the harmonic series. By necessity, the performer must use either the hand or bend the note with the embouchure in order to produce the correct pitch with the hand being the logical choice. The paper also examines published interviews from horn pedagogues, history books, method books from the classical and baroque eras, baroque and hand horn design, as well as articles written by some of the world's foremost baroque and hand horn experts.
By indentifying the number of non harmonic series tones in Telemann's music, combined with the opinions of hand horn experts, this paper suggests that horn players during the Baroque era must have known about, and used, hand horn technique. This knowledge will influence performer's interpretation of baroque pieces by providing a more historically informed performance, clearer understanding of intonation, the variety of tone colors expected, and create a better understanding of the development of the horn from foxhunting to the concert hall.
Edouard Vuillermoz (1869-1939) was a horn player and teacher who studied and later taught at the Paris Conservatory during the early twentieth century. As did many of the professors from the Conservatory, Vuillermoz published works for the horn. Unfortunately, his name has largely faded into obscurity and most of his works are no longer in print, yet one has remained in the repertoire and is still available for purchase today—Dix Pièces Mélodiques. Published in 1927 by Alphonse-Leduc, Vuillermoz desired for his students a set of etudes that would teach mastery of transposition, but he was not a composer. The ten transposition exercises he created were selected and transcribed from a compilation of vocalises commissioned by a vocal professor at the Conservatory, Amédée-Louis Hettich (1856-1937).
Hettich desired vocalise-etudes that would able aid and inspire his students, so he commissioned over one-hundred-fifty vocalises by modern composers during the first half of the twentieth century. Composers including Bozza, Copland, Dukas, Fauré, Messiaen, Nielsen, Ravel, and Tomasi answered his call for works between 1906 and 1938. These modern vocalise-etudes have since disappeared from the vocal repertoire. Now, a century later, many of these studies have entered the public domain and are resurfacing as instrumental transcriptions and concert etudes. This study promotes awareness of Edouard Vuillermoz’s Dix Pièces Mélodiques and advocates for their inclusion in a modern revival.
This project introduced twenty-nine compositions into the wind band and string orchestra repertoire via a collaboration that engaged multiple constituencies. Students of wind and string instruments from Phoenix’s El Sistema-inspired Harmony Project and the Tijuana-based Niños de La Guadalupana Villa Del Campo worked together with students at Arizona State University and composers from Canada, Finland, and across the United States to learn and record concertos for novice-level soloists with intermediate-level accompaniment ensembles.
This project was influenced by the intergenerational ensembles common in Finnish music institutes. The author provides a document which includes a survey of the existing concerto repertoire for wind bands and previous intergenerational and multicultural studies in the field of music. The author then presents each of the mixed-ability concertos created and recorded in this project and offers biographical information on the composers. Finally, the author reflects upon qualitative surveys completed by the project’s participants.
Most the new concertos are available to the public. This music can be useful in the development and implementation of similar collaborations of musicians of all ages and abilities.
become a large part of the trumpet repertoire. His trumpet works are played at events
such as International Trumpet Guild conferences, have been featured with many well-known
orchestras and bands, and are standard recital works. Many of Turrin’s trumpet
works have been performed and recorded by well-established musicians, which include
Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas
Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom.
This study examines in detail each of Joseph Turrin’s twenty-four published
works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada,
Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits,
Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph
Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan,
and Thomas Hooten. A complete history of each composition and arrangement, and
information relating to their premieres are presented. Technical elements from the music
are discussed, such as range, articulation, melodic contour, endurance, and difficult
fingerings. Biographical information such as youth, education, and career about Turrin
are incorporated, along with a discussion of his compositional characteristics and
influences. In addition, a list of each work with an assigned difficulty grade, as well as a
current discography, is included.
本研究聚焦冷链物流产业园金融服务助力冷链物流企业发展问题,主要研究内容包括:第一,基于产融结合理论,梳理冷链物流企业与产业园之间关系,从供需两侧探索冷链物流企业和产业园的金融服务的范围、类型和特点。第二,基于平台理论,构建冷链物流企业采纳产业园金融服务的研究模型,探索金融服务影响冷链物流企业的经营因素,分析冷链物流企业采纳产业园金融服务的因素和途径。第三,基于信息不对称理论,关切信息技术支持和知识分享在冷链物流企业采纳产业园提供金融服务过程中的调节作用。同时,梳理产业园提供金融服务可能面临哪些风险,制订冷链物流企业入驻园区的标准,防范风险。
本文运用实证研究方法,通过对国内18家冷链物流相关的产业园、物流园、冷链物流、商贸流通、金融等企业实地考察和专家访谈基础上,拟定问卷并对268家企业进行调查收集数据,使用结构方程模型进行假设检验。研究发现:金融服务的有形性、可靠性、移情性、经济性对冷链物流企业采纳产业园金融服务影响显著,而响应性的影响不显著。同时
信息技术支持和知识共享的调节作用不显著。最后,针对产业园吸引冷链物流企业提供金融服务、冷链物流企业采纳产业园金融服务的风险,提出防范策略措施。