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: Rogers, Rodney
- Creators: Gelderen, Elly van
Description
This project covers the transcription of Three Suites for Cello, opp. 72, 80, and 87, by Benjamin Britten, for guitar. These suites were chosen because of the influence of Bach, which is seen in the texture of the pieces, and because they can be played on guitar with very few changes. Music for unaccompanied cello has a history of being transcribed for guitar, including the Bach cello suites, and is a means for guitarists to expand the repertoire. In addition to documenting the changes made in adapting these pieces for guitar, a brief biographical sketch of the composer and descriptions of each movement are included. Also explained are articulation symbols and terminologies that are uncommon in music written for the guitar, and suggestions on how to perform the multitude of ornaments Britten has written in the score.
ContributorsHigginbotham, Joseph Aaron (Author) / Koonce, Frank (Thesis advisor) / Aspnes, Lynne (Committee member) / Jiang, Danwen (Committee member) / Mclin, Katie (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
Every year hundreds of aspiring musicians audition for positions with professional orchestras throughout the United States. This study is designed to provide a comprehensive look at professional orchestral auditions for trumpet. While other resources rely on the single opinion of their author, this study gathers information from a broad range of sources to develop its conclusions. This project was completed in three phases. In the first phase, lists of excerpts from trumpet auditions were compiled. In the second phase, an online survey of musicians who have served on a trumpet audition committee was conducted. In the final phase, four principal trumpet players of major orchestras and one conductor were interviewed to look further into the criteria and procedures used in orchestral trumpet auditions. The results of this study can be grouped into four categories: the desired qualities sought in a trumpet audition, common mistakes and concerns for those taking auditions, common mistakes and concerns for audition committees, and a discussion of the top fifteen excerpts asked in auditions. The data from this study can be used to consider two different perspectives: what does an aspiring trumpet player need to do to win an audition? And also, what should a committee want to hear? Although there is a broad range of opinion when considering trumpet auditions, certain standards remain. Also, while most of those involved in this study agree that the audition process is among the fairest ways to determine the winner of a job with an orchestra, they also agree that significant changes to the process still need to be made. This is especially true with reference to the types of excerpts asked and the audition procedures used.
ContributorsHunsicker, John David (Author) / Hickman, David (Thesis advisor) / Hackbarth, Glenn (Committee member) / Hill, Gary (Committee member) / Pilafian, J. Samuel (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The organ is in a continued state of evolution, tonally and mechanically, designed by the builder to meet certain expectations related to the musical aesthetics of the time. Organ building in the United States has been influenced by both European organ building traditions and American innovations. During the early twentieth century, Ernest M. Skinner emerged as one of the greatest organ builders in America. Throughout his life, Skinner's quest was to create an "ideal organ," capable of playing a variety of music. Skinner's vision was rooted in the Romantic Movement and influenced by the dynamic gradations and rich, colorful sonorities of orchestral and operatic music of the era. A number of technological developments were applied to the design of the organ which made the romantic organ possible. The prominent European organ builders of the nineteenth century created organs that defined the romantic-style instrument in their respective countries. By the end of the century, American organ builders were creating their own versions. Skinner traveled to Europe to learn what he could from the foreign builders. Skinner built organs that synthesized European and American elements, along with his own innovations, as continuation of nineteenth-century trends that brought the romantic-symphonic organ to its fullest realization. Additionally, Skinner developed many new organ timbres, including a number of stops that imitate various orchestral instruments. The result of Skinner's creative work is the the American symphonic organ. This paper attempts to illustrate how the tonal designs of organs built by Walcker, Cavaillé-Coll, and Willis influenced the work of Skinner and the American symphonic organ. The work of each builder is discussed with descriptions of their designs. The designs and innovations of Skinner are examined as related to these European builders. A number of organ specifications are provided to supplement the information presented here. Today, American symphonic organs, particularly those built by Skinner, are revered for their warmth and charm and are inspiring the work of present day organ builders who are incorporating elements of this style into their own designs.
ContributorsGerber, James Theodore (Author) / Marshall, Kimberly (Thesis advisor) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Rogers, Rodney (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2012
Description
New works for the bass clarinet as a solo instrument are uncommon. In the interest of expanding the repertoire of the bass clarinet, three new works for bass clarinet were commissioned from three different composers, all with different instrumentations. The resulting works are Industrial Strength for bass clarinet and piano by Kenji Bunch; Dark Embers for two bass clarinets by Theresa Martin; and Shovelhead for bass clarinet and interactive electronics by Steven Snowden. Although all three works feature the bass clarinet, they are all very different and pose unique challenges to the performer. To accompany these pieces, and as an aid to future performers, a performance practice guide has been included with recommendations for individuals who wish to perform these works. Included in the guide are recommended fingerings, practice techniques, and possible adjustments to the bass clarinet parts designed in collaboration with the composers that make the works more technically accessible. Accompanying this guide are full scores of all three works, a recording of them performed by the author, and a chart that contains recommended altissimo fingerings.
ContributorsMiracle, Matthew (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since the Middle Ages, reflects the dramatic changes in Polish politics throughout the centuries. An understanding of this country's history helps to construct a comprehensive view of how politics influenced the developments in organ building and organ playing. This paper describes the dynamics of the Church, government and art institutions in Poland during the years 1945-2012. A brief summary of the history of Polish organ culture sets the stage for the changes occurring after WWII. The constant struggle between the Church and the communist regime affected music making and organ culture in Poland from 1945-1989. The political détente that occurred after 1989 led to a flowering of new instruments, restorations and performance opportunities for organists. By exploring the relationship between Polish organ culture and prevailing agendas in the 20th century, the author demonstrates how a centuries-old tradition adapted to survive political and economic hardships.
ContributorsKubiaczyk-Adler, Ilona (Author) / Marshall, Kimberly (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
The nature of imperative syntax has remained an elusive, yet ever-present, subject in syntactic research, spanning several decades of linguistic inquiry and analysis, and it is therefore unsurprising that current views on the subject continue to be somewhat divided. This thesis examines the syntactic evidence from imperatives in Old English and ultimately seeks to develop a picture of the possibilities for imperative clauses in OE alongside an overall framework for imperative syntax within contemporary theoretical models of syntactic structure. The general, perceived pattern for OE imperative clauses (e.g. Millward 1971) is “verb−first,” and statistical data from the corpora confirm this perception, with the majority of imperative clauses exhibiting the verb in clause−initial position. Imperative constructions with post− and preverbal overt subjects are also examined at length, and postverbal subjects are found to be the majority case. These results are further expanded by examinations of data from verb−second and verb−third contexts, which include possibilities for topicalized constituents and adverbs. Ultimately, the relative position of both the verb and the subject and the relationship between these and other elements in the totality of the data provide essential clues for constructing a clearer model of OE imperative syntax. Within a relatively rich cartographic framework (Rizzi 1997), I therefore argue that the imperative verb is standardly fronted to the head of ForceP, with the overt subject remaining in spec−FinP, in parallel with other models for imperative syntax and OE syntax. Exceptions to this pattern for imperatives which suggest lower positions for the imperative verb (e.g. verb−second and verb−third constructions) are also accounted for, all with the central goal of demonstrating a consistent pattern underlying the realization of imperative syntax in Old English.
ContributorsKruger, William Wriley (Author) / Gelderen, Elly van (Thesis advisor) / Adams, Karen (Committee member) / Major, Roy (Committee member) / Arizona State University (Publisher)
Created2012
Description
This study presents a conductor's guide to the Carpathian Concerto by Myroslav Skoryk. As a Deputy Head of the National Composers Association of Ukraine, a professor at the Tchaikovsky National Academy of Music and the Music Artistic Director of the National Opera of Ukraine, Skoryk continues to be active as a composer, teacher, and conductor. The Carpathian Concerto was composed in 1972 and was inspired by the culture and folklore of the west region of Ukraine, the Carpathian Mountains. Over the years the Carpathian Concerto has become standard repertoire for many symphony orchestras in the Ukraine. The author, himself from the Ukraine, performed this work in 2002, as a member of the Tchaikovsky National Academy of Music Symphony Orchestra, with the composer present. That experience was the inspiration for this study. This guide is intended as a score study supplementary from a conductor to a conductor, to aid in preparing a performance of the paper. The commentary focuses on issue of conducting, suggestions for score study, suggestions for interpretation and instructions to performers in connection with the rhythm, intonation, balance and orchestra placement. Programming ideas conclude this project, with short program notes provided for each program, in which Carpathian Concerto would contribute toward building a "theme" concert.
ContributorsIvanov, Lev, D.M.A (Author) / Russell, Timothy (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
Extensive cross-linguistic data document a wide gamut of semantic and pragmatic uses of the diminutive that revolve around the fundamental concepts of `small' and `child'. As typical inventory of informal registers, diminutives are utilized as pragmatic markers of politeness in a wide range of contextual meanings. This dissertation is intended to fill some major gaps in the systematic and empirical research on the formation and pragmatic uses of the diminutives in Macedonian and to explore the role of diminutivization in a broader linguistic framework, by examining the consistency of the field of diminutives, the core and peripheral meanings of the diminutive, their typology, as well as their pragmatic potential. The morphology and pragmatics of the diminutive is examined by combining data from electronic and printed sources, video recordings of natural conversations, as well as from material collected from participant and non-participant observations. At the level of morphology, it is argued that three fundamental semantic constraints underlie the formation of diminutives: [-big], [+ emotional], and [+ informal]. Furthermore, it is shown how diminutive combinability is rule governed in Macedonian by proposing sets of formal constraints for all grades of diminutives. At the level of pragmatics, the pragmatic functions of the diminutives proper and the related periphrastic diminutive malku are investigated in a variety of contexts involving child-directed speech (CDS) and adult communication. By analyzing the pragmatic functions of the diminutive in a series of speech acts, and drawing upon cross-cultural interpretations suggested by Wierzbicka (1991), it is argued that, in Macedonian, social bonding, cordiality, intimacy or affection are pragmatically more salient than personal autonomy in the Anglo-Saxon societies, realized through non-imposition, tentativeness, or similar pragmatic strategies for saving face. Additionally, it is contended that there exist cultural differences in the assessment of the concept of imposition between these societies. The analyses of the pragmatic potential of the diminutive proper and the periphrastic diminutive 'malku' give rise to the claim that Macedonian culture is predominantly founded on the pragmatic principle of positive politeness.
ContributorsSpasovski, Lupco (Author) / Adams, Karen L (Thesis advisor) / Gelderen, Elly van (Committee member) / Sipka, Danko (Committee member) / Arizona State University (Publisher)
Created2012
Description
Convergences, one of the best known orchestral pieces by Marlos Nobre, was originally written in 1968 and scored for winds, percussion and piano; however, that version was neither performed nor published. Upon contacting the composer, the author learned that there was no performance-ready edition available. The purpose of this project, therefore, was to create a performance edition of Convergences Op. 28a by Marlos Nobre; to lead the premiere performance of the original version of the work; and to provide potential future performers with a descriptive analysis of the work, along with biographical information about the composer. After receiving revisions from the composer, the author created a new score, using a music notation program; the score appears at the end of this document. Additionally, performance parts were extracted from the new score. The analytical portion of this paper discusses the structure of the three movements (Vivo, Adagio, Vivo), their interrelationships, and the organic use of motivic transformation that binds the movements together. The work is approximately twenty-one minutes long and is scored for a small wind ensemble comprising: flute/piccolo, oboe, clarinet, bassoon, horn, trumpet, trombone, bass trombone, six percussionists, and piano.
ContributorsPereira, Diogo Ahmed (Author) / Hill, Gary W. (Thesis advisor) / Bailey, Wayne (Committee member) / Pagano, Caio (Committee member) / Rogers, Rodney (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this study is to explore the syntax and pragmatics of subject doubling in spoken French. Many prescriptivists have considered it a redundant and ungrammatical form, but over the years, it has gained more interest from syntacticians. It is widely acknowledged that dislocations involve topics, but the position of these structures is very disputed. Some linguists believe in base generation while others state there is movement. The status of subject clitics also comes into play and their role as arguments or agreement markers is crucial to understanding the issues at stake with a topic analysis. It is often argued that the clitics are undergoing a linguistic cycle whereby they lose their function of argument, and need to be reinforced by disjunct pronouns. In this study, I examined which analyses support my data and I attempted to determine what structures tend to be most dislocated by looking at the environment of the discourse in a corpus of spoken French.
ContributorsBlanquart, Eleonore (Author) / Ossipov, Helene (Thesis advisor) / Bahtchevanova, Mariana (Thesis advisor) / Gelderen, Elly van (Committee member) / Arizona State University (Publisher)
Created2012