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: Norton, Kay
This brief investigation of Say’s life to date and his piano works offers an insight into the correlation between the multi-cultural environments in which he has lived and the formation of his styles. Chapter one, the summary of his life and educational background, illustrates the fact that the three facets within his piano compositions are strongly rooted in his exposure to different environments. The second chapter presents a clear overview of the development of Say’s compositional idiom and a deeper look at selected piano compositions: his transcription of J. S. Bach’s Passacaglia in C Minor, BWV 582, Three Ballads, Black Earth, Alla Turca Jazz, and Paganini Jazz. The goal is to provide current and future pianists with insight into the expressive performance of one composer’s extremely successful hybridization of classical, jazz, and Turkish folk music.
This study compares the First edition (1802) and seven selected editions of Beethoven’s “Moonlight” Sonata by Ignaz Moscheles (1814), Carl Czerny (1846), Franz Liszt (1857), Louis Köhler (1869), Hugo Riemann (1885), Sigmund Lebert and Hans von Bülow (1896), and Carl Krebs (1898) with the Henle edition. It covers the tempo, rubato, articulations, phrasing, dynamics, fingerings, pedaling, ornamentation, note-stem and beaming, pitch, and rhythm. I evaluate these editorial changes and performance practice to determine that, compared to modern practice, the 19th century fostered a tendency of applying rubato, longer slurs, diverse articulations, and expanded dynamic range. Furthermore, the instructions of fingerings, pedaling and ornamentation became more detailed towards the end of the century.