Theses and Dissertations
This collection includes both ASU Theses and Dissertations, submitted by graduate students, and the Barrett, Honors College theses submitted by undergraduate students.
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- Creators: Barrett, The Honors College
- Creators: Norton, Kay
Description
The integration of yoga into the music curriculum has the potential of offering many immediate and life-long benefits to musicians. Yoga can help address issues such as performance anxiety and musculoskeletal problems, and enhance focus and awareness during musical practice and performance. Although the philosophy of yoga has many similarities to the process of learning a musical instrument, the benefits of yoga for musicians is a topic that has gained attention only recently. This document explores several ways in which the practice and philosophy of yoga can be fused with saxophone pedagogy as one way to prepare students for a healthy and successful musical career. A six-week study at Arizona State University was conducted to observe the effects of regular yoga practice on collegiate saxophone students. Nine participants attended a sixty-minute "yoga for musicians" class twice a week. Measures included pre- and post- study questionnaires as well as personal journals kept throughout the duration of the study. These self-reported results showed that yoga had positive effects on saxophone playing. It significantly increased physical comfort and positive thinking, and improved awareness of habitual patterns and breath control. Student participants responded positively to the idea of integrating such a course into the music curriculum. The integration of yoga and saxophone by qualified professionals could also be a natural part of studio class and individual instruction. Carrie Koffman, professor of saxophone at The Hartt School, University of Hartford, has established one strong model for the combination of these disciplines. Her methods and philosophy, together with the basics of Western-style hatha yoga, clinical reports on performance injuries, and qualitative data from the ASU study are explored. These inquiries form the foundation of a new model for integrating yoga practice regularly into the saxophone studio.
ContributorsAdams, Allison Dromgold (Author) / Norton, Kay (Thesis advisor) / Hill, Gary (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / Standley, Eileen (Committee member) / Arizona State University (Publisher)
Created2012
Description
The saxophone is privileged to have a wide variety of repertoire from contemporary composers. Due to its invention in the later half of the nineteenth century, it has no repertoire written by baroque composers, including Johann Sebastian Bach. There are several published arrangements of Bach’s three solo violin partitas including that of Ronald Caravan and Raaf Hekkema. These collections either do not present every movement of each of these three partitas, or they do not present them in their original keys. An advantage to arranging these works in their original keys is that saxophonists have the opportunity to learn more about the works by playing along with recordings of great violinists such as Itzhak Perlman and Hilary Hahn, something that would be very difficult to do if they were not in the original keys. In Ronald Caravan’s Bach for Solo Saxophone, Caravan includes a collection of many unaccompanied works by Bach for saxophone but does not include all of the movements from the three partitas and they are not in the original keys that Bach wrote for. In Raaf Hekkema’s Bach for Saxophone, Hekkema arranges the entirety of the three partitas, however they are not set in the original keys that Bach wrote for. In addition to these points, those collections do not provide information of the life of J.S. Bach, baroque performance practice, mechanics of the baroque violin, baroque dances, and advice on going about the mechanics of these pieces from a saxophonist’s perspective. This information is very useful to a young saxophonist who is trying to fully understand and perform Bach’s three solo violin partitas.
ContributorsSalazar, Nathan John (Author) / Creviston, Christopher (Thesis director) / Saucier, Catherine (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
In the early history of jazz, many of the songs that were popularized by jazz musicians became known as jazz standards, and these songs remain a central component of the jazz repertoire today. Many of these jazz standards were adapted from early Broadway musicals and revues. Rodgers and Hammerstein's Oklahoma! is widely considered to be the most significant musical in the history of Broadway theater. Its innovative blending of song, dance, and a cohesive dramatic story has profoundly influenced the structure of Broadway musicals to this day. However, none of the songs from this show have risen to the status of a jazz standard, and many appear to have not been adapted to the jazz idiom at all. In my Barrett Honors creative project, I have reimagined and arranged nine songs from the original Rodgers and Hammerstein production. I then led a jazz quintet through two months of rehearsals, culminating in a performance of the work for my senior jazz performance recital. A link to the performance at the ASU School of Music Recital Hall is included here: https://www.youtube.com/watch?v=jeOs4muj12M
ContributorsKarnick, Ian (Author) / Ruth, Bryon (Thesis director) / Kocour, Michael (Committee member) / Barrett, The Honors College (Contributor) / Electrical Engineering Program (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2024-05
Description
This project presents an article “Considerations for Transcribing Classical Solo Works, A Resource for Fellow Saxophonists” and audio recordings of three new transcriptions for tenor saxophone: Serenade by Adrienne Albert, originally written for bassoon; Ackerbatics by Rebecca Burkhardt, originally written for clarinet; and Sonata voor violoncel en piano by Henriette Bosmans.
ContributorsSimpson, Taylor (Author) / Shea, Nicholas (Thesis director) / Creviston, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsSimpson, Taylor (Author) / Shea, Nicholas (Thesis director) / Creviston, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsSimpson, Taylor (Author) / Shea, Nicholas (Thesis director) / Creviston, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsSimpson, Taylor (Author) / Shea, Nicholas (Thesis director) / Creviston, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsSimpson, Taylor (Author) / Shea, Nicholas (Thesis director) / Creviston, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsSimpson, Taylor (Author) / Shea, Nicholas (Thesis director) / Creviston, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsSimpson, Taylor (Author) / Shea, Nicholas (Thesis director) / Creviston, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05