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: Norton, Kay
Description
In the early-twentieth-century United States, Jewish and European immigrant scholars, musicians, and composers dominated the academic, orchestral, film and popular music scenes. While some of these musicians immigrated voluntarily, others, having fled the genocide of the Holocaust, were forced into exile due to religious and political persecution. Musicians were often targeted by the Nazi regime for performing and advancing banned music, composing modernist works, or for their religious or political beliefs. The United States upheld strict, pre-World War Two immigration quotas and laws that limited relocation. Specialized rescue agencies arose to help these exiles settle in the United States.
Meanwhile in 1924, American composer Mark Brunswick (1902-1971) moved to Europe and later studied with Nadia Boulanger. He found his niche among members of the Second Viennese School. Brunswick returned to the United States in 1938 and founded the National Committee for Refugee Musicians (NCRM), originally called the Placement Committee for German and Austrian Musicians, to aid in the relocation and job placement of at-risk musicians and their families during World War Two.
This thesis briefly explores Brunswick’s life, and then more closely addresses the formation of the NCRM, its members, those who received aid, and partnering organizations. Finally, cases in point illustrate the varied ways in which the NCRM helped musicians in exile. Brunswick and the Committee played a major role in American musical history, yet no major studies have focused on them. With the NCRM’s assistance, many refugees thrived in and contributed to America’s musical landscape. By exploring letters, memoranda, and other unpublished archival documents, I will show how Brunswick and the NCRM affected U.S. musical life beginning in the 1930s. The positive effects of this germinal group endure today.
Meanwhile in 1924, American composer Mark Brunswick (1902-1971) moved to Europe and later studied with Nadia Boulanger. He found his niche among members of the Second Viennese School. Brunswick returned to the United States in 1938 and founded the National Committee for Refugee Musicians (NCRM), originally called the Placement Committee for German and Austrian Musicians, to aid in the relocation and job placement of at-risk musicians and their families during World War Two.
This thesis briefly explores Brunswick’s life, and then more closely addresses the formation of the NCRM, its members, those who received aid, and partnering organizations. Finally, cases in point illustrate the varied ways in which the NCRM helped musicians in exile. Brunswick and the Committee played a major role in American musical history, yet no major studies have focused on them. With the NCRM’s assistance, many refugees thrived in and contributed to America’s musical landscape. By exploring letters, memoranda, and other unpublished archival documents, I will show how Brunswick and the NCRM affected U.S. musical life beginning in the 1930s. The positive effects of this germinal group endure today.
ContributorsKurland, Jayme Michael (Author) / Norton, Kay (Thesis advisor) / Feisst, Sabine (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2015
Description
According to the United States Department of Labor, the predicted percentage growth of jobs in music performance for 2012-22 is less than half the predicted percentage growth in overall national employment for the same period. While university music performance core curricula prepares students to attain their goals, which can include positions in orchestral, chamber, or solo settings, only a small number of such positions are predicted in the future job market. One possible solution to help students succeed as modern-day musicians is the implementation of curricula that emphasizes innovation and entrepreneurship in music performance. This paper comprises three parts: (1) a study intended to identify core curricula requirements for the Doctor of Musical Arts (DMA) in Violin Performance in the United States; (2) a sample Career Plan; and (3) a Syllabus for an Innovative Music Performance Course.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
ContributorsStrahm, Kathleen Ariel (Author) / Swartz, Jonathan (Thesis advisor) / Creviston, Christopher (Committee member) / Humphreys, Jere T (Committee member) / Norton, Kay (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2017
Description
The work of collaborative pianists can vary widely, requiring a large spectrum of musical and foreign language skills. In addition, many non-musical skills are required of collaborative pianists in order to adapt to various types of work, the roles they assume, and the needs of the people they encounter professionally. Collaborative pianists usually develop good habits for survival on the job, but rarely receive preliminary training in capacities such as facilitation, maintaining objectivity in collaboration, asking good questions, and giving feedback effectively. The emerging field of teaching artistry offers a wealth of information for the development of these non-musical skills in collaborative pianists. The skills necessary for teaching artistry and collaborative piano frequently overlap, which is instructive for collaborative pianists as they prepare for their various musical and leadership roles. This paper explores shared practices between these disciplines, how they can enhance the activities of a collaborative pianist, and also help them develop skills as arts advocates. Advocating techniques for new music and audience engagement are addressed, as well as programming, content development and building teams around projects. The idea of the collaborative pianist becoming a teaching artist is also explored, as the diverse activities and experiences of a collaborative pianist can serve as valuable resources. All of these approaches to non-musical skills focus on building strong processes, leading to creative activities that are process-driven rather than product-driven. This study seeks to enrich activities of collaborative pianists through the application of teaching artist capacities and pave pathways for new, more effective professional collaborations.
ContributorsWitt, Juliana (Author) / Campbell, Andrew (Thesis advisor) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2020