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: Jiang, Danwen
- Creators: Norton, Kay
Description
There are a significant number of musical compositions for violin by composers who used folk songs and dances of various cultures in their music, including works by George Enescu, Béla Bartók and György Ligeti. Less known are pieces that draw on the plethora of melodies and rhythms from Turkey. The purpose of this paper is to help performers become more familiar with two such compositions: Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin. Fazil Say (b. 1970) is considered to be a significant, contemporary Turkish composer. Both of the works discussed in this document simulate traditional "Eastern" instruments, such as the kemenҫe, the baðlama, the kanun and the ud. Additionally, both pieces use themes from folk melodies of Turkey, Turkish dance rhythms and Arabian scales, all framed within traditional structural techniques, such as ostinato bass and the fughetta. Both the Sonata for Violin and Piano and Cleopatra are enormously expressive and musically interesting works, demanding virtuosity and a wide technical range. Although this document does not purport to be a full theoretical analysis, by providing biographical information, analytical descriptions, notes regarding interpretation, and suggestions to assist performers in overcoming technical obstacles, the writer hopes to inspire other violinists to consider learning and performing these works.
ContributorsKalantzi, Panagiota (Author) / Jiang, Danwen (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this project is twofold: to contribute to the literature of chamber ensembles comprising mixed wind, string, and percussion instruments by producing arrangements of three piano rags by William Bolcom; and to highlight Bolcom's pivotal role in the ragtime revival of the 1960's and 1970's. Through his influence as a scholar, composer, and performer, Bolcom (b. 1938), one of the most prominent American composers of his generation, helped garner respect for ragtime as art music and as one of America's great popular music genres. Bolcom's 3 Ghost Rags were written in the tradition of classic piano rags, but with a compositional sensibility that is influenced by the fifty years that separate them from the close of the original ragtime era. The basis for the present orchestrations of 3 Ghost Rags is the collection of instrumental arrangements of piano rags published by Stark Publishing Co., entitled Standard High-Class Rags. More familiarly known as the "Red Back Book," this publication was representative of the exchange of repertoire between piano and ensembles and served as a repertory for the various ragtime revivals that occurred later in the twentieth century. In creating these orchestrations of Bolcom's piano rags, the author strove to provide another medium in which Bolcom's music could be performed, while orchestrating the music for an historically appropriate ensemble.
ContributorsMelley, Eric Charles (Author) / Hill, Gary W. (Thesis advisor) / Bailey, Wayne (Committee member) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2013
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
The two solo violin works by Carl Nielsen (1865-1931) have been largely overlooked since their composition in the 1920s. These pieces are representative of Nielsen's mature style, combining elements of classical form (the Theme and Variations) as well as processes more commonly found in the twentieth century (through-composition and non-tonal harmonic language). This paper is designed to bring these long-neglected works to light and make them more approachable for violin students, teachers and performers. As Denmark's leading composer, Nielsen was well regarded in his lifetime, although his isolation from mainland Europe created obstacles in his path toward international fame. Rather than following trends in post-romantic music, he remained true to his own musical ideals. This choice often isolated him further during his career, but his unique blend of chromatic harmony, driving rhythms and juxtapositions of character captivates modern listeners. Although small in scope compared to his symphonies and other large works, the enthusiastic spirit and indomitable energy of the solo violin works reflect Nielsen's character at its best. Combining a high level of virtuosity with solid structural integrity, textural variety and musical interest, these works deserve a much more prominent place in the standard violin repertoire.
ContributorsVallier, Michelle Mitchell (Author) / McLin, Katherine (Thesis advisor) / Rogers, Rodney (Committee member) / Jiang, Danwen (Committee member) / Bailey, Wayne (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2012
Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
The purpose of this project is to examine the three Sonatas for Violin and Piano by Taiwanese composer Dr. Wen-Pin Hope Lee. The inspiration for these three sonatas comes from different aspects of the culture of Taiwan, and these influences occur so naturally within the music that one can neglect the beauty of them. In daily life, people tend to ignore those simple things that occur around them, but if they just pay close attention, there are always beautiful elements that can bring small miracles to their life. Lee's sonatas are the result of his careful consideration of the beautiful elements of his own culture. Through careful examination, the author has discovered that important musical ideas can be found in the artistic expression of one's native culture. Lee adapted the musical resources of Taiwan, including Taiwanese opera and the musical culture of the aboriginal people of Taiwan. In addition, he began infusing his compositions with Western musical elements due to his studies in the United States. The result is a series of three sonatas composed in a diverse array of styles. The three Sonatas for Violin and Piano by Lee are part of the genre of duo chamber music, a collaborative art demanding strong connections between the two performers. The process of ii rehearsing complicated pieces such as these poses a challenge that a solo performer does not encounter. While it is always beneficial to explore the background of the music before performing it, a deeper understanding of the music is achieved during the rehearsal process. The author has been invited by Lee to perform these three sonatas in 2011 with three distinguished violinists and, in preparation for these performances, has already recorded the three sonatas. Such an opportunity has created an examination of the collaborative process within the music and the challenges faced by both performers. In addition to an examination of the musical influences on the composition of these works and a biography of the composer, the author will also provide a performance guide to the works in the hopes of encouraging future performances.
ContributorsChen, Chia I (Author) / Campbell, Andrew (Thesis advisor) / Britton, David (Committee member) / Jiang, Danwen (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2010
Description
This research paper is a study of Sergei Taneyev’s Concert Suite for Violin and Orchestra, Op. 28 and includes Taneyev’s biography, a brief musical analysis which benefits the interpretation, and performance suggestions from the perspective of a concert violinist. The purpose of this paper is to enable performers to achieve a better understanding of this artwork and make informed musical choices.
Sergei Ivanovich Taneyev (1856-1915) was a Russian composer. As a composition pupil of Tchaikovsky, and a teacher of Scriabin, Rachmaninoff, Lyapunov, and Glière, Taneyev is an important figure in Russian music. His compositions include operas, symphonies, chamber music, songs, and piano music. Taneyev’s style was influenced by Bach, Handel, Mozart, Glinka, Tchaikovsky, Wagner and various European composers. His cosmopolitan style, and wide-ranging compositional interests do not easily lend themselves generalization. This difficulty in categorizing his music along with his self-criticism and aversion to self-promotion, contribute to his lack of recognition when compared with his contemporaries.
The Concert Suite for Violin and Orchestra, composed six years before his death, is his only work for Violin and Orchestra and was his last large composition. This work is cast in an unusual five-movement structure and embodies various brilliant violin techniques and rich Romantic-era harmonies. Taneyev’s interests in “old fashioned” style and folk music are evidenced by some of the movements titled “Prelude,” “Gavotte,” and “Theme and Variation” which contains a double fugue. He also utilizes folk dances such as the mazurka and tarantella. This performance guide provides practical interpretational advice based on an analysis of harmony, form and structural divisions, stylistic considerations and violin techniques. A brilliant and charming work, it has sadly been neglected. Through the study and performance of this piece, the author hopes to provide performers with useful information that enables more musicians to know and enjoy this valuable masterwork.
Sergei Ivanovich Taneyev (1856-1915) was a Russian composer. As a composition pupil of Tchaikovsky, and a teacher of Scriabin, Rachmaninoff, Lyapunov, and Glière, Taneyev is an important figure in Russian music. His compositions include operas, symphonies, chamber music, songs, and piano music. Taneyev’s style was influenced by Bach, Handel, Mozart, Glinka, Tchaikovsky, Wagner and various European composers. His cosmopolitan style, and wide-ranging compositional interests do not easily lend themselves generalization. This difficulty in categorizing his music along with his self-criticism and aversion to self-promotion, contribute to his lack of recognition when compared with his contemporaries.
The Concert Suite for Violin and Orchestra, composed six years before his death, is his only work for Violin and Orchestra and was his last large composition. This work is cast in an unusual five-movement structure and embodies various brilliant violin techniques and rich Romantic-era harmonies. Taneyev’s interests in “old fashioned” style and folk music are evidenced by some of the movements titled “Prelude,” “Gavotte,” and “Theme and Variation” which contains a double fugue. He also utilizes folk dances such as the mazurka and tarantella. This performance guide provides practical interpretational advice based on an analysis of harmony, form and structural divisions, stylistic considerations and violin techniques. A brilliant and charming work, it has sadly been neglected. Through the study and performance of this piece, the author hopes to provide performers with useful information that enables more musicians to know and enjoy this valuable masterwork.
ContributorsZhang, Aihua (Author) / Jiang, Danwen (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2019
Description
Puerto Rican composers Hector Campos Parsi (1922-1998) and Jack Delano (1914-1997) form an integral part of the nationalistic school of composition that revolutionized the island during the mid to late twentieth century. They both sought to combine Western Classical composition techniques with folkloric and traditional musical elements from Puerto Rico. In doing so, not only did they transform the way Western Classical music was made on the island, but they also brought validation and recognition to Puerto Rico’s culture as well as folkloric and popular musical heritage. Furthermore, both of these composers wrote works for violin and piano that form an important part of Puerto Rico’s musical legacy.
This research document presents biographical studies of both composers, as well as studies of Hector Campos Parsi’s Sonatina No. 2 for Violin and Piano, and Jack Delano’s Sonata for Violin and Piano. In addition, this document includes the first ever printed edition of Jack Delano’s Sonata for Violin and Piano, as well as a copy of the out of print Peermusic edition of Campos Parsi’s Sonatina No. 2 for Violin and Piano. This document also presents detailed charts of discrepancies and corrections to both scores.
With the gathering and presentation of this biographical and musical information, this research document seeks to bring international recognition to two important Puerto Rican nationalistic composers, Hector Campos Parsi and Jack Delano; spark an interest in their two little-known works for violin and piano (Campos Parsi’s Sonatina No.2 for Violin and Piano and Jack Delano’s Sonata for Violin and Piano); as well as make these two works more accessible to performers, educators, and the general public alike.
This research document presents biographical studies of both composers, as well as studies of Hector Campos Parsi’s Sonatina No. 2 for Violin and Piano, and Jack Delano’s Sonata for Violin and Piano. In addition, this document includes the first ever printed edition of Jack Delano’s Sonata for Violin and Piano, as well as a copy of the out of print Peermusic edition of Campos Parsi’s Sonatina No. 2 for Violin and Piano. This document also presents detailed charts of discrepancies and corrections to both scores.
With the gathering and presentation of this biographical and musical information, this research document seeks to bring international recognition to two important Puerto Rican nationalistic composers, Hector Campos Parsi and Jack Delano; spark an interest in their two little-known works for violin and piano (Campos Parsi’s Sonatina No.2 for Violin and Piano and Jack Delano’s Sonata for Violin and Piano); as well as make these two works more accessible to performers, educators, and the general public alike.
Contributorsde Sandino, Ayisha Elisabeth Moss (Author) / Jiang, Danwen (Thesis advisor) / Rogers, Rodney (Committee member) / Solís, Ted (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2018
Description
Research in learning has been conducted for decades, and an area that has received increasing attention since the mid-20th century is motor learning. Since then, new theories and experiments have been developed describing principles of motor learning with parameters that can improve or degrade the learning process. These principles have been applied to many different areas such as psychology, language, and especially sports. Although music involves motor skills, only relatively recently have there been attempts to link these scientific findings with music performance. Given the importance of this area, this document seeks to explore ways in which one may apply principles from motor learning theory to music and more specifically to violin pedagogy. The motor learning principles discussed are based mainly on the studies and theories of Robert Bjork, Cheryl A. Coker, Timothy Lee, Richard Magill, Richard A. Schmidt, and Gabrielle Wulf. The selected topics are focus of attention, practice schedules (discussing blocked and random practice schedules), and variable practice. There are two chapters dedicated to each area. The initial chapter of each topic (two, four, and six) contains a brief literature review that provide a base for application to violin pedagogy. The second chapter of each topic (three, five, and seven) explores those principles along with practical guidelines on how to apply them to violin pedagogy. While some research and experiments in motor learning support pedagogical approaches already used in music (based on the teacher’s intuition and common sense) other studies suggest approaches that are quite counterintuitive. Reviewing a wide variety of practice techniques through a scientific lens provides valuable insights to the field of violin pedagogy and musical performance in general.
ContributorsDa Rocha Unglaub, Alisson (Author) / McLin, Katherine (Thesis advisor) / Jiang, Danwen (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2022