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Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango

Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango songs are presented here: "Elegante Papirusa" by Tito Roccatagliata, "A La Gran Muñeca" by Jesús Ventura, and "La Cotorrita" by Samuel Castriota. The arrangements follow the style of three early recordings produced by The Victor Talking Machine in 1920 and 1922, as performed by two authentic Argentine orquesta típicas: Orquesta Típica Select and Orquesta Típica Fresedo. A brief history of the style and instrumental evolution of tango music from its influences and origins up until 1920 is discussed, followed by a detailed account of the musicians and circumstances involved in the three early recordings. An explanation of the issues encountered by the author in adapting the early tango style to the brass quintet setting is discussed, along with the solutions realized in order to make the project successful and practical for a moderately advanced brass quintet. The full brass quintet scores are provided as part of the Appendix.
ContributorsCamacho, Gustavo (Musician) (Author) / Ericson, John Q (Thesis advisor) / Pilafian, Samuel (Committee member) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2011
Description
Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this

Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.
ContributorsDeBoer, Andrew Caleb (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Norton, Kay (Committee member) / McAllister, Timothy (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has

Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement.
ContributorsFang, Zhou, D.M.A (Author) / Koonce, Frank (Thesis advisor) / Levy, Benjamin (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
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Description
This thesis presents a new arrangement of Richard Peaslee's trombone solo "Arrows of Time" for brass band. This arrangement adapts Peaslee's orchestration - and subsequent arrangement by Dr. Joshua Hauser for wind ensemble - for the modern brass band instrumentation and includes a full score. A brief biography of Richard

This thesis presents a new arrangement of Richard Peaslee's trombone solo "Arrows of Time" for brass band. This arrangement adapts Peaslee's orchestration - and subsequent arrangement by Dr. Joshua Hauser for wind ensemble - for the modern brass band instrumentation and includes a full score. A brief biography of Richard Peaslee and his work accompanies this new arrangement, along with commentary on the orchestration of "Arrows of Time", and discussion of the evolution and adaptation of the work for wind ensemble by Dr. Hauser. The methodology used to adapt these versions for the brass band completes the background information.
ContributorsMalloy, Jason Patrick (Author) / Ericson, John (Thesis advisor) / Oldani, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
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Description
The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have

The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.
ContributorsLanier, William Hudson (Author) / Koonce, Frank (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
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Description
Playing an orchestral reduction is not always the most joyous of times for pianists. As pianists, we have to express a reduced idea of all the instruments and orchestral textures that are in the full score. However, in many cases, there are often omissions, errors or discrepancies in the existing

Playing an orchestral reduction is not always the most joyous of times for pianists. As pianists, we have to express a reduced idea of all the instruments and orchestral textures that are in the full score. However, in many cases, there are often omissions, errors or discrepancies in the existing published reductions. These reductions are made by a variety of people: editors, conductors, pianists, but rarely by the composer, and often do not reflect the composer's true intentions. While many reductions are technically playable, including the reduction of the Sibelius Violin Concerto that will form the basis of this paper, the arrangement of the orchestration can be obscured or inaccurate to the point where the violin soloist may not be receiving the best representation of the actual orchestration. A piano reduction should as closely as possible represent the original intention of the composer, both for the sake of the audience and the performers. The pianist should be able to provide the proper support and orchestration of any reduction for the instrumentalist or vocalist so that the same performance style and technique can be used while performing with either a piano reduction or a full orchestra. This research document contains a detailed examination of the various orchestral reductions of the Sibelius Violin Concerto, culminating in a new version by the author. In this discussion, the author will present a basic understanding of how to orchestrate at the piano through an in-depth explanation of piano skill and technique, practice techniques such as listening to a recorded version of the full orchestration while playing the piano, and ways to study and revise an existing piano reduction. The current published reductions of the Sibelius Violin Concerto contain many errors and discrepancies and will be contrasted with the author's own reduction, available for comparison and study in the appendix. This new revised reduction will clearly show the orchestral instruments represented throughout the score, demonstrate new techniques for various orchestral textures, and will yield a playable product that more closely represents the composer's original intentions.
ContributorsLee, Sehee (Author) / Campbell, Andrew (Thesis advisor) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Britton, David (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
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Description

Meatless Monday is an initiative that encourages actionable steps toward the reduction of meat consumption by asking participants to eat meat-free on Mondays. Many organizations, cities, schools, and correctional facilities have implemented Meatless Monday initiatives as a push to improve environmental sustainability, human health, and the welfare of animals. Such

Meatless Monday is an initiative that encourages actionable steps toward the reduction of meat consumption by asking participants to eat meat-free on Mondays. Many organizations, cities, schools, and correctional facilities have implemented Meatless Monday initiatives as a push to improve environmental sustainability, human health, and the welfare of animals. Such initiatives provide an opportunity to educate consumers on the health benefits of a plant-forward diet, the environmental impact of meat production, animal welfare issues, the innovation of non-meat proteins, and to engage stakeholders in gaining more control over their food choices. This report offers a summary of seven Meatless Monday initiatives throughout the U.S., highlighting best practices and notable challenges of implementing and maintaining such an initiative in three different contexts: local government, school systems, and non-profit or volunteer-led organizations. This report was conducted through an extensive look at previous research, news articles, and marketing materials, as well as interviews with stakeholders in six mid-sized U.S. cities.

ContributorsAlvarado, Francisca (Author) / Coghlan, Jane (Author) / Cooper, Dory (Author) / Petersen, Cam (Author) / Wyman, Carly (Contributor) / Giraud, Esteve Gaelle (Contributor) / Dart, Jesse (Contributor) / Benard, Nick (Contributor) / Johns Hopkins Center for a Livable Future (Client) / Meatless Monday (Client) / Swette Center for Sustainable Food Systems (Contributor)
Created2022-04-01
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Description

The Hawaiian Islands are highly reliant on imported foods for feeding residents and visitors alike. This is in part due to a shortage in food processing infrastructure locally that contributes to Hawaiʻi’s inability to process much of its own food products. This study examines the feasibility of increasing food self-sufficiency

The Hawaiian Islands are highly reliant on imported foods for feeding residents and visitors alike. This is in part due to a shortage in food processing infrastructure locally that contributes to Hawaiʻi’s inability to process much of its own food products. This study examines the feasibility of increasing food self-sufficiency in the islands through utilizing legacy industrial fruit processing equipment recently acquired by Olohana Foundation, a small 501(c)3 non-profit in Hawaiʻi. This study asks: How can the Olohana Foundation develop their aseptic juicing line to best support increased food self-sufficiency in the islands? Additionally, how can the juicing line be re-deployed in a manner to provide sustainable economic opportunity to producers and other community members? Through interviews with Hawaiʻi food system experts, fruit grower and fruit product buyer surveys, and a review of selected Unites States Department of Agriculture National Agricultural Statistics Survey (USDA NASS) crop data for Hawaiʻi, our team evaluated the feasibility for re-establishing the juicing line. Our results found that due to the lack of available locally-produced fruits and high start-up and operational costs, it is unlikely that the juicing line can be re-established as it was previously operating, producing papaya and guava juices and purees. However, there is no shortage in demand for locally grown fruit products in Hawaiʻi and there is high interest from producers in joining a grower-owned cooperative. We conclude with several recommendations for the near, medium and long-term. In the near to medium-term, we recommend that the Foundation pursue alternative configurations of the equipment to produce niche Hawaiʻi products for which there is adequate supply, including fermented fruit products. In the long-term, the Foundation should research the potential for sourcing produce from other Pacific-region islands, as well as work at the policy and community levels to increase production of fruits locally, lower costs of production, and lower barriers to organic certification.

ContributorsHemphill, Eric (Author) / Lourey, Stu (Author) / Martinez, Mackenize (Author) / Robertson, Claire (Author) / Swette, Luke (Author) / Wyman, Carly (Author) / Olohana Foundation (Client) / Swette Center for Sustainable Food Systems (Contributor)
Created2021-12-01
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Description

Investigation of how digitalization of agriculture and agrifood systems affect local and regional food systems

ContributorsConner, Wesley (Author) / Kitzmiller, Brandee (Author) / Miller, Kana (Author) / Mollen, Paige (Author) / Rochelle, Mary (Author) / Snowaert, Joe (Author) / VanVranken, Annalise (Author) / Yoder, Isabel (Author) / TMG Think Tank for Sustainability (Client)
Created2021-09
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Description
Bicycle sharing systems (BSS) operate on five continents, and they change quickly with technological innovations. The newest “dockless” systems eliminate both docks and stations, and have become popular in China since their launch in 2016. The rapid increase in dockless system use has exposed its drawbacks. Without the order imposed

Bicycle sharing systems (BSS) operate on five continents, and they change quickly with technological innovations. The newest “dockless” systems eliminate both docks and stations, and have become popular in China since their launch in 2016. The rapid increase in dockless system use has exposed its drawbacks. Without the order imposed by docks and stations, bike parking has become problematic. In the areas of densest use, the central business districts of large cities, dockless systems have resulted in chaotic piling of bikes and need for frequent rebalancing of bikes to other locations. In low-density zones, on the other hand, it may be difficult for customers to find a bike, and bikes may go unused for long periods. Using big data from the Mobike BSS in Beijing, I analyzed the relationship between building density and the efficiency of dockless BSS. Density is negatively correlated with bicycle idle time, and positively correlated with rebalancing. Understanding the effects of density on BSS efficiency can help BSS operators and municipalities improve the operating efficiency of BSS, increase regional cycling volume, and solve the bicycle rebalancing problem in dockless systems. It can also be useful to cities considering what kind of BSS to adopt.
ContributorsCui, Wencong (Author) / Kuby, Michael (Thesis advisor) / Salon, Deborah (Committee member) / Thigpen, Calvin (Committee member) / Arizona State University (Publisher)
Created2018