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- Creators: Rockmaker, Jody
- Creators: Holbrook, Amy
Description
A new arrangement of the Concerto for Two Horns in E-flat Major, Hob. VIId/6, attributed by some to Franz Joseph Haydn, is presented here. The arrangement reduces the orchestral portion to ten wind instruments, specifically a double wind quintet, to facilitate performance of the work. A full score and a complete set of parts are included. In support of this new arrangement, a discussion of the early treatment of horns in pairs and the subsequent development of the double horn concerto in the eighteenth century provides historical context for the Concerto for Two Horns in E-flat major. A summary of the controversy concerning the identity of the composer of this concerto is followed by a description of the content and structure of each of its three movements. Some comments on the procedures of the arrangement complete the background information.
ContributorsYeh, Guan-Lin (Author) / Ericson, John (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Pilafian, J. Samuel (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project was to commission, perform, and discuss a new work for an instrument pairing not often utilized, oboe and percussion. The composer, Alyssa Morris, was selected in June 2009. Her work, titled Forecast, was completed in October of 2009 and premiered in February of 2010, as part of a program showcasing music for oboe and percussion. Included in this document is a detailed biography of the composer, a description of the four movements of Forecast, performance notes for each movement, a diagram for stage set-up, the full score, the program from the premiere performance with biographies of all the performers involved, and both a live recording and MIDI sound file. The performance notes discuss issues that arose during preparation for the premiere and should help avoid potential pitfalls. TrevCo Music, publisher of the work, graciously allowed inclusion of the full score. This score is solely for use in this document; please visit the publisher's website for purchasing information. The commission and documentation of this composition are intended to add to the repertoire for oboe in an unusual instrument pairing and to encourage further exploration of such combinations.
ContributorsCreamer, Caryn (Author) / Schuring, Martin (Thesis advisor) / Hill, Gary (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
This composition was commissioned by the Orgelpark to be performed in Amsterdam in September 2011 during Gaudeamus Muziekweek. It will be performed by the vocal group VocaalLab Nederland. It is scored for four vocalists, organ, tanpura, and electronic sound. The work is a culmination of my studies in South Indian Carnatic rhythm, North Indian classical singing, and American minimalism. It is a meditation on the idea that the drone and pulse are micro/macro aspects of the same phenomenon of vibration. Cycles are created on the macroscale through a mathematically defined scale of harmonic/pitch relationships. Cycles are created on the microscale through the subdivision and addition of rhythmic pulses.
ContributorsAdler, Jacob (Composer) / Rockmaker, Jody (Thesis advisor) / Feisst, Sabine (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Arizona State University (Publisher)
Created2011
Description
Although one finds much scholarship on nineteenth-century music in America, one finds relatively little about music in the post-Civil-War frontier west. Generalities concerning small frontier towns of regional importance remain to be discovered. This paper aims to contribute to scholarship by chronicling musical life in the early years of two such towns in northern Arizona territory: Prescott and Flagstaff. Prescott, adjacent to Fort Whipple, was founded in 1864 to serve as capital of the new territory. Primarily home to soldiers and miners, the town was subject to many challenges of frontier life. Flagstaff, ninety miles to the north-northwest, was founded about two decades later in 1883 during the building of the Atlantic & Pacific Railroad, which connected the town to Albuquerque, New Mexico in the east and southern California in the west. Although the particular resources of each town provided many different musical opportunities, extant newspaper articles from Prescott's Arizona Miner and Flagstaff's Arizona Champion describe communities in which musical concerts, dances and theatrical performances provided entertainment and socializing for its citizens. Furthermore, music was an important part of developing institutions such as the church, schools, and fraternal lodges, and the newspapers of both towns advertised musical instruments and sheet music. Both towns were home to amateur musicians, and both offered the occasional opportunity to learn to dance or play an instrument. Although territorial Arizona was sometimes harsh and resources were limited, music was valued in these communities and was a consistent presence in frontier life.
ContributorsJohnson, Amber V (Author) / Oldani, Robert W. (Thesis advisor) / Holbrook, Amy (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2011
Description
A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's Structures Ia . The purpose of this survey is to examine several systematic approaches to composition by prominent composers and their philosophy in adopting this type of approach. The next section of the paper introduces my own systematic approach to composition: the Take-Away System. The third provides several musical applications of the system, citing my work, Octulus for two pianos, as an example. The appendix details theorems and observations within the system for further study.
ContributorsHarbin, Doug (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
Description
ABSTRACT études; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études.; These works rarely go by the title "étude;," and have not been the focus of much scholarly research. Ensemble études; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble études; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études; in a group, this document introduces creative ways that works for violin ensemble can be used as both études; and performance pieces. The first two chapters explore the history and philosophy of the violin étude; and multiple-violin works, the practice of arranging of solo études; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude; study from solo étude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: étude; for Four Violins, with an explanation of the process and techniques used to create this ensemble étude.; This work is an example of the musical and technical integration essential to étude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble études; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble études; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.
ContributorsLundell, Eva Rachel (Contributor) / Swartz, Jonathan (Thesis advisor) / Rockmaker, Jody (Committee member) / Buck, Nancy (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
Owen Middleton (b. 1941) enjoys an established and growing reputation as a composer of classical guitar music, but his works for piano are comparatively little known. The close investigation offered here of Middleton's works for piano reveals the same impressive craftsmanship, compelling character, and innovative spirit found in his works for guitar. Indeed, the only significant thing Middleton's piano music currently lacks is the well-deserved attention of professional players and a wider audience. Middleton's piano music needs to be heard, not just discussed, so one of this document's purposes is to provide a recorded sample of his piano works. While the overall repertoire for solo piano is vast, and new works become established in that repertoire with increasing difficulty, Middleton's piano works have a significant potential to find their way into the concert hall as well as the private teaching studio. His solo piano music is highly effective, well suited to the instrument, and, perhaps most importantly, fresh sounding and truly original. His pedagogical works are of equal value. Middleton's piano music offers something for everyone: there one finds daring virtuosity, effusions of passion, intellectual force, colorful imagery, poetry, humor, and even a degree of idiomatic innovation. This study aims to reveal key aspects of the composer's musical style, especially his style of piano writing, and to provide pianists with helpful analytical, technical, and interpretive insights. These descriptions of the music are supported with recorded examples, selected from the works for solo piano written between 1962 and 1993: Sonata for Piano, Childhood Scenes, Katie's Collection, and Toccata for Piano. The complete scores of the recorded works are included in the appendix. A chapter briefly describing the piano pieces since 1993 concludes the study and invites the reader to further investigations of this unique and important body of work.
ContributorsMoreau, Barton Andrew (Author) / Hamilton, Robert (Thesis advisor) / Holbrook, Amy (Committee member) / Campbell, Andrew (Committee member) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2011
Description
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
Peter N. Schubert in "Hidden Forms in Palestrina's `First Book of Four-Voice Motets'" (Journal of the American Musicological Society, 2007) defines significant blocks of vertical relationships in imitative and non-imitative duos in the thirty-six motets of Palestrina's Motectus festorum totius anni cum communi sanctorum, published in 1564. Schubert describes these blocks of vertical relationships that proceed from duos as modules and organizes them according to categories of construction and function. Palestrina's parody Mass, O Rex glóriæ, reveals the same duos and modules that Schubert discovers in Palestrina's motet of the same name. Palestrina transfers these duos and modules from the motet into the parody Mass, using them as building blocks for points of imitation. The duos, modules, and their motives appear in all but a few places, and are in some cases prominent throughout movements of the Mass, such as the Kyrie. Palestrina manipulates and elaborates these duos and modules according to the character and text of each movement. He borrows them consistently in their original order, which he changes only for reasons of textual meaning or verbal similarity. The module approach to recurring vertical combinations, although a recent application, is valuable for recognizing and treating systematically the duo relationships and their elaboration that are described by late-Renaissance theorists, especially Fray Tomas de Sancte Maria. The identification and analytical interpretation of duos and modules in Palestrina's motet O Rex glóriæ and the parody Mass based on it yields insights not only into his compositional decisions as he adapts material from the motet for its new setting, but also into the potential value of modules as the basis for an analytical approach to the sacred vocal polyphony of the sixteenth century.
ContributorsMenefee, Catherine Ann (Author) / Holbrook, Amy (Thesis advisor) / Saucier, Catherine (Committee member) / Carpenter, Ellon (Committee member) / Arizona State University (Publisher)
Created2013
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013