Matching Items (16)
Filtering by
- All Subjects: Clarinet and piano music
- All Subjects: Music Education
- Status: Published
Description
Although music is regarded as a universal language, it is rare to find musicians of different ages, ability levels, and backgrounds interacting with each other in collaborative performances. There is a dearth of mixed-ability-level wind band and string orchestra repertoire, and the few pieces that exist fail to celebrate the talents of the youngest and least-experienced performers. Composers writing music for school-age ensembles have also been excluded from the collaborative process, rarely communicating with the young musicians for whom they are writing.
This project introduced twenty-nine compositions into the wind band and string orchestra repertoire via a collaboration that engaged multiple constituencies. Students of wind and string instruments from Phoenix’s El Sistema-inspired Harmony Project and the Tijuana-based Niños de La Guadalupana Villa Del Campo worked together with students at Arizona State University and composers from Canada, Finland, and across the United States to learn and record concertos for novice-level soloists with intermediate-level accompaniment ensembles.
This project was influenced by the intergenerational ensembles common in Finnish music institutes. The author provides a document which includes a survey of the existing concerto repertoire for wind bands and previous intergenerational and multicultural studies in the field of music. The author then presents each of the mixed-ability concertos created and recorded in this project and offers biographical information on the composers. Finally, the author reflects upon qualitative surveys completed by the project’s participants.
Most the new concertos are available to the public. This music can be useful in the development and implementation of similar collaborations of musicians of all ages and abilities.
This project introduced twenty-nine compositions into the wind band and string orchestra repertoire via a collaboration that engaged multiple constituencies. Students of wind and string instruments from Phoenix’s El Sistema-inspired Harmony Project and the Tijuana-based Niños de La Guadalupana Villa Del Campo worked together with students at Arizona State University and composers from Canada, Finland, and across the United States to learn and record concertos for novice-level soloists with intermediate-level accompaniment ensembles.
This project was influenced by the intergenerational ensembles common in Finnish music institutes. The author provides a document which includes a survey of the existing concerto repertoire for wind bands and previous intergenerational and multicultural studies in the field of music. The author then presents each of the mixed-ability concertos created and recorded in this project and offers biographical information on the composers. Finally, the author reflects upon qualitative surveys completed by the project’s participants.
Most the new concertos are available to the public. This music can be useful in the development and implementation of similar collaborations of musicians of all ages and abilities.
ContributorsBrooks, Melanie Jane (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason K (Thesis advisor) / Belgrave, Melita (Committee member) / Holbrook, Amy (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsRaval, Shanti (Performer) / Harrel, Michael (Performer) / Novak, Gail (Pianist) (Performer) / Xing, Wei (Performer) / Fritz, Matthew (Performer) / ASU Library. Music Library (Publisher)
Created2003-04-18
ContributorsJohnson, Kelly (Performer) / Novak, Gail (Pianist) (Performer) / Oberlander, Lisa (Performer) / ASU Library. Music Library (Publisher)
Created1996-12-06
Description
This project is intended to fill gaps in the professional knowledge of music educators in the state of Arizona concerning the pedagogy, content, and importance of a visual education program in the scholastic marching band. It also aims to contribute to the general pool of knowledge surrounding visual education. While music educators are often expected to begin teaching marching band immediately following their graduation, many do not ever receive proper training in the visual aspect of the marching arts. The marching band is the most visible element of a holistic educational music program, and often represents the school to the community and the educator to their administrators. While significant music training is given at the collegiate level, many educators have not had further experience in the marching arts. The author uses his experience in Drum Corps International, as well as in teaching marching band to synthesize research-based practices into a handbook of immediately applicable visual pedagogical information that would be immediately useful to any music educator.
ContributorsGerald, Thomas (Author) / Swoboda, Deanna (Thesis director) / Quamo, Jeff (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsOberlander, Lisa (Performer) / Novak, Gail (Pianist) (Performer) / Spring, Robert (Performer) / ASU Library. Music Library (Publisher)
Created2017-01-23
ContributorsOberlander, Lisa (Performer) / Novak, Gail (Pianist) (Performer) / Simiz, Maria (Performer) / ASU Library. Music Library (Publisher)
Created1996-02-26
ContributorsOberlander, Lisa (Performer) / Novak, Gail (Pianist) (Performer) / Johnson, Kelly (Performer) / Daubenberger, Lisa (Performer) / Storochuk, Allison (Performer) / ASU Library. Music Library (Publisher)
Created1995-04-02
ContributorsOberlander, Lisa (Performer) / Fearey, Mark (Performer) / ASU Library. Music Library (Publisher)
Created1994-04-23
Description
The purpose of this document is to identify contemporary issues facing female-identifying professional trombonists today. Interviews were conducted with three prominent women in the international trombone community, including questions that sought to foster discussion on the extent to which their experience as professional trombonists was influenced by their gender. The topic of microaggressions emerged as significant, as it became clear throughout the interview process that these women experience microaggressions far more commonly than overt gender discrimination, as did the topic of coping mechanisms. The interview questions also sparked discussions of identity, self-motivation, and local cultural norms within the context of each woman’s musical career.
ContributorsBroome-Robinson, Julia (Author) / Edwards, Bradley (Thesis advisor) / Swoboda, Deanna (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2020
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