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This study examined attitudes and perspectives of classroom guitar students toward the reading of staff notation in music. The purpose of this qualitative research was to reveal these perceptions in the student's own words, and compare them to those of orchestra and band students of comparable experience. Forty-seven students from

This study examined attitudes and perspectives of classroom guitar students toward the reading of staff notation in music. The purpose of this qualitative research was to reveal these perceptions in the student's own words, and compare them to those of orchestra and band students of comparable experience. Forty-seven students from four suburban middle and high schools on the east coast were selected through purposeful sampling techniques. Research instruments included a Musical Background Questionnaire and a thirty-five question Student Survey. Follow-up interviews were conducted with students to clarify or expound upon collected data. Guitar, orchestra, and band teachers were interviewed in order to provide their perspectives on the issues discussed. The Student Survey featured a five-point Likert-type scale, which measured how much students agreed or disagreed with various statements pertaining to their feelings about music, note-reading, or their class at school. Collected data were coded and used to calculate mean scores, standard deviations, and percentages of students in agreement or disagreement with each statement. Interviews were audio recorded and transcribed into a word processing document for analysis. The study found that while a variety of perspectives exist within a typical guitar class, some students do not find note-reading to be necessary for the types of music they desire to learn. Other findings included a perceived lack of relevance toward the classical elements of the guitar programs in the schools, a lack of educational consistency between classroom curricula and private lesson objectives, and the general description of the struggle some guitarists experience with staff notation. Implications of the collected data were discussed, along with recommendations for better engaging these students.
ContributorsWard, Stephen Michael (Author) / Koonce, Frank (Thesis advisor) / Schmidt, Margaret (Thesis advisor) / Buck, Nancy (Committee member) / Rogers, Rodney (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / McLin/Campbell Duo (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-23
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Description
Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his

Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his popularity among high-ranking political figures during the time of the Mexican Revolution as well as his status in the Mexican music scene.

Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.

In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.

This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
ContributorsEkenes, Spencer Arvin (Author) / McLin, Katherine (Thesis advisor) / Feisst, Sabine (Committee member) / Jiang, Danwen (Committee member) / Arizona State University (Publisher)
Created2016
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Description
Armenian music has a rich history. It started as independent, monodic song, and succeeded in keeping its uniqueness from the influences of other countries' musical traditions. During the nineteenth century the great Armenian musicologist and composer Komitas started to travel and write down these songs from Armenian villages. Komitas, who

Armenian music has a rich history. It started as independent, monodic song, and succeeded in keeping its uniqueness from the influences of other countries' musical traditions. During the nineteenth century the great Armenian musicologist and composer Komitas started to travel and write down these songs from Armenian villages. Komitas, who had higher education in Western classical music, was one of the first composers to harmonize Armenian songs and sacred music using Western classical techniques. This was a milestone in the development of Armenian music. Arno Babajanian was a Soviet Armenian composer who, like Komitas, was interested in the combinations of Armenian folk and Western classical traditions. This document provides a formal and harmonic analysis of his Piano Trio in F-Sharp Minor, written in 1952. By identifying Armenian folk tunes used in his trio, I will demonstrate that Babajanian achieved interesting results by inserting exotic Armenian folk melodies, harmonies, and other elements into the Western classical sonata form. This document also points out the influence of other composers of the Soviet era on Babajanian's music. By combining Armenian folk and western classical elements in his Piano Trio, Babajanian created a piece that resonates with native Armenians and classical music lovers and deserves a place in the violin repertoire.
ContributorsTumajyan, Artur (Author) / McLin, Katherine (Thesis advisor) / Carpenter, Ellon (Committee member) / Jiang, Danwen (Committee member) / Arizona State University (Publisher)
Created2016
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Description
ABSTRACT



Classical violin playing and American fiddle music have traditionally been seen as separate musical worlds. Classical violinists practice and study long hours to master a standard repertoire of concertos and sonatas from the Western European school of art music. Fiddlers pride themselves on a rich tradition passed

ABSTRACT



Classical violin playing and American fiddle music have traditionally been seen as separate musical worlds. Classical violinists practice and study long hours to master a standard repertoire of concertos and sonatas from the Western European school of art music. Fiddlers pride themselves on a rich tradition passed down through generations of informal jam sessions and innovation through improvisation. Mark O'Connor's Fiddle Concerto, premiered in 1993, sounds like a contradiction at first: a quintessential classical form combined with traditional fiddle playing. Examination of the Fiddle Concerto will show that the piece contains classical and fiddle-style elements simultaneously, creating an effective hybrid of the two styles. This document will explore how the history of the classical violin concerto and American fiddle music converge in Mark O'Connor's Fiddle Concerto. To gain an understanding of O'Connor's composition process, I submitted to him a list of questions, via email, in the summer of 2016. O'Connor’s responses provide a unique insight into the genesis of the Fiddle Concerto and his vision for musical compositions that originate from multiple genres. Chapter four of this document will discuss the melodic themes, formal makeup, and techniques presented in the Fiddle Concerto and show how both classical and fiddle elements coexist in the piece. The result of the mix is an exciting work that appeals to a broad audience of music lovers. The final chapter of this document will explore the growing repertoire of music created by cross-pollinating from different styles to create a new style, including selected O'Connor compositions completed since the Fiddle Concerto, as well as similar works by other composers who combined classical elements with other musical styles.
ContributorsYoungblood, Beth (Violinist) (Author) / Jiang, Danwen (Thesis advisor) / Norton, Kay (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsKoehler, Hope (Performer) / Aldridge, Erin (Performer) / Mills, Robert (Performer) / ASU Library. Music Library (Publisher)
Created2007-11-04
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2022-09-16
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2014-09-07
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / McLin/Campbell Duo (Performer) / ASU Library. Music Library (Publisher)
Created2017-09-24
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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

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