Matching Items (43)
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- All Subjects: Clarinet and piano music
- All Subjects: Music Education
- Creators: Gardner, Joshua
Description
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
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
Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous Computing Laboratory. Performance tasks included performing a slurred three-octave chromatic scale in sixteenth notes, at sixty quarter-note beats per minute, three times, with a metronome and a short pause between repetitions, and forming three pedagogical hand postures. Following the CyberGloves® tasks, each subject completed a questionnaire about equipment, playing history, practice routines, health practices, and hand usage during computer and sports activities. CyberGlove® data were analyzed to find average hand/finger postures and differences for each pitch across subjects, subject variance in the performance task and differences in ascending and descending postures of the chromatic scale. The data were also analyzed to describe generalized finger posture characteristics based on hand size, whether right hand thumb position affects finger flexion, and whether professional clarinetists use similar finger/hand postures when performing on clarinet, holding a tennis ball, allowing hands to hang freely by the sides, or form a "C" shape. The findings of this study suggest an individual approach based on hand size is necessary for teaching clarinet hand posture.
ContributorsHarger, Stefanie (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Stauffer, Sandy (Committee member) / Arizona State University (Publisher)
Created2011
Description
Christopher Caliendo is a guitarist/composer who has written for a variety of performance mediums. His works been performed on international concert stages and recorded for film and television media. His compositions have garnered him the Henry Mancini Award for Film Composition, the Artin Arslanian Scholarship for Humanities, and the Peabody Grant for Scholarship. He has also received two commissions from the Vatican in 1992 and 1995. In 1988, he received an Emmy nomination for his work with the television series Paradise. The purpose of this project is to present a study of selected clarinet works by Christopher Caliendo: The Tango Concerto No. 1 is a three-movement work that Caliendo arranged for clarinet and piano in 2010, The Little Gypsy was written for solo clarinet, and Jal, Ven a mis Brazos, Amanacer, La Milonga, Acariciame, Amor Perdido, Caliente, Impulso, and Passione comprise a series of nine guitar/clarinet duos that were composed or arranged between 2009 and 2010. The document is comprised of a brief description of the career and compositions of Christopher Caliendo, a performer's guide to the selected works, a track listing for the performance recording, and a list of Caliendo's other clarinet and chamber music compositions that are intended for the concert stage. It is the hope of the author that this project can generate more interest in Christopher Caliendo's clarinet repertoire throughout the clarinet community.
ContributorsQuamo, Jeff (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Kocour, Michael (Committee member) / Hackbarth, Glenn (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
This final research paper provides both a performer's perspective and a recording of double clarinet literature by William O. Smith (b. 1926), Eric Mandat (b. 1957), and Jody Rockmaker (b. 1961). The document includes musical examples, references to the recording, and interviews with the composers. The first chapter contains a brief literature review of sources on world double clarinets, biographies of the above-mentioned composers, and other pertinent information. Chapters 2-4 include the performer's perspective on the following works: Epitaphs for Double Clarinet by William O. Smith, Double Life for Solo Clarinet by Eric Mandat, and two compositions by Jody Rockmaker, Half and Half for demi-clarinet in A, and Double Dip. The final chapter examines how double clarinet music has evolved, the challenges and limitations of the repertoire, and the future of the double clarinet genre.
ContributorsEndel, Kimberly Michelle (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua (Committee member) / Norton, Kay (Committee member) / Micklich, Albie (Committee member) / Arizona State University (Publisher)
Created2013
Description
Several contemporary clarinet works use Chinese folk music elements from different regions in new compositions to entice listener's and performer's appreciation of Chinese culture. However, to date, limited academic research on this topic exists. This research paper introduces six contemporary clarinet works by six Chinese composers: Qigang Chen's Morning Song, Yan Wang's Mu ma zhi ge (The Song of Grazing Horses), An-lun Huang's Capriccio for Clarinet and Strings Op. 41, Bijing Hu's The Sound of Pamir Clarinet Concerto, Mei-Mi Lan's Concerto for Clarinet and String Orchestra with Harp and Percussion, and Yu-Hui Chang's Three Fantasias for Solo Clarinet in B-flat. They are examined from different perspectives, including general structure, style, and rejuvenated folk music use. The focus of this research paper is to investigate the use of Chinese folk music in several works in collaboration with the composers. The author found that although contemporary composers use Chinese folk music differently in their works (i.e., some use melodies, others use harmony, while others use modes), each work celebrates the music and culture of the folk music on which the pieces are based. It is the author's hope to stimulate people's interest in music using Chinese folk music elements, and bring these lesser known works into the common clarinet repertoire.
ContributorsFeng, Chiao-Ting (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Committee member) / Micklich, Albie (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
New music is often created as a product of commissions resulting in a collaborative effort between the performer and the composer. This performer-composer relationship represents an important component of the role of the artist in expanding the repertoire of the instrument. Belgian composer, Norbert Goddaer (b. 1933), has written numerous works for clarinet that are the result of such collaborations. Mr. Goddaer's works for clarinet are well-crafted and audience-friendly, and are thus good programming choices for students and professionals alike. His clarinet works have been performed worldwide in artist recitals, conferences for organizations such as the International Clarinet Association, The Midwest Clinic, and the Texas Music Educators Association, and have been commercially recorded and released by some of the foremost contemporary clarinet artists. These works have a great education value given the fact that they are appropriate choices for such a wide range of clarinetists. In an effort to contribute to this body of performance history, the author has produced a recording of five of Goddaer's previously unrecorded works, accompanied by a performance guide to each work. This document provides detailed performance notes with corresponding musical examples, basic formal analyses, and musical suggestions for Las Mañas, Conversations, Ballad, Duets, and Restless by Norbert Goddaer. The author has included a full transcript of an interview with Norbert Goddaer, which includes a first-person discussion of each work, and additionally includes biographical information supported by concert programs and an annotated list of all of Goddaer's works for clarinet, and a discography of his works for clarinet.
ContributorsClasen, Kevin (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Committee member) / Norton, Kay (Committee member) / Hill, Gary (Committee member) / McAllister, Timothy (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsGardner, Joshua (Performer) / Novak, Gail (Pianist) (Performer) / Pan, Tiffany (Performer) / Murphy, Patrick (Performer) / Gardner, Stefanie (Performer) / Kluesener, Joseph (Performer) / Egide Duo (Performer) / Paradise Winds (Performer) / ASU Library. Music Library (Publisher)
Created2022-09-04
ContributorsGardner, Joshua (Performer) / Novak, Gail (Pianist) (Performer) / Gardner, Stefanie (Performer) / Spring, Robert (Performer) / Pan, Tiffany (Performer) / Murphy, Patrick (Performer) / Kluesener, Joseph (Performer) / Egide Duo (Performer) / Paradise Winds (Performer) / ASU Library. Music Library (Publisher)
Created2023-09-10