Matching Items (39)
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- All Subjects: Clarinet and piano music
- All Subjects: Music Education
- Creators: Gardner, Joshua
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
Pre-collegiate clarinet instructors are often challenged to teach students both fundamental skills and repertoire with limited instructional time. Insufficient time may cause fundamental skills to be addressed at the expense of repertoire or repertoire study may limit time spent on fundamental development. This document provides a suggested repertoire list that categorizes pre-collegiate clarinet literature based on the fundamental skill addressed in each included piece. Teachers can select repertoire that allows students to concurrently refine a fundamental skill while preparing a piece for performance. Addressed fundamental topics include embouchure, expanding the range into the clarion and altissimo registers, articulation, breathing, intonation, finger technique, and musicality.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
ContributorsAustermann, Kelly R (Author) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2014
Description
The purpose of this project was to create a beginner-level oboe method book that provides equal attention to both the instrumental and musical concepts necessary for a beginner oboist. The existing literature for beginning oboe students focuses on two specific settings: full band classrooms, where students are playing and learning the instruments together, and private lesson settings, where one or a group of oboe students are focused on learning to play the oboe. Books written for band settings typically focus on teaching the students how to function as a part of the band, with extensive coverage of musical concepts; conversely, books for private lessons often assume a basic level of musical knowledge by the student, and focus heavily on how to play the instrument. This project provides the basis for a new book that combines these elements into a document that both band and private instructors would be able to use.
I began my project by collecting all of the extant beginner-level method books for the oboe, dividing them into those for band settings and those for lesson settings. I then created a detailed survey to analyze each book's contents so that in the new book I might address any and all shortcomings in the existing literature. I then distilled the results of this survey into charts, so that any teacher could look at the contents of each book and see how said book fits within the results. Once this was finished, I created an outline for the new method book, listing the contents of the front material, lessons, and back material. My outline sequences the musical and instrumental material together, providing students with all of information necessary to become a successful beginning oboist. I stopped short of selecting music or creating the book's layout, but my goal is to publish the completed book within the next year.
I began my project by collecting all of the extant beginner-level method books for the oboe, dividing them into those for band settings and those for lesson settings. I then created a detailed survey to analyze each book's contents so that in the new book I might address any and all shortcomings in the existing literature. I then distilled the results of this survey into charts, so that any teacher could look at the contents of each book and see how said book fits within the results. Once this was finished, I created an outline for the new method book, listing the contents of the front material, lessons, and back material. My outline sequences the musical and instrumental material together, providing students with all of information necessary to become a successful beginning oboist. I stopped short of selecting music or creating the book's layout, but my goal is to publish the completed book within the next year.
ContributorsAikens, William (Author) / Schuring, Martin (Thesis advisor) / Gardner, Joshua (Committee member) / Carpenter, Ellon (Committee member) / Arizona State University (Publisher)
Created2014
Description
In this study, I uncover the coded meanings of "urban" within the music education profession through an exploration and analysis of the discourse present in two prominent music education journals, Music Educators Journal (MEJ) and The Journal of Research in Music Education (JRME). Using critical discourse analysis (CDA), I investigate how the term "urban" is used in statements within a twenty-year time span (1991-2010), and how the words "inner-city," "at-risk," "race," and "diversity" are used in similar ways throughout the corpus. An in-depth examination of these five terms across twenty years of two major publications of the profession reveals attitudes and biases within the music education structure, uncovering pejorative themes in the urban music education discourse. The phrase "urban music education" is rarely defined or explained in the corpus examined in this study. Rather, the word "urban" is at times a euphemism. Based on a CDA conducted in this study, I suggest that "urban" is code for poor, minority, and unable to succeed. Relying on the philosophical ideas of Michel Foucault, I uncover ways in which the profession labels urban music programs, students, and teachers and how the "urban music education" discourse privileges the White, suburban, middle class ideal of music education. I call for an evaluation of the perceptions of "success" in the field, and advocate for a paradigm shift, or different methods of knowing, in order to provide a more just teaching and learning space for all music education actors.
ContributorsFarmer, Dawn Marie (Author) / Stauffer, Sandra L. (Thesis advisor) / Schmidt, Margaret (Committee member) / Solis, Theodore (Committee member) / Sullivan, Jill M. (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2015
Description
This multiple-case study addresses the nature of the out-of-school musical engagements of four undergraduate students who were enrolled as jazz studies majors in a large school of music in the U.S. southwest. It concerns what they did musically when they were outside of school, why they did what they did, what experiences they said they learned from, and how their out-of-school engagements related to their in-school curriculum. Research on jazz education, informal learning practices in music, and the in-school and out-of-school experiences of students informed this study. Data were generated through observation, interviews, video blogs (vlogs), and SMS text messages.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
ContributorsLibman, Jeffrey B (Author) / Tobias, Evan (Thesis advisor) / Kocour, Michael (Committee member) / Schmidt, Margaret (Committee member) / Solis, Theodore (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2014
Description
Dr. Jerold D. Ottley's twenty-five years leading the Mormon Tabernacle Choir resulted in many distinguished awards and recognitions for the ensemble. Included among these are two Platinum and three Gold records from the Recording Industry Association of America, an Emmy from the Academy of Television Arts and Sciences, and two Freedom Foundation Awards for service to the country. He conducted the Choir at two presidential inaugurations, Ronald Reagan's in 1981 and George H. W. Bush's in 1989, as well as performances at the 1984 Los Angeles Olympics Gala. He presided over eleven international tours to twenty-six countries and crisscrossed the United States for engagements in nearly every region of the country. Despite the awards, commendations, and increased recognition of the Choir, Ottley's greatest contributions were largely internal to the organization. Jerold Ottley is a skilled music educator, administrator, and emissary. Application of these proficiencies while at the helm of the Choir, led to what are, arguably, his three largest contributions: 1) as educator, he instituted in-service training for choir members, raising the level of their individual musicianship, thereby improving the technical level of the entire Choir; 2) as administrator, Ottley created policies and procedures that resulted in a more disciplined, refined ensemble; and 3) as emissary, he raised the ensemble's reputation among the general public and with music professionals. For the general public, he significantly broadened the Choir's repertoire and traveled frequently thereby reaching a wider audience. He secured greater respect among music professionals by inviting many of them to work directly with the Choir. The results were unparalleled. Ottley's twenty-five year tenure with the Choir is reflected in broader audiences, increased professional acceptance, added organizational discipline, and unprecedented musical proficiency. It is a notable legacy for a man who reportedly never felt comfortable as director of the Mormon Tabernacle Choir.
ContributorsArchibald, Lyle Jay (Author) / Gentry, Gregory (Thesis advisor) / Britton, David (Committee member) / DeMars, James (Committee member) / Doan, Jerry (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2011
Description
The 14th Army Band of the Women’s Army Corps (WAC) occupied a unique role as the longest activated all-female military band unit in the United States. Carrying forth the lineage of the 400th Army Service Forces Band, which was the first of five all-female WAC bands organized during World War II, the ensemble was reconstituted and activated as the 14th Army Band (WAC) on August 16, 1948 at Fort George G. Meade, Maryland. After six months of training, the band was relocated first to Fort Lee, Virginia on March 5, 1949, and then to Fort McClellan, Alabama on August 5, 1954.
Operating under the command of twelve female officers and three enlisted band leaders during its history, the 14th Army Band (WAC) performed extensively throughout the United States while simultaneously providing musical support for military and civilian functions at its home duty stations. Able to advantageously promote the novelty of its uniqueness as an all-female ensemble to attain celebrity-like exposure, the band impressed audiences with its high level of musical proficiency, entertaining versatility, and military professionalism.
To document women’s roles as instrumental musicians and to fill gaps in American band and music education histories, this study examines the organizational developments, key leaders, musical training, repertoire, and mission-related activities of the 14th Army Band (WAC) from the time it arrived at Fort Lee in 1949 until its final performance at Fort McClellan on May 14, 1976.
Prior to World War II, females were not permitted to participate in military bands in America. The women of the 14th Army Band (WAC) proved, however, that they were more than capable of fulfilling the Army’s musical mission, and as role models, they paved the way for the participation of all females in American military bands today.
Operating under the command of twelve female officers and three enlisted band leaders during its history, the 14th Army Band (WAC) performed extensively throughout the United States while simultaneously providing musical support for military and civilian functions at its home duty stations. Able to advantageously promote the novelty of its uniqueness as an all-female ensemble to attain celebrity-like exposure, the band impressed audiences with its high level of musical proficiency, entertaining versatility, and military professionalism.
To document women’s roles as instrumental musicians and to fill gaps in American band and music education histories, this study examines the organizational developments, key leaders, musical training, repertoire, and mission-related activities of the 14th Army Band (WAC) from the time it arrived at Fort Lee in 1949 until its final performance at Fort McClellan on May 14, 1976.
Prior to World War II, females were not permitted to participate in military bands in America. The women of the 14th Army Band (WAC) proved, however, that they were more than capable of fulfilling the Army’s musical mission, and as role models, they paved the way for the participation of all females in American military bands today.
ContributorsKerbey, Therese D (Author) / Sullivan, Jill M. (Thesis advisor) / Tobias, Evan (Committee member) / Solis, Theodore (Committee member) / Schmidt, Margaret (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2015
Description
Historically, music and the experiences of deaf or hard-of-hearing (DHH) individuals have been intertwined in one manner or another. However, music has never ignited as much hope for the “improvement” of the Deaf experience as during the American oralist movement (ca. 1880-1960) which prioritized lip-reading and speaking over the use of sign language. While it is acknowledged that the oralist movement failed to provide the best possible education to many American DHH students and devastated many within the Deaf community, music scholars have continued to cite publications by oralist educators as rationales for the continued development of music programs for DHH students.
This document is an attempt to reframe the role of music during the American oralist movement with a historical account of ways music was recruited as a tool for teaching vocal articulation at schools for the deaf from 1900 to 1960. During this time period, music was recruited simply as a utility to overcome disability and as an aid for assimilating into the hearing world rather than as the rich experiential phenomenon it could have been for the DHH community. My goal is to add this important caveat to the received history of early institutional music education for DHH students. Primary sources include articles published between 1900 and 1956 in The Volta Review, a journal founded by the oralist leader Alexander Graham Bell (1847-1922).
This document is an attempt to reframe the role of music during the American oralist movement with a historical account of ways music was recruited as a tool for teaching vocal articulation at schools for the deaf from 1900 to 1960. During this time period, music was recruited simply as a utility to overcome disability and as an aid for assimilating into the hearing world rather than as the rich experiential phenomenon it could have been for the DHH community. My goal is to add this important caveat to the received history of early institutional music education for DHH students. Primary sources include articles published between 1900 and 1956 in The Volta Review, a journal founded by the oralist leader Alexander Graham Bell (1847-1922).
ContributorsLloyd, Abby Lynn (Author) / Norton, Kay (Thesis advisor) / Gardner, Joshua (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2017
Description
This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
ContributorsChenoweth, Woodrow (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Gardner, Joshua (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2019
Description
Two different techniques utilizing vocalization in clarinet performance were examined through a research study in which one subject (the author) played several tasks utilizing each technique with different played pitches, vocalized pitches, and dynamic levels for each task. The first technique was singing while playing, which is also sometimes referred to as growling. This technique is produced by engaging the vocal folds during regular clarinet performance to create a second vocalized pitch that resonates in the oral cavity and exits through the mouthpiece as part of the same air stream as that used by the vibrating reed. The second technique studied was a much more recently pioneered technique that the author has labelled humming while playing due to its similarity to traditional humming in vocal pedagogy. This technique is produced by filling the oral cavity with air, sealing it off from the rest of the vocal tract using the tongue and soft palate, and humming through the nasal cavity. The cheeks are simultaneously used to squeeze air into the mouthpiece to maintain the clarinet pitch, much like in the technique of circular breathing.
For the study, audio, nasalance, and intraoral pressure data were collected and analyzed. Audio was analyzed using spectrograms and root mean square measurements of sound pressure for intensity (IRMS). Analysis of the nasalance data confirmed the description of the physiological mechanisms used to generate the humming while playing technique, with nasalance values for this technique far exceeding those for both singing while playing and regular playing. Intraoral pressure data showed significant spikes in pressure during the transitions from the regular air stream to air stored in the oral cavity when humming while playing. Audio analysis showed that the dynamic range of each technique is similar to that of regular playing, and that each technique produces very different and distinct aural effects.
This information was then used to help create a method to assist performers in learning how to produce both singing and humming while playing and a resource to help educate composers about the possibilities and limitations of each technique.
For the study, audio, nasalance, and intraoral pressure data were collected and analyzed. Audio was analyzed using spectrograms and root mean square measurements of sound pressure for intensity (IRMS). Analysis of the nasalance data confirmed the description of the physiological mechanisms used to generate the humming while playing technique, with nasalance values for this technique far exceeding those for both singing while playing and regular playing. Intraoral pressure data showed significant spikes in pressure during the transitions from the regular air stream to air stored in the oral cavity when humming while playing. Audio analysis showed that the dynamic range of each technique is similar to that of regular playing, and that each technique produces very different and distinct aural effects.
This information was then used to help create a method to assist performers in learning how to produce both singing and humming while playing and a resource to help educate composers about the possibilities and limitations of each technique.
ContributorsRuth, Jeremy Larkham (Author) / Gardner, Joshua T (Thesis advisor) / Spring, Robert S (Thesis advisor) / Schmelz, Peter J (Committee member) / Weinhold, Juliet (Committee member) / Arizona State University (Publisher)
Created2019