Matching Items (119)
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- All Subjects: Music
- All Subjects: Chamber music
- Creators: Norton, Kay
ContributorsRoux, Robert Joseph, 1949- (Performer) / May, Judy (Performer) / Lombardi, Eugene (Performer) / Atsumi, Takayori (Performer) / Kliewer-Britton, Darleen (Performer) / Hoover, Eric (Performer) / Spring, Robert (Performer) / Hamilton, Robert, 1937- (Performer) / Lockwood, Ralph (Performer) / ASU Library. Music Library (Publisher)
Created1989-02-23
ContributorsStocker, David, 1939- (Performer) / Hoffer, Warren (Performer) / May, Judy (Performer) / Metz, John (Performer) / Kliewer-Britton, Darleen (Performer) / Britton, David (Performer) / Hoover, Eric (Performer) / Hanusofski, Steven (Performer) / Wytko, Joseph (Performer) / Smith, J. B., 1957- (Performer) / Lockwood, Ralph (Performer) / Strange, Richard E. (Richard Eugene) (Performer) / Wind Ensemble (Performer) / University Choir (Performer) / ASU Library. Music Library (Publisher)
Created1988-02-23
ContributorsHoover, Eric (Performer) / Sellheim, Eckart (Performer) / Kliewer-Britton, Darleen (Performer) / May, Judy (Performer) / Hoffer, Warren (Performer) / Capps, Ferald (Performer) / Spring, Robert (Performer) / Mutschler, Marla (Performer) / Magers, William (Performer) / Swaim, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created1991-03-05
Description
In 2015, the Wu-Tang Clan released a single CD copy of their seventh studio album, Once Upon a Time in Shaolin. Musically, the album was intended to provide “sonic closure,” channeling the style of the group’s early albums. Wu-Tang “Abbot” RZA and affiliate producer Cilvaringz were the only members involved throughout the entire recording and production process. The decision to release only a single copy protested the impoverished musical experience brought on by music’s mass reproducibility and ubiquity–an outcome of data capitalism. While many fans of the group took issue with the method of protest, different media have long affected interactions in the world, and RZA’s and Cilvaringz's claims are not completely unfounded. Research from various fields, including musicology, computer science, and sociology, shows how digitization specifically has changed music consumption through streaming services. By tracing the album from its conceptual origin to its purchase by pharmaceutical CEO Martin Shkreli and current ownership by NFT (nonfungible token) collective PleasrDAO, the album's value is presented through the data capitalist, corporate, and cultural lenses. Drawing on work from KRS-One, Lydia Goehr, and Frantz Fanon shows a dialectical relationship between cultural and corporate values. As a result, artists and listeners are faced with navigating both, even as they are subject to exploitation in the production and consumption of music by neoliberalism and data capitalism. In the end, Once Upon a Time in Shaolin succeeds in starting a debate, but its protest against data capitalism is complicated by its recent NFT status.
ContributorsCullen, Audrey Ann (Author) / Wells, Christi Jay (Thesis advisor) / Norton, Kay (Committee member) / Fossum, Dave (Committee member) / Arizona State University (Publisher)
Created2024
Description
History has long been stamped with the name of Carl Czerny in the domain of piano pedagogy, due to the substantial number of didactic piano exercises that Czerny produced. As a result, Czerny’s “canonic” pedagogical works have overshadowed other unrecognized piano études. At the turn of the nineteenth century, the cultivated form of concert études entered the output of almost every pianist-composer, and yet traditionally, attention in piano pedagogy has centered on études by Czerny, Burgmüller, Liszt, Schumann and Chopin. More recent research pays tribute to études by other composers, such as Clementi, Cramer, Hummel and Moscheles. The current lack of documentation and analysis of piano études written by female pianists is undeservedly a great loss to pedagogy and keyboard literature. Not only do these études give modern musicians a glimpse into the pianism and professionalism of the earliest accomplished women pianists, but the varieties in their études also form a comprehensive training method that ranges from the intermediate level to the advanced level. The virtuosity and brilliance of the advanced études deserve to be considered in league with other long-standing piano études that have already been glorified and performed throughout history. The purpose of this pedagogical study is to shed light on these hidden treasures of études which are invaluable pedagogical resources. To concisely demonstrate the varieties of pianistic techniques, this analysis will focus solely on two collections of études: Eight Übungsstücke (1823) by Fanny Mendelssohn Hensel (1805 – 1847), and Six Concert de Études Op. 11 (1881) by Agathe Backer Grøndahl (1847 – 1907).
ContributorsChan, Ka Hou (Author) / Meir, Baruch (Thesis advisor) / Creviston, Hannah (Thesis advisor) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2023
Description
In recent years, several Indigenous female artists have emerged in country music. Given that country music is closely associated with whiteness, it may seem an unexpected form of expression for Indigenous women. So, why and how do Indigenous women make country music? I argue that country music appeals to these women due to its adaptability as a genre and its propensity for telling stories. Additionally, I identify several distinct strategies that these women use to interact with the genre and approach their own music making. I support my argument through a series of analyses of three country songs by Indigenous female country singers: “All I See is Red (Ten Little Indians)” by Kelly Derrickson; “Pray Sister Pray” by Crystal Shawanda; and “Run Carly Run” by Jade Turner. Some of the strategies these artists employ disrupt norms of the genre, foregrounding these women’s Indigenous identity and activism, while other strategies more subtly exploit resonances between Indigenous concerns or cultural practices and aspects of country music to assert their position within the genre. My discussion of these strategies draws on theorizations of intertextuality, interdiscursivity, and positionality from linguistic anthropology. Examining the strategies Indigenous artists use and highlighting the agency they have in the creation of their music reveals not only how they take up the genre but also how they are reshaping it.
ContributorsBaril, Alexis (Author) / Fossum, Dave (Thesis advisor) / Norton, Kay (Committee member) / Reed, Trevor (Committee member) / Arizona State University (Publisher)
Created2023
Description
This paper provides an in-depth examination of Sergei Prokofiev's Second Violin Concerto, Op. 63. Closer study of the full score supports the need for a new piano reduction. Composed in 1935, this concerto occupies an important place within Soviet music, and is a staple in solo violin repertoire. Its orchestration is distinguished by a Neo-classical style with a modern sensibility. A notable aspect of this orchestration is the absence of timpani in the percussion section. Instead, Prokofiev selected snare drum, bass drum, castanets, suspended cymbal, and triangle, which contribute to the unique character of this concerto. Prior to this reduction, pianists faced unplayable and cumbersome passages, a direct result of including too many disparate elements from the orchestration. Additionally in piano reductions to date, there is a conspicuous absence of vital percussive and instrumental parts that are crucial elements of the full orchestral score. These shortcomings not only present considerable challenges to pianists, who are then tasked with further reducing and arranging of the piano part, but also compromise the composer’s intended musical expression. Consequently, this paper advocates for the critical necessity of a new piano reduction of Prokofiev’s Op. 63 Violin Concerto. This new piano reduction rectifies existing deficiencies and discrepancies, thereby enhancing practical playability. Most significantly, this revision offers a more faithful representation of Prokofiev’s original orchestration and artistic vision. Furthermore, it provides insights into the complexities involved in adapting orchestral compositions, underscoring the need for thoughtful reinterpretation in the transcription process. These insights may be applied to other concerto reductions.
ContributorsHsieh, Alison (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell R (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2024
Description
Music memorization is a very broad topic with many variables, which changes from case to case. This study mentions historical development, benefits of memorizing music, challenges musicians face with music memorization, and current methods and strategies. It summarizes experiments and studies in various fields including visual design, neuroscience, music, and physiology. It aims to help musicians to make a better judgment in the future about whether to memorize a certain piece of music or not, and to provide effective strategies that can be used.
ContributorsChen, Kemi (Author) / Compitello, Michael (Thesis advisor) / Norton, Kay (Committee member) / Shea, Nicholas (Committee member) / Arizona State University (Publisher)
Created2024
ContributorsSchuller, Gunther (Performer) / Perantoni, Daniel (Performer) / Lockwood, Ralph (Performer) / McLeod, Lois (Performer) / May, Judy (Performer) / Hamilton, Robert, 1937- (Performer) / Magers, William (Performer) / Lazarescu, Dumitru (Performer) / University Brass Choir (Performer) / ASU Library. Music Library (Publisher)
Created1988-12-04
ContributorsLockwood, Ralph (Performer) / Schulz, Paul (Performer) / Smith, J. B., 1957- (Performer) / Hoffer, Warren (Performer) / McLeod, Lois (Performer) / Hoover, Eric (Performer) / Metz, John (Performer) / Ung, Susan (Performer) / May, Judy (Performer) / Magers, William (Performer) / Meyer, Janice (Performer) / Wytko, Joseph (Performer) / Hickman, Miriam, 1955- (Performer) / ASU Library. Music Library (Publisher)
Created1988-02-29