Matching Items (40)
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- All Subjects: Music
- Language: English
- Creators: Swoboda, Deanna
Description
This document details the conception and creative process of fundamental exercises intended for the refinement of orchestral repertoire for the tuba. Performance practices and study materials that relate to the orchestral tubist have evolved significantly over the instrument’s history. Although much of its current methodology is derived from the pedagogical insights of the brass family, resources intended to specifically address the unique musical and technical challenges of the tuba have become more prevalent in the past decade. This study aims to detail the conception of exercises that target the skills necessary for the realization of eight excerpts. It also begs the question: what might a new resource encompass that would differentiate its quality and intent from existing materials?
To create a resource that is reflective of current trends and standards in tuba performance, a dialogue was established with several professional tubists through the creation of an online survey. Respondents’ interpretations of each included excerpt were assessed by generalized, specific, and quantifiable feedback. This data was then utilized to directly inform the creative process of supplementary exercises for the included repertoire. The project fulfills its intent to serve as an educational resource, and has strong potential to expand its coverage to additional excerpts with further professional insights.
To create a resource that is reflective of current trends and standards in tuba performance, a dialogue was established with several professional tubists through the creation of an online survey. Respondents’ interpretations of each included excerpt were assessed by generalized, specific, and quantifiable feedback. This data was then utilized to directly inform the creative process of supplementary exercises for the included repertoire. The project fulfills its intent to serve as an educational resource, and has strong potential to expand its coverage to additional excerpts with further professional insights.
ContributorsRyall, Blake (Author) / Swoboda, Deanna (Thesis advisor) / Edwards, Bradley (Committee member) / Smith, Jeremy (Committee member) / Arizona State University (Publisher)
Created2020
Description
As research on injuries, performance anxiety, and general wellbeing of performing musicians broadens, many institutions and orchestra have begun to integrate health and wellness programs into their curriculums. Music is both a physical and mental discipline and the systemic practice of yoga may aid in developing good habits and body awareness, help musicians maintain proper posture, strengthen commonly injured parts of the body, remove stiffness, and combat performance anxiety.
While the musical world is recognizing the need to implement programs that preserve health and wellbeing, very few performing musicians are actually trained and certified to provide guidance in the area, particularly yoga. This document explores the history of yoga, since the studies used along with the authors experience encompass multiple schools and aspects of the yoga practice.
The author lays out the aspects of a successful performance: mental well-being, physical well-being, and preparedness of music. Studies are explored to provide understanding of the physical and mental challenges musicians frequently face. To aid in preventing and coping with these challenges, physical postures, breathing exercises, and meditation are the tools explored within this document.
The author utilizes scientific studies, research, anatomical knowledge, and yoga teaching experience to lay out the many ways that yoga may benefit musicians. This document concludes by to laying out sequences of postures for the reader. The postures, breath practices, and meditations suggested within these sequences are explained within the documents so that the reader may practice safely and correctly. The intention is that any performing musician is able to participate in the postures and sequences and benefit from the practice of yoga, without any yoga experience. The integration of yoga and performing musicians by qualified professionals could shift a readers experience with performance anxiety or performance injuries.
While the musical world is recognizing the need to implement programs that preserve health and wellbeing, very few performing musicians are actually trained and certified to provide guidance in the area, particularly yoga. This document explores the history of yoga, since the studies used along with the authors experience encompass multiple schools and aspects of the yoga practice.
The author lays out the aspects of a successful performance: mental well-being, physical well-being, and preparedness of music. Studies are explored to provide understanding of the physical and mental challenges musicians frequently face. To aid in preventing and coping with these challenges, physical postures, breathing exercises, and meditation are the tools explored within this document.
The author utilizes scientific studies, research, anatomical knowledge, and yoga teaching experience to lay out the many ways that yoga may benefit musicians. This document concludes by to laying out sequences of postures for the reader. The postures, breath practices, and meditations suggested within these sequences are explained within the documents so that the reader may practice safely and correctly. The intention is that any performing musician is able to participate in the postures and sequences and benefit from the practice of yoga, without any yoga experience. The integration of yoga and performing musicians by qualified professionals could shift a readers experience with performance anxiety or performance injuries.
ContributorsBorden, Brianne (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / Knowles, Kristina (Committee member) / Arizona State University (Publisher)
Created2020
Description
In undergraduate music curricula, the subjects of music theory and applied music are typically taught separately, with little connection made between them. As a result, students may compartmentalize their knowledge instead of applying it to the music they work on in the studio. This lack of connection can especially affect students studying the tuba, an instrument seldom represented in music theory textbooks and classrooms. This project proposes a way to use the applied tuba studio as a vehicle for a more integrated approach to music theory. Following a first-semester curriculum from Steven G. Laitz’s textbook, The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, fourth edition, études from Marco Bordogni’s 43 Bel Canto Studies for Tuba and H.W. Tyrrell’s 40 Advanced Studies for B-flat Bass, two popular tuba method books, are used to illustrate concepts the student is likely to encounter in music theory classes. By showing how what is learned in class can be applied to études the student is practicing, this approach encourages the student to see music theory as a subject that is relevant to their own musical pursuits while they work to improve their performance skills.
ContributorsMargolis, Robert (Author) / Swoboda, Deanna (Thesis advisor) / Holbrook, Amy (Committee member) / Ericson, John (Committee member) / Arizona State University (Publisher)
Created2019
Description
In preparation for an orchestral audition, one of the first considerations a trombonist will have in the study of an excerpt is the question of tempo. The selection of an appropriate tempo for a musical work is key to a successful performance of that work and can make the difference between winning an audition and losing it.
This project identifies the tempo of the top sixteen tenor trombone excerpts one is likely to perform in an audition by analyzing the tempo in recordings of professional orchestras. The data generated in the measurements of those recordings is analyzed in an effort to determine an appropriate tempo around which a trombonist preparing these excerpts might center their work. The goal of this project is to provide a resource for trombonists and trombone teachers as an aid in their determination of the ideal tempo of these excerpts.
This project identifies the tempo of the top sixteen tenor trombone excerpts one is likely to perform in an audition by analyzing the tempo in recordings of professional orchestras. The data generated in the measurements of those recordings is analyzed in an effort to determine an appropriate tempo around which a trombonist preparing these excerpts might center their work. The goal of this project is to provide a resource for trombonists and trombone teachers as an aid in their determination of the ideal tempo of these excerpts.
ContributorsO'Neal, Andrew Stephen (Author) / Edwards, Bradley (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2020
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
This document explores and utilizes the Digital Audio Workstations (DAW) Audacity and SPEAR (Sinusoidal Partial Editing Analysis and Resynthesis) to create a visual representation of euphonium timbre consisting of complex harmonic structures. Using one mouthpiece model, the Schilke 51 D, this research explores what effect the mouthpiece material has on the amplification of these harmonic structures. Through four exercises geared at different and specific qualities of euphonium sound, this study aims to find the best mouthpiece material for the ideal euphonium sound.
ContributorsGonzalez, David Thomas (Author) / Swoboda, Deanna (Thesis advisor) / Edwards, Bradley (Committee member) / Navarro, Fernanda (Committee member) / Arizona State University (Publisher)
Created2021
Description
The canon of music performed in recitals by American trombonists contains very few works for trombone by composers from Russia and the Soviet Union. Trombonists in the United States periodically perform trombone solos by Nikolai Rimsky-Korsakov, Alexei Lebedev, Vladislav Blazhevich, Gregory Kalinkovich, Alexander Tcherepnin, and Eugene Reiche. But these works represent a very small percentage of trombone solos performed in recitals in the United States, and compositions written after 1960 by composers in the U.S.S.R. are completely absent from recital programs. The purpose of this project is to identify several Soviet-era compositions for trombonists that are worthy of introduction into trombone recital programs in the West. To support the thesis that Soviet-Russian trombone music has been disproportionally under-represented in American recital programs, a survey of over 3300 trombone recitals given in the United States from 1972 to 2013 was conducted. Once a body of significant works that had previously not been performed on American trombone recitals was identified, they were acquired, analyzed, and several were performed. The following compositions represent a list of Soviet-Russian solos not programmed on any of the 3300 recitals: German Grigoryevich Okunev, Adagio and Scherzo; Gregory Markovich Kalinkovich, Concertino for Trombone; Pavel Davidovich Saliman-Vladimirov, Concertino for Trombone; Vadim Veniaminovich Kulyov, Concertino for Trombone; Vladislav Alexanderovich Uspensky, Concertino for Trombone and Orchestra; Sergei Vasilyev and Vladimir Robertovich Enke, Concerto for Trombone and Orchestra; Sergei Borisovich Chebotaryov, Rondo for Tuba; Victor Nikolaevich Smirnov, Scherzo; Alfred Garievich Schnittke,“Schall und Hall”;and Tatyana Alexseyevna Chudova, Sonata for Trombone.
ContributorsRoberts, Jay Daniel (Author) / Yeo, Douglas (Thesis advisor) / Carpenter, Ellon (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT:
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.
ContributorsTsai, Shao-Chun (Author) / Hickman, David R. (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
Electro-acoustic compositions throughout the twentieth-century have flourished due to the modern advancements and improvements in technology, including image based interactive software. This project aims to reveal how three composers of different backgrounds utilize the use of euphonium in combination with live interactive electronics. To this date no known works have been composed for this instrumentation.
Advancements in the development of audio software and hardware have helped to improve and rapidly evolve the inclusion of live electronics including the use of performer-triggered events, audio processing, and live electronic decision-making. These technologies can be utilized and explored in various ways. Three composers have been commissioned to each compose a new work focusing on using the timbre of the euphonium in combination with explored electronic sounds, unplanned sounds of nature and the use of the human voice. Each work is performed and examined by the author in order to further explore the electro-acoustic properties of this genre, how they communicate and interact with one another, and how the electronics interact and meld with the sound of the euphonium. Compositional elements in this project include but are not limited to the use of pre-recorded natural and “un-natural” sounds, and the manipulations of both pre-recorded and live sounds through the use of performer triggered events using visual programming languages such as Max/MSP and looping pedals.
Advancements in the development of audio software and hardware have helped to improve and rapidly evolve the inclusion of live electronics including the use of performer-triggered events, audio processing, and live electronic decision-making. These technologies can be utilized and explored in various ways. Three composers have been commissioned to each compose a new work focusing on using the timbre of the euphonium in combination with explored electronic sounds, unplanned sounds of nature and the use of the human voice. Each work is performed and examined by the author in order to further explore the electro-acoustic properties of this genre, how they communicate and interact with one another, and how the electronics interact and meld with the sound of the euphonium. Compositional elements in this project include but are not limited to the use of pre-recorded natural and “un-natural” sounds, and the manipulations of both pre-recorded and live sounds through the use of performer triggered events using visual programming languages such as Max/MSP and looping pedals.
ContributorsDuron-VanTuinen, Danielle Rae (Author) / Swoboda, Deanna (Thesis advisor) / Ericson, John (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2017
Description
The modern day tubist has an expanded collection of solo tuba repertoire that continues to grow in quantity and in difficulty, making it necessary to utilize all the tools available to improve musicianship and performance ability. In this capacity, the use of transcribed material serves as a vital method of cross training in order to develop skills which assist the performance of modern tuba literature. Rather than focusing on transcriptions solely to engage with musical eras that the tuba would not otherwise have access to, the tubist can use transcribed material as supplementary or even prerequisite repertoire.
This project examines a cross training style of studying transcriptions for the advancing tubist. Similar to how athletes cross train in two or more sports to improve their abilities, the tubist may cross train with transcriptions in order to improve the technical and musical skills required in modern tuba literature. Transcribed materials will be used to develop facility in the areas of technique, phrasing, and stylistic interpretation using three unique pieces of standard solo tuba repertoire; Krzysztof Penderecki’s Capriccio, the John Williams Tuba Concerto, and Anthony Plog’s Three Miniatures.
This project examines a cross training style of studying transcriptions for the advancing tubist. Similar to how athletes cross train in two or more sports to improve their abilities, the tubist may cross train with transcriptions in order to improve the technical and musical skills required in modern tuba literature. Transcribed materials will be used to develop facility in the areas of technique, phrasing, and stylistic interpretation using three unique pieces of standard solo tuba repertoire; Krzysztof Penderecki’s Capriccio, the John Williams Tuba Concerto, and Anthony Plog’s Three Miniatures.
ContributorsNetzer, Travis (Author) / Swoboda, Deanna (Thesis advisor) / Ericson, John (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016