Matching Items (45)
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- All Subjects: Music
- All Subjects: Saxophone
- Genre: Academic theses
- Creators: Feisst, Sabine
Description
Formed in 1999, BCM International, comprised of composers Eric Whitacre, Jonathan Newman, Steven Bryant, and James (Jim) Bonney dedicated itself to publishing repertoire in the wind band medium. This project focuses on the work of these four composers, who, at the beginning of the “digital age,” joined together to create a new entrepreneurial and self-published entity. This paper aims to discuss their contribution to the wind band medium, thereby adding to the genre’s body of research.
Similarly to previous investigations of this sort, the author will: 1) offer a biographical sketch through the lens of each individual composer; 2) discuss the establishment of BCM International; 3) track the individual output for wind band of each of the four composers through performance data found in the College Band Directors National Association’s Report; and 4) discuss the composer reported influence of John Corigliano, their teacher, on their compositional process.
Similarly to previous investigations of this sort, the author will: 1) offer a biographical sketch through the lens of each individual composer; 2) discuss the establishment of BCM International; 3) track the individual output for wind band of each of the four composers through performance data found in the College Band Directors National Association’s Report; and 4) discuss the composer reported influence of John Corigliano, their teacher, on their compositional process.
ContributorsBlanco, Charlie G., III (Author) / Hill, Gary W. (Thesis advisor) / Feisst, Sabine (Committee member) / Caslor, Jason (Committee member) / Bailey, Wayne (Committee member) / Arizona State University (Publisher)
Created2016
Description
Collaborative piano education tends to discuss techniques of collaboration as primarily a musical skill. However, common understanding within the field regarding a collaborative pianist’s ability to work with others offers another aspect to this assumption. It goes without saying that pianists’ interpersonal skills largely affect with whom they will work, and how efficaciously pianists and their partners will work together. Correspondingly, how pianists work with others can directly affect the success or failure of the musical collaboration.
The first intention of this paper is to explain why interpersonal skills are integral to the creation of quality musical outcomes and so-called musical togetherness; it specifies interpersonal aspects innate and unique to a pianist’s experience. Next, this paper defines two crucial components of collaboration – empathy and active listening – and discusses how pianists can build these skills into their personal practice and rehearsal. It continues with an examination of the interpersonal implications of studio arrangement, body language, and verbal language from a pianist’s perspective. This paper concludes with ideas for how to test for these skills during the collaborative piano audition process, a class syllabus showing how these skills can be incorporated into the collaborative piano curriculum, and suggestions for further research about interpersonal aspects of collaboration.
The first intention of this paper is to explain why interpersonal skills are integral to the creation of quality musical outcomes and so-called musical togetherness; it specifies interpersonal aspects innate and unique to a pianist’s experience. Next, this paper defines two crucial components of collaboration – empathy and active listening – and discusses how pianists can build these skills into their personal practice and rehearsal. It continues with an examination of the interpersonal implications of studio arrangement, body language, and verbal language from a pianist’s perspective. This paper concludes with ideas for how to test for these skills during the collaborative piano audition process, a class syllabus showing how these skills can be incorporated into the collaborative piano curriculum, and suggestions for further research about interpersonal aspects of collaboration.
ContributorsCota, Mary Strobel (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell (Committee member) / Jiang, Danwen (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2019
Description
In 1568, Vincenzo Galilei published the first edition of Fronimo as a guide to the art of intabulating vocal music for the lute. A second edition was released in 1584 in which Galilei presents “26 Ricercari” to demonstrate the sound of each Glarean mode. These short works provide a methodical approach to experiencing the Renaissance modes through his beautiful writing for the lute.
This research project focuses on the “26 Ricercari” and explores the challenges of transcribing and arranging Renaissance lute tablatures to be played on the guitar. Topics such as making decisions for voicings, fingerings, tactus reductions, and formatting are examined. Historically-informed playing suggestions such as articulations, lute techniques, and tempo are also included.
Many lute and vihuela works, like the ricercari, have not yet been transcribed. The ricerari tablatures are idiomatic and instantly playable for guitarists who are familiar with different forms of tablature, but most classical guitarists today are familiar only with modern staff notation. Because of this, Galilei’s works have been wrongfully neglected.
My project presents the first guitar edition of these works, along with the documentation of my methodology, and serves as an aid to others for transcribing lute tablatures.
This research project focuses on the “26 Ricercari” and explores the challenges of transcribing and arranging Renaissance lute tablatures to be played on the guitar. Topics such as making decisions for voicings, fingerings, tactus reductions, and formatting are examined. Historically-informed playing suggestions such as articulations, lute techniques, and tempo are also included.
Many lute and vihuela works, like the ricercari, have not yet been transcribed. The ricerari tablatures are idiomatic and instantly playable for guitarists who are familiar with different forms of tablature, but most classical guitarists today are familiar only with modern staff notation. Because of this, Galilei’s works have been wrongfully neglected.
My project presents the first guitar edition of these works, along with the documentation of my methodology, and serves as an aid to others for transcribing lute tablatures.
ContributorsOeth, John (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2020
Description
Ernest Bloch’s Suites for Solo Cello (B. 93, 94, 97) contain a melodic-harmonic language unlike any other twentieth-century unaccompanied work, and when transcribed for viola, become meaningful additions to the existing viola repertoire. Each movement within these three works has its own distinct dancelike character, much like J.S. Bach’s Suites for Solo Cello (BWV 1007-1012). The melodies contain a persistent lyrical quality, and the harmonies are modal and reminiscent of folk music. Rather than compose an appropriate ending to Bloch’s incomplete Suite for Solo Viola (B. 101), a transcription of Bloch’s Suites for Solo Cello provides violists with more variety and opportunity for musicianship. These works present technical challenges such as rapid string crossings, sudden and vast register changes, complex rhythms and meter, and offer interpretationally rich passages. The level of these difficulties can prepare violists for more challenging twentieth-century works; thus, transcribing the Bloch Suites provides an opportunity to bridge a pedagogical divide in solo viola repertoire.
This project includes the transcriptions of Bloch’s Suites for Solo Cello, a performance edition, and a recording. Included is an overview of why these works are suitable for the viola, how these arrangements help fill a pedagogical gap in the unaccompanied viola repertoire, and insight into the transcription process. The performance recording captures the accessibility of these works for violists wishing to perform them and shows the integrity and variety of each piece by programming them all on a single recital.
This project includes the transcriptions of Bloch’s Suites for Solo Cello, a performance edition, and a recording. Included is an overview of why these works are suitable for the viola, how these arrangements help fill a pedagogical gap in the unaccompanied viola repertoire, and insight into the transcription process. The performance recording captures the accessibility of these works for violists wishing to perform them and shows the integrity and variety of each piece by programming them all on a single recital.
ContributorsHankins, Kimberly Michelle (Author) / Buck, Nancy (Thesis advisor) / Feisst, Sabine (Committee member) / Landschoot, Tom (Committee member) / Arizona State University (Publisher)
Created2020
Description
While much has been written on the history of Education Concerts in the United States, there is a void in research focused on actual content, structure, and purposes of these concerts. This document seeks to fill this void through a detailed examination of salient aspects of Education Concerts, including programming, structure, rehearsal, and performance considerations. In conjunction with my research, I will draw on my first-hand experience as Associate Conductor of the Seattle Symphony, providing a glimpse into the creative challenges and solutions that confront a contemporary orchestra. Additionally, my research endeavors to discover ways of transforming the historically rigid model of orchestral operations into a structure that embraces diversity, equity, and inclusion, encourages connections, and sparks curiosity. The goal of this research, therefore, is to provide tangible references and practical guidance to the conductor or administrator who is venturing into the richness of Education Concert programming and performance in today’s everchanging orchestral landscape.
ContributorsXia, Sunny Xuecong (Author) / Caslor, Jason (Thesis advisor) / Bolanos, Gabriel (Committee member) / Feisst, Sabine (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2023