Matching Items (74)
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- All Subjects: Music
- All Subjects: Oboe and piano music
- Creators: Schuring, Martin
- Status: Published
Description
During my career as an oboist, I have only played the oboe d’amore one time before this project. I have always wondered why such a beautiful instrument is scarcely
played today, and decided it was time to commission new works that aim to bring back
the instrument’s popularity. Tim Carlos composed Fernweh: Sonata for Oboe d’amore
and Piano and Two Sketches for Oboe d’amore, Guitar, and Percussion. This document
covers the collaborative method Carlos and I experienced, the history of the oboe
d’amore, edits made to the compositions, and most importantly a performer’s guide to
these two new works (discussing both technical and musical challenges.) The recordings
are also included. To purchase either work in its entirety, contact
timcarloscomposer@gmail.com.
ContributorsDinger, Maja Malina (Author) / Schuring, Martin (Thesis advisor) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsNeedleman, Katherine (Performer) / Schuring, Martin (Performer) / Lyman, Jeffrey (Performer) / Rotaru, Catalin (Performer) / Cosand, Walter, 1950- (Performer) / ASU Library. Music Library (Publisher)
Created2005-09-15
Description
The purpose of this project is to add to the repertoire of clarinet music written in the Romantic style. While there are some pieces written by composers such as Johannes Brahms, Robert Schumann, Max Reger, and a few others, it pales in comparison to the amount of highly regarded clarinet music written in the twentieth century. For this project, the three viola sonatas of Julius Röntgen have been adapted for clarinet and piano. Though these pieces were composed in 1924 and 1925 at the height of the expressionist movement, they are written in the late-Romantic style, with chromaticism and rhythmic intricacies akin to the clarinet sonatas of Johannes Brahms, with whom Röntgen had a friendship. I believe that these pieces can serve as an alternative to the often-performed sonatas of Brahms, especially for students. They are similar in technical demands and they are not just sonatas, but true pieces of chamber music, with the piano as an equal partner to the clarinet. The project includes full scores of the adaptations of Röntgen's sonatas in C minor, A-flat Major, and A minor for viola and piano, as well as a comprehensive list of all adaptations made to the original sonatas, and a studio recording of all three adapted works.
ContributorsThompson, Anthony Martin (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Rockmaker, Jody (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2017
Description
Henri Constant Gabriel Pierné (1863-1937) was a French composer and conductor. Given his position of importance during his life alongside César Franck, Claude Debussy, and Camille Saint-Säens, Pierné’s musical oeuvre has largely gone unrecognized in the modern musical canon. Scholarly literature on Pierné is severely limited; currently, there is only one identified biography about Pierné, written in French by author Georges Masson ain 1987. To date, no formal analysis exists of Pierné’s Sonata for Violin and Piano, Opus 36 (1900). This document provides an account of Pierné’s life and style, gleaned in particular from this author’s original English translation of Masson’s definitive text. It also delivers the first known scholarly musical analysis of the sonata. Each chapter discusses a particular movement in depth, considering the elements of Structure, Harmony, Melody, Rhythm, and Texture, while illustrating contextual trends and potential influences across all three movements. The document concludes with the author’s original score analysis charts as well as a comprehensive bibliography. The discussion herein illuminates aspects of Pierné, and specifically his sonata for violin and piano, to promote greater awareness of a composer whose work merits elevated recognition beyond his current reputation of semi-obscurity.
ContributorsQuiring, Andrew Marshall (Author) / Campbell, Andrew M (Thesis advisor) / Rodgers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2021
Description
During my career as an oboist I have only had the opportunity to play four piecesfor oboe by Peruvian composers. It was not until I started my doctoral degree that I found out how difficult it is for people, not only to find copies of these pieces, but also to find the pieces themselves. Due to this obstacle, it is time for a bibliography of Peruvian oboe music to exist. This document annotates a list of oboe (and English horn) music by Peruvian composers detailing 130 works, for solo oboe, as well as chamber works up to 8 players, by thirty composers. Each entry includes a brief biography of the composer, original title of the piece, composition date, instrumentation, publishers, commissions, dedications, and duration of the piece in minutes and seconds. Some entries also include miscellaneous notes on the piece. Incipits of each movement are included as well as the movement title and tempo markings. Works by composers born and educated in Peru who emigrated to other countries, or changed nationalities is included. This bibliography includes all the music found up to October, 2021.
ContributorsEspinoza Masias, Diego Angel (Author) / Schuring, Martin (Thesis advisor) / Micklich, Albie (Committee member) / Bolanos, Gabriel (Committee member) / Arizona State University (Publisher)
Created2021
Description
In an effort to provide greater representation to Latin American musicians, this recording and performance guide provides commentary on three works for clarinet by composers of Mexican ethnicity, commissioned and recorded by the author. The works presented are scored for solo clarinet, clarinet & piano, and clarinet, cello, & piano.
Each piece seeks to communicate and explore current sociopolitical issues related to Mexico, and, like this project as a whole, derive their inspiration from La Onda, a multidisciplinary artistic movement in Mexico, translating as the “wave,” “sound wave,” or “the force” that emerged as part of the 1960s and 1970s North American counterculture. La Onda music emerged as a reflection and consequence of marginalized experiences living in the United States, and is representative of ways the broader public and Latinos have claimed music as their own. As music has historically provided an arena for exploring gender, class, sexuality, and race politics for minority communities, specifically Mexicans in the United States and abroad, music continues to afford a mechanism for communicating the counterfactual in the present day. In this context, this guide synthesizes a broader collaboration with composers to create new, narrative-based repertoire that provides accessibility, greater awareness, and lasting representation to a demographic that has historically been underserved within the classical canon.
Each piece seeks to communicate and explore current sociopolitical issues related to Mexico, and, like this project as a whole, derive their inspiration from La Onda, a multidisciplinary artistic movement in Mexico, translating as the “wave,” “sound wave,” or “the force” that emerged as part of the 1960s and 1970s North American counterculture. La Onda music emerged as a reflection and consequence of marginalized experiences living in the United States, and is representative of ways the broader public and Latinos have claimed music as their own. As music has historically provided an arena for exploring gender, class, sexuality, and race politics for minority communities, specifically Mexicans in the United States and abroad, music continues to afford a mechanism for communicating the counterfactual in the present day. In this context, this guide synthesizes a broader collaboration with composers to create new, narrative-based repertoire that provides accessibility, greater awareness, and lasting representation to a demographic that has historically been underserved within the classical canon.
ContributorsDominguez, Vincent Robert (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Schuring, Martin (Committee member) / Bolaños, Gabriel J. (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2020
ContributorsOhlsson, Eric (Performer) / Sellheim, Eckart (Performer) / Schuring, Martin (Performer) / Engerer, Paula (Performer) / ASU Library. Music Library (Publisher)
Created1997-02-22
ContributorsSchuring, Martin (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2002-11-24
ContributorsSchuring, Martin (Performer) / Sellheim, Eckart (Performer) / ASU Library. Music Library (Publisher)
Created2000-04-16
ContributorsSchuring, Martin (Performer) / Sellheim, Eckart (Performer) / Metz, John (Performer) / Mazzuca, Marlene (Performer) / Rosato, Peter (Performer) / Stallcop, Glenn (Performer) / Barrett, Leslye (Performer) / ASU Library. Music Library (Publisher)
Created1995-10-15