Matching Items (89)
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- All Subjects: Chamber music
- All Subjects: Music
ContributorsWaters, Jared (Performer) / Creviston, Hannah (Performer) / Liu, Miao (Performer) / Guo, Hongzuo (Performer) / DeLaCruz, Nathaniel (Performer) / LoGuidice, Rosa (Performer) / Chiko, Ty (Performer) / Gatchel, David (Performer) / ASU Library. Music Library (Publisher)
Created2021-01-28
Description
The works of premier Finnish composer Kaija Saariaho demonstrate a fascination with the exploration and expansion of timbral possibilities. This project explores Laconisme de l'aile and NoaNoa, the only two of her works written for solo C-flute. Saariaho has developed a unique compositional style for the flute, characterized by extremes of color which are expressed through extended techniques such as the integration of the voice, with and without text, into the music, the exploration of "noise," the transformation between different timbres, and the use of electronic effects. Laconisme de l'aile (1982) is a dramatic and passionate work filled with lyrical gestures and intriguing timbres with optional electronic effects, and is an excellent introduction to the composer's writing for the flute. NoaNoa (1992) is characteristic of her mature compositional style. Like many of her later works, the electronic aspect of the work is integral to the piece. Saariaho's exploration of the timbral spectrum of the flute has resulted in a complex and unusual style of notation, making these works somewhat inaccessible for performers. Additionally, the technological requirements for NoaNoa make the work both intimidating and impossible to perform without either extensive technical knowledge or consultation with someone who has the necessary technical expertise. Through a detailed performance guide and reference recordings of both works, this project aims to make these two works accessible. All technical specifications are explained and the performance instructions address notation as well execution of all designated effects. Additionally, instructions for the electronic portion of NoaNoa allow flutists to perform the work with minimal assistance.
ContributorsHodjati, Katayoon (Author) / Buck, Elizabeth (Thesis advisor) / Hackbarth, Glenn (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsSpring, Robert (Performer) / Gardner, Joshua (Performer) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Micklich, Albie (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Smith, J. B., 1957- (Performer) / Ryan, Russell (Contributor) / ASU Library. Music Library (Publisher)
Created2018-09-16
Description
Prior to World War II, about 55,000 Jews were living in Prague, a very cosmopolitan and artistic city. They represented nearly twenty percent of the city’s population. By the end of the war, at least two-thirds of them had died in the Holocaust. The Nazis converted the small fortress town of Theresienstadt, near Prague, into a transport camp for Jews on their way to Auschwitz and other death camps. Theresienstadt was where the Nazis sent most Jewish Czech intellectuals, military veterans, artists, and members of the upper class who were well connected. It was also the camp they chose to present to the international community. For all of these reasons—Theresienstadt’s isolation, the demography of the inmates there, and the Nazis’ desire to use it to fool the international community—the Nazis allowed unparalleled self-administration and artistic freedoms.
Arguably the most noteworthy result was its flourishing musical community. Composers and performers who had worked together in Prague prior to the war were able to continue to do so freely in ways that Jewish people were not allowed anywhere else in occupied Europe. They kept the musicians in Theresienstadt—delaying their deportations to Auschwitz—longer than almost anyone else in the camp, until the threat of Soviet liberation was imminent. This thesis aims to explore the lives and works of four Theresienstadt composers: Viktor Ullmann, Pavel Haas, Gideon Klein, and Hans Krása. All four of these artists were successful prior to the war, spent time in Theresienstadt, and were sent to Auschwitz on the same transport on October 16, 1944. Three of the four died in the gas chambers of Auschwitz, and Klein was sent on to the Fürstengrube concentration camp, where he was shot and killed in January 1945. These composers and their music should be remembered, studied, and performed, not only for historical and moral reasons, but also for artistic ones. Their works represent some of the finest music in the German tradition written during this period. In conjunction with this paper, I have arranged Gideon Klein’s String Trio—one of the pieces profiled here—for saxophone quartet. Members of the Arizona State University saxophone studio will perform it twice in April. I hope that the performances will help make audiences aware of the strength of the music that came out of Theresienstadt, and reinforce the fact that it remains highly relevant. In this thesis, the composers’ careers before and during their time in Theresienstadt will be traced, as well as the measures they took to preserve their music, their interactions with each other, and their efforts to use hidden messages in their music. It is hoped that this document will help fill an important gap in the history of European music in the twentieth century.
Arguably the most noteworthy result was its flourishing musical community. Composers and performers who had worked together in Prague prior to the war were able to continue to do so freely in ways that Jewish people were not allowed anywhere else in occupied Europe. They kept the musicians in Theresienstadt—delaying their deportations to Auschwitz—longer than almost anyone else in the camp, until the threat of Soviet liberation was imminent. This thesis aims to explore the lives and works of four Theresienstadt composers: Viktor Ullmann, Pavel Haas, Gideon Klein, and Hans Krása. All four of these artists were successful prior to the war, spent time in Theresienstadt, and were sent to Auschwitz on the same transport on October 16, 1944. Three of the four died in the gas chambers of Auschwitz, and Klein was sent on to the Fürstengrube concentration camp, where he was shot and killed in January 1945. These composers and their music should be remembered, studied, and performed, not only for historical and moral reasons, but also for artistic ones. Their works represent some of the finest music in the German tradition written during this period. In conjunction with this paper, I have arranged Gideon Klein’s String Trio—one of the pieces profiled here—for saxophone quartet. Members of the Arizona State University saxophone studio will perform it twice in April. I hope that the performances will help make audiences aware of the strength of the music that came out of Theresienstadt, and reinforce the fact that it remains highly relevant. In this thesis, the composers’ careers before and during their time in Theresienstadt will be traced, as well as the measures they took to preserve their music, their interactions with each other, and their efforts to use hidden messages in their music. It is hoped that this document will help fill an important gap in the history of European music in the twentieth century.
ContributorsSchwimmer, Jack Denmark (Author) / Creviston, Hannah (Thesis director) / Feisst, Sabine (Committee member) / Creviston, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / School of Politics and Global Studies (Contributor)
Created2013-05
ContributorsDe La Cruz, Nathaniel (Performer) / LoGiudice, Rosa (Contributor) / Tallino, Michael (Performer) / McKinch, Riley (Performer) / Li, Yuhui (Performer) / Armenta, Tyler (Contributor) / Gonzalez, David (Performer) / Jones, Tarin (Performer) / Ryall, Blake (Performer) / Senseman, Stephen (Performer)
Created2018-10-10
Description
This creative project explores the concept of how music is like a language and how, as a teacher, I plan to enforce this concept through my teaching. The aim of this project is to highlight the importance of completing research and acquiring knowledge of aspects, such as the composer's life, historical background and literary references, when learning a piece of music. Through this project, I address connections between the brain and music pertaining to memorization, the components of language, the similarities between language and music, the role of the teacher and the development of a "toolbox" of knowledge for studying a piece of music. I present my own research on Schumann's Novelette Op. 21, No. 8 in f-sharp minor as well as my own experiences of learning the piece to demonstrate an example of the process and discoveries I hope my students will make in their own studies of repertoire.
ContributorsLee, Kara Jia-Shan (Author) / Pagano, Caio (Thesis director) / Creviston, Hannah (Committee member) / Division of Teacher Preparation (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
Musical interpretation is challenging when one's goal is to evoke an emotional response from an audience. In order to develop a well-informed interpretation of Mozart's Fantasia in D minor K. 397, a study was conducted on the historical background of the piece and various performances by well-regarded performers. Fantasias are written works, but improvisatory by nature. Mozart's fantasias were influenced by C. P. E. Bach's, which included sudden changes in emotion. An Emil Gilels performance provided a classically trained approach, while Mitsuko Uchida's performance provided an emotional approach. Colin Tilney and John Irving performances elucidated the sound of the instruments that Mozart would have been composing with. Altogether, the research culminated in an interpretation of the D minor Fantasia that endeavored to capture the essence of fantasy, improvisation and emotion.
ContributorsMo, Gina Nan (Author) / Emmery, Laura (Thesis director) / Creviston, Hannah (Committee member) / Department of Psychology (Contributor) / School of International Letters and Cultures (Contributor) / School of Molecular Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
ContributorsEricson, John Q. (John Quincy), 1962- (Performer) / Swoboda, Deanna (Performer) / Creviston, Hannah (Performer) / ASU Library. Music Library (Publisher)
Created2017-10-14