Matching Items (86)
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- All Subjects: Music
- All Subjects: Electronic Music
- Creators: Feisst, Sabine
- Creators: DeMars, James
- Status: Published
Description
The purpose of this research project is to expand the unaccompanied cello solo repertoire. This composition, Traveler for Solo Cello, was commissioned to South Korean Composer, Eun-Chul Oh by the author in April of 2020. This research project includes a recording of the work to highlight Eun-Chul Oh’s musical creativity. Traveler for Solo Cello is structured in four movements: The Gyeongbokgung Palace, Night Gypsy, A Fiddler in Ireland, and Tango Bar. The four movements each present the musical elements of different cultures while exploring extended musical techniques and rhythms. Eun-Chul Oh uses the cello as a means of transport, for the audience, on a journey through different cultures’ traditional music styles and sounds.
This document includes a brief historical background, compositional analysis, and performance recommendations for each movement. The original score of the piece is included at the end of the paper. In addition, there is a recording of the work.
ContributorsHan, Sarah Kyungmin (Author) / Landschoot, Tom (Thesis advisor) / Feisst, Sabine (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsDeMars, James (Performer) / Nakai, R. Carlos (Performer) / Hester, Michael (Performer) / Zheng, Xiaozhong (Alex) (Performer) / Sunkett, Mark, 1949- (Performer) / TOS Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created1993-05-15
Description
This paper explores the representations of suicide among three titular heroines in Giacomo Puccini’s operas: Tosca, Suor Angelica, and Cio-Cio-San. As women in highly rigid patriarchal societies, these characters are relegated to lives dictated by oppressive outside forces of anti-feminine culture. I argue that the suicides of these characters are not a representation of intrinsic weakness but are an exhibition of independence and agency to control their own fates. This research combines the specific disciplines of suicidology, feminism, opera criticism and the soprano voice. While there are plentiful resources covering Puccini’s biographical information and theoretical analyses of each opera, this paper fills an existing gap in its performance-centered research approach. Interviews with celebrated interpreters of these heroines present a personal perspective behind the vocal, physical, and emotional demands of performing these roles. A detailed look at the words of the libretti and letters from Puccini himself provide insight into his desire to infuse these characters with strength and intelligence. The significance behind the composer’s preference for large, powerful voices known as the lirico-spinto soprano is also explored. The operatic suicides of Tosca, Suor Angelica, and Cio-Cio-San each exhibit autonomy and strength, debunking the stereotype of the “tragic soprano.” A holistic and detailed survey of these heroines reveals that their suicides transform them into women who are no longer passive—the acted upon become the actor.
ContributorsSabrowsky, Kaitlyn Elizabeth (Author) / Hawkins, Gordon (Thesis advisor) / Feisst, Sabine (Committee member) / Weiss, Stephanie (Committee member) / Arizona State University (Publisher)
Created2023
ContributorsDeMars, James (Performer) / Huskey, Sybil (Performer) / Kaplan, Robert (Performer) / Perantoni, Daniel (Performer) / Sunkett, Mark, 1949- (Performer) / TOS Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created1986-12-05
ContributorsDeMars, James (Performer) / New Music Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created1984-10-19
Description
Yuko Uébayashi is a composer who was born in Japan and presently resides in France. She composed Misericordia for Flute and String Quartet for Carol Wincenc in 2013. The National Flute Association (NFA), the most active flute society in America, hosted the Misericordia performance during its annual convention in Chicago in 2014. Uébayashi’s flute works have not only been frequently performed at NFA conventions, but also at other well-known flute festivals since 2006, the year of her U.S. debut. Many current flutists are motivated to learn and play her compositions; however, there is little published literature about her works. Understanding her unique compositional style and obtaining a better knowledge of her music and compositional practices will help flutists and other musicians better perform and enjoy her music. With a performance guide and a detailed discussion of Misericordia, flutists and other musicians will understand why Uébayashi’s music is unique and why it is increasingly well-loved by so many players. This research paper will explore Uébayashi’s life, musical friendships, and most specifically, Misericordia.
ContributorsHam, Na Young (Author) / Buck, Elizabeth (Thesis advisor) / Campbell, Andrew (Committee member) / Feisst, Sabine (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2019
Description
Since its inception, the American Broadway industry has flourished and grown to include numerous vocal styles and techniques. The early twenty-first century has seen a rapid increase in demand for collegiate courses and instructors pertaining to music theater. It has therefore become necessary for voice instructors to be equally comfortable teaching both music theater and classical techniques such as bel canto. This document serves as a resource for instructors seeking more information on defining and teaching vocal styles in music theater including legit, mix, and belt. The first two chapters address the following three questions: 1) What is bel canto and how does the technique function? 2) What is music theater as a vocal style and how do colloquial terms such as legit, mix and belt function within music theater? 3) Are the technical ideas behind bel canto and music theater really that different? The third chapter offers a curriculum for a semester-long course (a hybrid between a song literature class and a performance-based seminar) called Singing Music Theater Styles: From Hammerstein to Hamilton. This course shows the rich development tracing techniques of bel canto through techniques used in contemporary music theater. This document concludes with an annotated bibliography of major sources useful to both the instructors wishing to teach this course and the performers looking to expand their knowledge of singing music theater.
ContributorsBruton, Sara (Author) / Weiss, Stephanie (Thesis advisor) / Feisst, Sabine (Thesis advisor) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2018
Description
Reverend Stormfield Goes to Heaven is an operetta in six scenes for seven vocalists and
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
ContributorsSakamoto, Dale Toshio (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2019
Description
Symphonic Movement: On Works of H. P. Lovecraft is a single movement
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
ContributorsLamb, Christopher John (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2016
Description
“by my death...” is a composition in three movements for chamber ensemble and
laptop ensemble, with the instrumentation of clarinet in Bb, French horn in F, percussion, violin, double bass, and at least three laptops. The total duration of the piece is approximately twenty minutes. However, since the timing of the first and third movement is flexible, the total duration may vary.
“by my death...” is the creative culmination of my research into representations of
the Holocaust in music. More specifically, it corresponds to my analysis of three
Holocaust-based works by the Israeli composer Arie Shapira (1943-2015): Gideon Kleins Marterstrasse (1977), Gustl in Theresienstadt (1998-9), and Achtung Rapunzel (2007). I applied findings from the analysis in my own music, resonating Shapira's style, techniques, and expressive means. In a sense, “by my death...” is a homage to this composer, who had a strong influence on my path to dealing with the Holocaust in music.
My composition, however, is not necessarily about the Holocaust alone. It
concerns the larger Jewish historical narrative that is characterized by destruction and construction, with the Holocaust as a central, pivotal event. It reflect about the Holocaust within links between tradition and innovation, past and future, death and life, that are inherent to any aspect of Israeli culture, and that are intertwined within the Jewish narrative of extermination and resurrection.
laptop ensemble, with the instrumentation of clarinet in Bb, French horn in F, percussion, violin, double bass, and at least three laptops. The total duration of the piece is approximately twenty minutes. However, since the timing of the first and third movement is flexible, the total duration may vary.
“by my death...” is the creative culmination of my research into representations of
the Holocaust in music. More specifically, it corresponds to my analysis of three
Holocaust-based works by the Israeli composer Arie Shapira (1943-2015): Gideon Kleins Marterstrasse (1977), Gustl in Theresienstadt (1998-9), and Achtung Rapunzel (2007). I applied findings from the analysis in my own music, resonating Shapira's style, techniques, and expressive means. In a sense, “by my death...” is a homage to this composer, who had a strong influence on my path to dealing with the Holocaust in music.
My composition, however, is not necessarily about the Holocaust alone. It
concerns the larger Jewish historical narrative that is characterized by destruction and construction, with the Holocaust as a central, pivotal event. It reflect about the Holocaust within links between tradition and innovation, past and future, death and life, that are inherent to any aspect of Israeli culture, and that are intertwined within the Jewish narrative of extermination and resurrection.
ContributorsDori, Gil (Author) / Suzuki, Kotoka (Thesis advisor) / Feisst, Sabine (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2016