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- All Subjects: Music
- Creators: Swoboda, Deanna
- Status: Published
Description
According to the United States Department of Labor, the predicted percentage growth of jobs in music performance for 2012-22 is less than half the predicted percentage growth in overall national employment for the same period. While university music performance core curricula prepares students to attain their goals, which can include positions in orchestral, chamber, or solo settings, only a small number of such positions are predicted in the future job market. One possible solution to help students succeed as modern-day musicians is the implementation of curricula that emphasizes innovation and entrepreneurship in music performance. This paper comprises three parts: (1) a study intended to identify core curricula requirements for the Doctor of Musical Arts (DMA) in Violin Performance in the United States; (2) a sample Career Plan; and (3) a Syllabus for an Innovative Music Performance Course.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
ContributorsStrahm, Kathleen Ariel (Author) / Swartz, Jonathan (Thesis advisor) / Creviston, Christopher (Committee member) / Humphreys, Jere T (Committee member) / Norton, Kay (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2017
Description
Performances of three prominent, full-time brass chamber ensembles (the Canadian Brass, Mnozil Brass, and Trompettes de Lyon), are studied for their inclusion of entertainment outside the bounds of traditional music performance. The various additions include acting, choreography, novel changes in instrumentation, props, technical exhibitions, audience interaction, and inherently humorous arrangements. These are identified, categorized, and analyzed for frequency of use. Representative scenes from each ensemble are compared for similarities with the intent of establishing general rules for the usage of each non-traditional element. Differences in overall show structure, compared to that of traditional chamber ensembles, are also discussed.
In a separate component of this project, the author wrote an original show based on the above research, and performed it with the Grand Valley State University Faculty Brass Quintet. The process of creation and observations of rehearsal and performance settings are included in this document to guide the efforts of other prospective show-writers.
In a separate component of this project, the author wrote an original show based on the above research, and performed it with the Grand Valley State University Faculty Brass Quintet. The process of creation and observations of rehearsal and performance settings are included in this document to guide the efforts of other prospective show-writers.
ContributorsWilson, Alexander Mitchell (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / Little, Bliss (Committee member) / Arizona State University (Publisher)
Created2017
Description
Traditional consensus in duos with grand piano has been that issues of balance between piano and the other instrument can be corrected through lowering the lid on the piano, particularly when the other instrument has been thought of as less forceful. The perceived result of lowering the lid on the piano is to quiet the piano enough so as not to overwhelm the other instrument, though the physics of the piano and acoustics suggest that it is incorrect to expect this result. Due to the physics of the piano and natural laws such as the conservation of energy, as well as the intricacies of sound propagation, the author hypothesizes that lowering the lid on the piano does not have a significant effect on its sound output for the audience of a musical performance. Experimentation to determine empirically whether the lid has any significant effect on the piano's volume and tone for the audience seating area was undertaken, with equipment to objectively measure volume and tone quality produced by a mechanical set of arms that reproduces an F-major chord with consistent power. The chord was produced with a wooden frame that input consistent energy into the piano, with measurements taken from the audience seating area using a sound pressure level meter and recorded with a Zoom H4N digital recorder for analysis. The results suggested that lowering the lid has a small effect on sound pressure level, but not significant enough to overcome issues of overtone balance or individual pianists’ touch.
ContributorsLee, Paul Allen (Author) / Campbell, Andrew (Thesis advisor) / DeMars, James (Committee member) / FitzPatrick, Carole (Committee member) / Ryan, Russell (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2017
Description
Martin Ellerby (b. 1951) is a prominent composer for wind and brass bands, and his Euphonium Concerto and Baritone Concerto are among the best and most challenging works in the euphonium and baritone repertoire. This project aims to assist the performer in learning these important works by utilizing specific practice strategies.
Each work has been performed and thoroughly examined by the author in order to develop and offer specific strategies for learning each piece. This project utilizes identification of themes and motives, existing methods, suggested exercises, and suggestions from the premiere performers in order to develop a strategic practice regimen for learning these important works. The discussion of each movement begins with a brief thematic overview to identify the motives and ideas used to construct each movement. The musical content discovered through thematic and motivic identification is used to recommend modified exercises from Arban Complete Method for Trombone and Euphonium edited by Joseph Alessi and Dr. Brian Bowman, Clarke’s Technical Studies for The Cornet by Herbert L. Clarke, The Brass Gym: A Comprehensive Daily Workout for Brass Players by Sam Pilafian and Patrick Sheridan, Scale and Arpeggio Routines for Undergraduate & Graduate College & University Students by Milt Stevens and Brian Bowman, and “The Carmine Caruso Method” as taught by Julie Landsman. Each exercise presented is aimed to target a specific challenge of the movement being discussed and will facilitate effective and efficient practice of each work.
Each work has been performed and thoroughly examined by the author in order to develop and offer specific strategies for learning each piece. This project utilizes identification of themes and motives, existing methods, suggested exercises, and suggestions from the premiere performers in order to develop a strategic practice regimen for learning these important works. The discussion of each movement begins with a brief thematic overview to identify the motives and ideas used to construct each movement. The musical content discovered through thematic and motivic identification is used to recommend modified exercises from Arban Complete Method for Trombone and Euphonium edited by Joseph Alessi and Dr. Brian Bowman, Clarke’s Technical Studies for The Cornet by Herbert L. Clarke, The Brass Gym: A Comprehensive Daily Workout for Brass Players by Sam Pilafian and Patrick Sheridan, Scale and Arpeggio Routines for Undergraduate & Graduate College & University Students by Milt Stevens and Brian Bowman, and “The Carmine Caruso Method” as taught by Julie Landsman. Each exercise presented is aimed to target a specific challenge of the movement being discussed and will facilitate effective and efficient practice of each work.
ContributorsMarquardt, Benjamin (Author) / Swoboda, Deanna (Thesis advisor) / Eriscon, John (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2018
Description
ABSTRACT
Edouard Vuillermoz (1869-1939) was a horn player and teacher who studied and later taught at the Paris Conservatory during the early twentieth century. As did many of the professors from the Conservatory, Vuillermoz published works for the horn. Unfortunately, his name has largely faded into obscurity and most of his works are no longer in print, yet one has remained in the repertoire and is still available for purchase today—Dix Pièces Mélodiques. Published in 1927 by Alphonse-Leduc, Vuillermoz desired for his students a set of etudes that would teach mastery of transposition, but he was not a composer. The ten transposition exercises he created were selected and transcribed from a compilation of vocalises commissioned by a vocal professor at the Conservatory, Amédée-Louis Hettich (1856-1937).
Hettich desired vocalise-etudes that would able aid and inspire his students, so he commissioned over one-hundred-fifty vocalises by modern composers during the first half of the twentieth century. Composers including Bozza, Copland, Dukas, Fauré, Messiaen, Nielsen, Ravel, and Tomasi answered his call for works between 1906 and 1938. These modern vocalise-etudes have since disappeared from the vocal repertoire. Now, a century later, many of these studies have entered the public domain and are resurfacing as instrumental transcriptions and concert etudes. This study promotes awareness of Edouard Vuillermoz’s Dix Pièces Mélodiques and advocates for their inclusion in a modern revival.
Edouard Vuillermoz (1869-1939) was a horn player and teacher who studied and later taught at the Paris Conservatory during the early twentieth century. As did many of the professors from the Conservatory, Vuillermoz published works for the horn. Unfortunately, his name has largely faded into obscurity and most of his works are no longer in print, yet one has remained in the repertoire and is still available for purchase today—Dix Pièces Mélodiques. Published in 1927 by Alphonse-Leduc, Vuillermoz desired for his students a set of etudes that would teach mastery of transposition, but he was not a composer. The ten transposition exercises he created were selected and transcribed from a compilation of vocalises commissioned by a vocal professor at the Conservatory, Amédée-Louis Hettich (1856-1937).
Hettich desired vocalise-etudes that would able aid and inspire his students, so he commissioned over one-hundred-fifty vocalises by modern composers during the first half of the twentieth century. Composers including Bozza, Copland, Dukas, Fauré, Messiaen, Nielsen, Ravel, and Tomasi answered his call for works between 1906 and 1938. These modern vocalise-etudes have since disappeared from the vocal repertoire. Now, a century later, many of these studies have entered the public domain and are resurfacing as instrumental transcriptions and concert etudes. This study promotes awareness of Edouard Vuillermoz’s Dix Pièces Mélodiques and advocates for their inclusion in a modern revival.
ContributorsBuxbaum, Juli Ann (Author) / Ericson, John Q (Thesis advisor) / Rockmaker, Jody (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2018
Description
The work of collaborative pianists can vary widely, requiring a large spectrum of musical and foreign language skills. In addition, many non-musical skills are required of collaborative pianists in order to adapt to various types of work, the roles they assume, and the needs of the people they encounter professionally. Collaborative pianists usually develop good habits for survival on the job, but rarely receive preliminary training in capacities such as facilitation, maintaining objectivity in collaboration, asking good questions, and giving feedback effectively. The emerging field of teaching artistry offers a wealth of information for the development of these non-musical skills in collaborative pianists. The skills necessary for teaching artistry and collaborative piano frequently overlap, which is instructive for collaborative pianists as they prepare for their various musical and leadership roles. This paper explores shared practices between these disciplines, how they can enhance the activities of a collaborative pianist, and also help them develop skills as arts advocates. Advocating techniques for new music and audience engagement are addressed, as well as programming, content development and building teams around projects. The idea of the collaborative pianist becoming a teaching artist is also explored, as the diverse activities and experiences of a collaborative pianist can serve as valuable resources. All of these approaches to non-musical skills focus on building strong processes, leading to creative activities that are process-driven rather than product-driven. This study seeks to enrich activities of collaborative pianists through the application of teaching artist capacities and pave pathways for new, more effective professional collaborations.
ContributorsWitt, Juliana (Author) / Campbell, Andrew (Thesis advisor) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2020
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