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- All Subjects: Opera
- Creators: Norton, Kay
Description
Ruth Gipps was an English composer, performer, and conductor whose unique experiences and opinions shaped her compositional output and the musical world around her. Gipps was a conflicted individual throughout her life, facing challenges as an outsider in almost every area of her professional life: child prodigy turned adult musician, outspoken conservative English composer positioned against a new international style, and woman in a male-dominated space as an orchestral performer and conductor. Perhaps as a result of her many struggles, she developed internal dissonances between her beliefs, her words, and her actions. These inner conflicts, manifesting in her musical voice as well as her work as a conductor, greatly impacted her career and oeuvre. Despite her inner turmoil, Gipps was always passionately and unapologetically expressive of her personality and beliefs, refusing to compromise or change her behavior even when it negatively impacted her reputation and opportunities. It was this intensity and dedication that enabled her to positively impact musicians in her life, whom she deeply cared about, and to communicate with performers and listeners of her compositions. This document reviews the literature about Gipps, which includes two books by Jill Halstead as well as several dissertations. Information from these sources directly addressing Gipps as well as other pertinent literature is used to explore the disconnects and conflicts that characterized Gipps’s life and music. A discussion of four of Gipps’s oboe family works, Kensington Gardens Suite, op. 2 (1938), The Piper of Dreams, op. 12b (1940), Oboe Concerto in D minor, op. 20 (1941), and Threnody, op. 74 (1990), relates these impactful conflicts to Gipps’s unique musical voice and her contributions to oboe repertoire.
ContributorsDeMouy, Laura Anne (Author) / Schuring, Martin (Thesis advisor) / Norton, Kay (Committee member) / Buck, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2022
Description
Anglophone music festivals in the U.S. can be traced back to singing schools of the 1700s, which eventually blossomed into regular, outdoor musical performances, growing in popularity between 1840 and 1875. The first annual music festival in the United States was founded in Massachusetts in 1858. Modern single-destination music festivals grew in popularity in the United Kingdom and the United States during the late twentieth century. Although the Woodstock Music and Arts Fair of 1969 was not executed perfectly, it was an iconic event with a lasting cultural impact. Modern music festivals are modeled on the rural open-air festivals of the 1970s. In the past sixty years, the music industry has had to reconcile with the environmental impact of single-destination music festivals. Capitalistic ventures are inherently at odds with the environment—even music streaming has a significant carbon footprint. Corporate entities have been known to make insincere efforts to address their environmental impact, a tactic known as “greenwashing.” Music festivals hosting thousands of attendees generate a large amount of human waste on top of the already significant carbon emissions associated with travel, transport of equipment, and production. Event organizers must take significant measures to appeal to modern-day environmentally-conscious audiences. Burning Man and Bonnaroo are two events that once stood out among other large, corporate festivals for being developed by independent organizers. The two festivals are hosted on two strikingly different environments for which the organizers have made unique sustainability considerations. Burning Man celebrates radical individualism and self-reliance in a dry Nevada lakebed desert. On the other hand, Bonnaroo, hosted on the humid, rolling grassland of Tennessee is branded as an environmentally responsible event. The organizers of both festivals have promoted sustainability in their respective efforts to mitigate the environmental byproducts of their events, producing varying results. Sustainable festival practices have been utilized at Bonnaroo since its inception, whereas many of the longstanding traditions of Burning Man are antithetical to sustainability. This case study explores the rise of these two festivals, the environmentally conscious values held by both, and how they have changed over time.
ContributorsSheller, Nikhita (Author) / Norton, Kay (Thesis advisor) / Navarro, Fernanda (Committee member) / Little, Bliss (Committee member) / Arizona State University (Publisher)
Created2022
Description
This paper is based on research conducted during my ongoing collaboration as a participant-observer with the Cuyamungue Institute (CI) of New Mexico, a self-identified nonreligious organization that uses postures to help participants achieve ecstatic trance experiences via a ritual process that prominently features sonic support of trance by the sound of a rattle or drum. While the purpose of the practice—which the Institute has referred to in such terms as “Ecstatic Trance Postures (ETP)” and “Ritual Body Postures”—is ostensibly spiritual in nature, apparent benefits for physical and emotional health have been reported by participants and observed in empirical studies carried out in collaboration with the CI. With appropriate nuance, the Institute traditionally emphasizes the ways these benefits demonstrate the process’s spiritual efficacy more than how they are outcomes desirable on their own merit. As I have continued to work with the CI, the discourse has gradually shifted. At present, the leadership of the Institute give more consideration than before to emotional health benefits as specific goals of the practice, yet spiritual conceptions maintain a dominant presence in conversations and achieving a deep connection with the “alternate reality / spirit realm / unbounded universe” remains the primary objective.
ContributorsMalnory, Lawson (Author) / Fossum, Dave (Thesis advisor) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2022
Description
This project features three new pieces for oboe commissioned from three different composers. Each piece explores styles and/or instrumentations that are less common in the current body of repertoire. These pieces are Scenes for Charlie by Bryan Kennard, Love’s Last Gift by Thomas Juneau, and But Joy Comes in the Morning by William Brusick. A performance guide has been included for each piece, providing tips and suggestions for musicians wanting to perform these pieces in the future. In addition to the performance guide, each composer answered a list of interview questions to provide background information and give insight into their compositional process. Accompanying this document are recordings performed by the author.
ContributorsSummers, Season (Author) / Schuring, Martin (Thesis advisor) / Gardner, Joshua (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2021
Description
In 2015, the Wu-Tang Clan released a single CD copy of their seventh studio album, Once Upon a Time in Shaolin. Musically, the album was intended to provide “sonic closure,” channeling the style of the group’s early albums. Wu-Tang “Abbot” RZA and affiliate producer Cilvaringz were the only members involved throughout the entire recording and production process. The decision to release only a single copy protested the impoverished musical experience brought on by music’s mass reproducibility and ubiquity–an outcome of data capitalism. While many fans of the group took issue with the method of protest, different media have long affected interactions in the world, and RZA’s and Cilvaringz's claims are not completely unfounded. Research from various fields, including musicology, computer science, and sociology, shows how digitization specifically has changed music consumption through streaming services. By tracing the album from its conceptual origin to its purchase by pharmaceutical CEO Martin Shkreli and current ownership by NFT (nonfungible token) collective PleasrDAO, the album's value is presented through the data capitalist, corporate, and cultural lenses. Drawing on work from KRS-One, Lydia Goehr, and Frantz Fanon shows a dialectical relationship between cultural and corporate values. As a result, artists and listeners are faced with navigating both, even as they are subject to exploitation in the production and consumption of music by neoliberalism and data capitalism. In the end, Once Upon a Time in Shaolin succeeds in starting a debate, but its protest against data capitalism is complicated by its recent NFT status.
ContributorsCullen, Audrey Ann (Author) / Wells, Christi Jay (Thesis advisor) / Norton, Kay (Committee member) / Fossum, Dave (Committee member) / Arizona State University (Publisher)
Created2024
Description
History has long been stamped with the name of Carl Czerny in the domain of piano pedagogy, due to the substantial number of didactic piano exercises that Czerny produced. As a result, Czerny’s “canonic” pedagogical works have overshadowed other unrecognized piano études. At the turn of the nineteenth century, the cultivated form of concert études entered the output of almost every pianist-composer, and yet traditionally, attention in piano pedagogy has centered on études by Czerny, Burgmüller, Liszt, Schumann and Chopin. More recent research pays tribute to études by other composers, such as Clementi, Cramer, Hummel and Moscheles. The current lack of documentation and analysis of piano études written by female pianists is undeservedly a great loss to pedagogy and keyboard literature. Not only do these études give modern musicians a glimpse into the pianism and professionalism of the earliest accomplished women pianists, but the varieties in their études also form a comprehensive training method that ranges from the intermediate level to the advanced level. The virtuosity and brilliance of the advanced études deserve to be considered in league with other long-standing piano études that have already been glorified and performed throughout history. The purpose of this pedagogical study is to shed light on these hidden treasures of études which are invaluable pedagogical resources. To concisely demonstrate the varieties of pianistic techniques, this analysis will focus solely on two collections of études: Eight Übungsstücke (1823) by Fanny Mendelssohn Hensel (1805 – 1847), and Six Concert de Études Op. 11 (1881) by Agathe Backer Grøndahl (1847 – 1907).
ContributorsChan, Ka Hou (Author) / Meir, Baruch (Thesis advisor) / Creviston, Hannah (Thesis advisor) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2023
Description
In recent years, several Indigenous female artists have emerged in country music. Given that country music is closely associated with whiteness, it may seem an unexpected form of expression for Indigenous women. So, why and how do Indigenous women make country music? I argue that country music appeals to these women due to its adaptability as a genre and its propensity for telling stories. Additionally, I identify several distinct strategies that these women use to interact with the genre and approach their own music making. I support my argument through a series of analyses of three country songs by Indigenous female country singers: “All I See is Red (Ten Little Indians)” by Kelly Derrickson; “Pray Sister Pray” by Crystal Shawanda; and “Run Carly Run” by Jade Turner. Some of the strategies these artists employ disrupt norms of the genre, foregrounding these women’s Indigenous identity and activism, while other strategies more subtly exploit resonances between Indigenous concerns or cultural practices and aspects of country music to assert their position within the genre. My discussion of these strategies draws on theorizations of intertextuality, interdiscursivity, and positionality from linguistic anthropology. Examining the strategies Indigenous artists use and highlighting the agency they have in the creation of their music reveals not only how they take up the genre but also how they are reshaping it.
ContributorsBaril, Alexis (Author) / Fossum, Dave (Thesis advisor) / Norton, Kay (Committee member) / Reed, Trevor (Committee member) / Arizona State University (Publisher)
Created2023
Description
This paper provides an in-depth examination of Sergei Prokofiev's Second Violin Concerto, Op. 63. Closer study of the full score supports the need for a new piano reduction. Composed in 1935, this concerto occupies an important place within Soviet music, and is a staple in solo violin repertoire. Its orchestration is distinguished by a Neo-classical style with a modern sensibility. A notable aspect of this orchestration is the absence of timpani in the percussion section. Instead, Prokofiev selected snare drum, bass drum, castanets, suspended cymbal, and triangle, which contribute to the unique character of this concerto. Prior to this reduction, pianists faced unplayable and cumbersome passages, a direct result of including too many disparate elements from the orchestration. Additionally in piano reductions to date, there is a conspicuous absence of vital percussive and instrumental parts that are crucial elements of the full orchestral score. These shortcomings not only present considerable challenges to pianists, who are then tasked with further reducing and arranging of the piano part, but also compromise the composer’s intended musical expression. Consequently, this paper advocates for the critical necessity of a new piano reduction of Prokofiev’s Op. 63 Violin Concerto. This new piano reduction rectifies existing deficiencies and discrepancies, thereby enhancing practical playability. Most significantly, this revision offers a more faithful representation of Prokofiev’s original orchestration and artistic vision. Furthermore, it provides insights into the complexities involved in adapting orchestral compositions, underscoring the need for thoughtful reinterpretation in the transcription process. These insights may be applied to other concerto reductions.
ContributorsHsieh, Alison (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell R (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2024
Description
Music memorization is a very broad topic with many variables, which changes from case to case. This study mentions historical development, benefits of memorizing music, challenges musicians face with music memorization, and current methods and strategies. It summarizes experiments and studies in various fields including visual design, neuroscience, music, and physiology. It aims to help musicians to make a better judgment in the future about whether to memorize a certain piece of music or not, and to provide effective strategies that can be used.
ContributorsChen, Kemi (Author) / Compitello, Michael (Thesis advisor) / Norton, Kay (Committee member) / Shea, Nicholas (Committee member) / Arizona State University (Publisher)
Created2024
Description
ABSTRACT
This study will have three sections: 1) outlining the imperative need to include in-depth character study in the preparation of art-song performance; 2) addressing the insufficient theatrical equipping of young collegiate singers in leading undergraduate applied voice programs and its causes, and 3) suggesting methods to advance acting training in classical voice programs. The primary goal will be to improve art song performance pedagogy and the performer’s ability to emotionally communicate with the audience. The first section will demonstrate why character study is necessary in the preparation of a sound art song performance. The musical works used in this study will be Songs of Travel (1904) by Ralph Vaughan Williams and A Young Man’s Exhortation (1929) by Gerald Finzi. These works provide examples of the cycle type in which a single character moves forward through time during the course of the song cycle. The second section will investigate the inadequate instruction received by students in undergraduate voice programs, concerning character analysis, by gathering course requirements from a variety of public and private universities. It will also examine the accrediting bodies that dictate much of the standardized curriculum across the majority of music schools in the U. S. such as the National Association of Schools of Music and the Higher Learning Commission. In the final section, a number of improvements will be suggested and examined according to their viability in training singers to convey both the musical and dramatic context found in the art song repertoire. The sources used in the course of this study include the scores (Boosey and Hawkes) of the aforementioned works, as well as published research on those works. Syllabi and curriculum checksheets from various university voice programs are also used to determine the required course requirements in contemporary applied voice degrees. The accrediting processes from bodies such as the National Association of Schools of Music and the Higher Learning Commission are used in my assessment of obstacles that those processes may inadvertently present.
This study will have three sections: 1) outlining the imperative need to include in-depth character study in the preparation of art-song performance; 2) addressing the insufficient theatrical equipping of young collegiate singers in leading undergraduate applied voice programs and its causes, and 3) suggesting methods to advance acting training in classical voice programs. The primary goal will be to improve art song performance pedagogy and the performer’s ability to emotionally communicate with the audience. The first section will demonstrate why character study is necessary in the preparation of a sound art song performance. The musical works used in this study will be Songs of Travel (1904) by Ralph Vaughan Williams and A Young Man’s Exhortation (1929) by Gerald Finzi. These works provide examples of the cycle type in which a single character moves forward through time during the course of the song cycle. The second section will investigate the inadequate instruction received by students in undergraduate voice programs, concerning character analysis, by gathering course requirements from a variety of public and private universities. It will also examine the accrediting bodies that dictate much of the standardized curriculum across the majority of music schools in the U. S. such as the National Association of Schools of Music and the Higher Learning Commission. In the final section, a number of improvements will be suggested and examined according to their viability in training singers to convey both the musical and dramatic context found in the art song repertoire. The sources used in the course of this study include the scores (Boosey and Hawkes) of the aforementioned works, as well as published research on those works. Syllabi and curriculum checksheets from various university voice programs are also used to determine the required course requirements in contemporary applied voice degrees. The accrediting processes from bodies such as the National Association of Schools of Music and the Higher Learning Commission are used in my assessment of obstacles that those processes may inadvertently present.
ContributorsCarpenter, Donald Justin (Author) / Britton, David (Thesis advisor) / Dreyfoos, Dale (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2018