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- All Subjects: Music
- Genre: Academic theses
- Creators: DeMars, James
- Member of: ASU Electronic Theses and Dissertations
Description
Many of Erik Morales's trumpet compositions have become standard repertoire. This study examines his trumpet works, which are examples of Morales's outstanding compositional skill and versatility. The composer, some of the most significant performers, and people who commissioned these pieces were interviewed. Biographical information and compositional characteristics of Morales are presented. Historical information about the pieces is also provided, including the premieres, commissions, recordings, and significant performances. Technical concerns specific to the trumpet, and performance recommendations, are assessed. This study is a pedagogical and informative source for all trumpet educators and performers interested in solo and trumpet ensemble music.
ContributorsZapata Correa, Oswaldo Arley (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2016
Description
Music therapy literature provides evidence that the use of music is very effective in improving daily living skills for people with Autism Spectrum Disorder (ASD) all over the world. However, each country may have and use their preferred music therapy approaches and interventions for clients with ASD because of cultural differences although music therapy comes from the same origin.
The aim of this research was to discover the cultural differences between American and Korean parents of children with ASD by comparing two countries in various categories, such as care systems, benefits and challenges in raising children with ASD, and therapeutic approaches in music therapy and other therapies used for these children.
The data that was gathered from the survey consisted of 4 participant groups: American parents, Korean parents, American music therapists, and Korean music therapists. This study examined the differences and similarities in the parental perspectives of children with ASD and music therapy treatment practices for individuals with ASD between two countries through the survey methods, integrating quantitative (closed-ended) and qualitative (open-ended) survey questions.
The results of the findings indicated that there were several kinds of cultural differences in treating children with ASD, such as care systems, benefits and challenges in raising their children, and therapies used for children with ASD between American and Korean children. Overall, Korean parent participants reported experiencing fewer benefits than American parent participants in the question concerning country-level benefits. Statistically speaking, the study could not find any significant differences in using therapies for children with ASD as well as music therapy treatment practices between America and Korea. However, the study found that there were some differences in the music therapy approaches and preferred music therapy interventions for ASD-diagnosed children which were summarized in responses from parents and therapists. The primary difference noticed that American music therapists preferred behavioral and neurologic techniques, while Korean music therapists preferred behavioral and Nordoff-Robbins techniques.
Because of some of the study limitations, the results may not be generalizable. In future research, many more participants need to be engaged with a narrow range of conditions.
The aim of this research was to discover the cultural differences between American and Korean parents of children with ASD by comparing two countries in various categories, such as care systems, benefits and challenges in raising children with ASD, and therapeutic approaches in music therapy and other therapies used for these children.
The data that was gathered from the survey consisted of 4 participant groups: American parents, Korean parents, American music therapists, and Korean music therapists. This study examined the differences and similarities in the parental perspectives of children with ASD and music therapy treatment practices for individuals with ASD between two countries through the survey methods, integrating quantitative (closed-ended) and qualitative (open-ended) survey questions.
The results of the findings indicated that there were several kinds of cultural differences in treating children with ASD, such as care systems, benefits and challenges in raising their children, and therapies used for children with ASD between American and Korean children. Overall, Korean parent participants reported experiencing fewer benefits than American parent participants in the question concerning country-level benefits. Statistically speaking, the study could not find any significant differences in using therapies for children with ASD as well as music therapy treatment practices between America and Korea. However, the study found that there were some differences in the music therapy approaches and preferred music therapy interventions for ASD-diagnosed children which were summarized in responses from parents and therapists. The primary difference noticed that American music therapists preferred behavioral and neurologic techniques, while Korean music therapists preferred behavioral and Nordoff-Robbins techniques.
Because of some of the study limitations, the results may not be generalizable. In future research, many more participants need to be engaged with a narrow range of conditions.
ContributorsBae, Ji Ye (Author) / Rio, Robin (Thesis advisor) / Crowe, Barbara (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2016
Description
Provided here is a new transcription for viola and piano of Charles V. Stanford's Sonata for Cello and Piano, No. 2, Op. 39. This transcription preserves the original music, but provides new tone color and register possibilities using the viola. In general, there is a lack of solo viola repertoire in the early nineteenth century. Stanford, a romantic composer, writes music using structural forms and harmonic techniques derived from the classical period. In order to introduce violists to the music of Charles Stanford and increase the amount of nineteenth century repertoire for the viola, this transcription of Stanford's Cello Sonata No. 2, Op. 39 is done by making artistic and educated decisions regarding fingerings and bowings, while discussing the choices for register changes. The transcription here can be employed by viola students as an example of repertoire from the early romantic period.
ContributorsPark, Sungjin, D,M.A (Author) / Nancy, Buck (Thesis advisor) / DeMars, James (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2016
Description
About 1 in 68 children is diagnosed with Autism Spectrum Disorder (ASD) in the United States (Centers for Disease Control and Prevention [CDC], 2015). The prevalence of ASD within the population of all people with disabilities has increased, percentage changed from 1.8% to 7.1% in ten years (NCES, 2016). Music therapy, as a therapeutic intervention, has been used for children with autism since 1940s (Reschke-Hemandez, 2011). In the past 70 years' practice, music therapy research has explored the efficacy of music therapy in improving the multiple areas of functioning affected by the symptoms of autism. However, the results are varied. The objective of this study is to investigate the efficacy of music therapy on children with autism spectrum disorder using meta-analysis as the statistical analysis methodology to synthesis the research results from all the eligible studies in the field. After a comprehensive search of the literature and screening procedure, 11 studies were finally included in the meta-analysis. The results showed a medium to large effects (d = 0.73, CI [0.43-1.03]) of music therapy interventions for children with ASD. Subgroup analysis and meta-regression analysis are conducted for further exploration within the topic.
ContributorsLi, Manjing (Author) / Rio, Robin (Thesis advisor) / Sullivan, Jill (Thesis advisor) / Eubanks, Kymla (Committee member) / Arizona State University (Publisher)
Created2016
Description
Piano Quintet> is a three movement piece, inspired by music of Eastern Europe. Sunrise in Hungary starts with a legato song in the first violin unfolding over slow moving sustained harmonics in the rest of the strings. This is contrasted with a lively Hungarian dance which starts in the piano and jumps throughout all of the voices. Armenian Lament introduces a mournful melody performed over a subtly shifting pedal tone in the cello. The rest of the voices are slowly introduced until the movement builds into a canonic threnody. Evening in Bulgaria borrows from the vast repertoire of Bulgarian dances, including rhythms from the horo and rachenitsa. Each time that the movement returns to the primary theme, it incorporates aspects of the dance that directly preceded it. The final return is the crux of the piece, with the first violin playing a virtuosic ornaments run on the melody.
ContributorsGiese, Adam (Composer) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2014
Description
THE PEACOCK FLIES SOUTHEAST is a work for Qudi and orchestra inspired by an ancient Chinese love story of the same title. The Qudi is also known as the "Chinese bamboo flute." It is similar to the Western piccolo. However, it has open tone holes with greater ability to bend pitches. The Qudi sounds one octave above the written music with arrange from A4 to G7.
ContributorsLi, Wanchen (Composer) (Composer) / DeMars, James (Thesis advisor) / Feisst, Sabine (Committee member) / Hackbarth, Glenn (Committee member) / Arizona State University (Publisher)
Created2014
Description
Since 1999, a small group of groundbreaking orchestral works for turntables and orchestra has surfaced on the concert stage. These compositions explore the possibilities of the turntables and invite an intriguing fusion of musical cultures of the classically trained musician and the hip-hop DJ. Since DJ turntablists typically follow an improvised tradition and do not read music, the composer must find an effective means of notating the turntables and collaborate with the turntablist in the execution of the work. As interest in turntables composition grows, there is a need for discussion and a compositional guide with advice based on present day works. In effort to contribute a guide for turntablism composition, my research includes a historical and composer perspective that discusses turntables techniques, operation of the equipment, digital technology, hip-hop background, history of the instrument, and works of the past and present with musical excerpts pertaining to the notation and use of the turntables. Specific sources include: RPM by Nicole Lizée, Concerto for Trumpet, Turntables, and Orchestra by Paul Leary, Concerto for Turntables and Orchestra by Gabriel Prokofiev, and Stephen Webber's turntable method book The Art of the DJ Turntable Technique. Interviews with composers Prokofiev, Lizée, and Leary have provided important primary source information regarding their experience with turntablism composition and performance. Unrelated to the above research and attached as an appendix, my composition Andrew's Ritual for Bedtime for chamber orchestra is a single movement for choreographed dance that depicts a mother preparing her energetic young son for bed. The title references the nightly rituals parents undertake in order to prepare their children for bedtime.
ContributorsOuper, Jeffrey Thomas (Author) / Hackbarth, Glenn (Thesis advisor) / Standley, Eileen (Committee member) / Feisst, Sabine (Committee member) / DeMars, James (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2014
Description
Nelson Rolihlahla Mandela was born July 18, 1918 into the Madiba clan in Mvezo, Transkei, South Africa. Mandela was a lawyer by trade and a freedom fighter who envisioned freedom and equality for all South Africans regardless of race. In 1965, Mandela was imprisoned at Robben Island for twenty-seven years for treason and terrorist activities against the South African apartheid regime: he was assigned prison numbers 46664. In 1992, Mandela was released from prison and two years later not only became the first democratically elected president of South Africa, but also its first black president. "Madiba 46664" is an eight-minute chamber work scored for flute, oboe, clarinet in B-flat, and bassoon; vibraphone, and two percussionists; piano; violins, violas, and celli. The work blends traditional South African rhythms of the drumming culture with elements of Western harmony and form in contrasting textures of homophony, polyphony and antiphony. "Madiba 46664" utilizes Mandela's prison number, birthdate and age (at the time the composition process began in 2013) for the initial generation of meter, rhythm, harmony, melody, and form. The work also shares intercultural concepts that can be seen in the works of three contemporary African composers, South Africans Jeanne Zaidel-Rudolph and Andile Khumalo, and Nigerian Ayo Oluranti. Each section represents a period of Mandela's life as a freedom fighter, a prisoner, and a president. The inspiration stems from the composer's discussions with Mandela soon after his release from prison and prior to his presidency. These lively discussions pertained to the state of traditional music in then apartheid South Africa and led to this creation. The conversations also played a role in the creative process.
ContributorsMabingnai, Collette Sipho (Composer) / DeMars, James (Thesis advisor) / Hackbarth, Glenn (Committee member) / Humphreys, Jere (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2014
Description
ABSTRACT A survey of board-certified music therapists who identified themselves as self-employed was conducted to examine current methods of marketing related to planning, positioning, promotion, and implementation within a music therapy private practice or contracting model, as well as identify trends in marketing methods as compared to prior research. Respondents (n=273) provided data via online survey as to current marketing practices, assessment of personal marketing skills, and views on marketing's overall role in their businesses. Historical, qualitative, and quantitative distinctions were developed through statistical analysis as to the relationship between respondents' views and current marketing practices. Results show that self-employed music therapists agree marketing is a vital part of their business and that creating a unique brand identity is necessary to differentiate oneself from the competition. A positive correlation was identified between those who are confident in their marketing skills and the dollar amount of rates charged for services. Presentations, websites, and networking were regarded as the top marketing vehicles currently used to garner new business, with a trend towards increased use of social media as a potential marketing avenue. Challenges for respondents appear to include the creation and implementation of written marketing plans and maintaining measurable marketing objectives. Barriers to implementation may include confidence in personal marketing skills, time required, and financial constraints. The majority of respondents agreed that taking an 8-hour CMTE course regarding marketing methods for self-employed music therapists would be beneficial.
ContributorsTonkinson, Scott (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014
Description
Preservation Symphony is a short, multi-movement, orchestral composition that explores the versatility of the [016] pitch class set as the dominant unifying force of this cyclical work. The composition is scored for Piccolo, two Flutes, two Oboes, English Horn, two Clarinets, Bass Clarinet, full complement of Brass, Timpani, two Percussionists, and Strings. Movement one is in sonata form; the [016] set is used in structuring its overall formal scheme. The primary focus of the movement is on the tritone [0 6] as a replacement for the traditional tonic and dominant polarity. The movement features a driving force that alternates between pulse subdivisions of even sixteenth notes and sixteenth-note triplets. Movement two is in simple binary form with a central tonality of A. An English Horn solo functions as both the opening of the movement and a transition from the tonality of movement one (F) into the new tonal center of A. The unifying pitch class set [016] is used in this movement in a Phrygian context. Movement two has a contemplative and dark tone, which is in stark contrast to the outer movements. Movement three has a lighter, upbeat nature. The movement is in rondo form with its main theme written in a folk-like character. This movement returns to F as the central tonality, completing the overall tonal plan of the work. As in movement one, it explores the tritone polarity of F and B. The movement also revisits the chromatic mediant relationship found in the middle of movement two in the oboes. The pitch class set is now used in the context of a Lydian-Mixolydian (or acoustic) scale, from which both the central and secondary themes of the rondo are derived.
ContributorsKemp, Tyler (Composer) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2014