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- Genre: Doctoral Dissertation
- Genre: Music--Instruction and study--Social aspects--California--Pico Rivera--Case studies.
Description
The North Park Middle School Band, in Pico Rivera, California, is an exemplary model of a band program grounded in the principles of social justice. Three facets guide the program: Social Outreach, Cultural Outreach, and Kids Helping Kids. This qualitative study explores what led the director to create this program, its current structure as well as its historical development, and the impact the program is having on the students involved and the community to which they reach. Between the months of September and December 2012, I spent a total of three weeks with the students, parents, and the director of the North Park Band, Ron Wakefield. In that time, the students were observed during band rehearsals on typical school days. Additionally, I traveled with the band to three separate outreach concerts at the Los Angeles Veterans Healthcare Facility, nursing homes and assisted living centers, as well as the Isaiah House, a homeless shelter for women and children. I observed the students and their interactions with the residents of those facilities, and took detailed observation notes. In addition, a survey was distributed to students in the top two bands, interviews were conducted with current students and a former student, a parent and a former parent, and the director. The North Park Band program structure leads students to develop an unusually high level of responsibility. Students gain an understanding of current issues in society and demonstrate compassion towards other human beings. In many cases, the students discover a sense of life purpose through the program and feel that they have a responsibility to help their community. While a central focus of the program is on humanistic values, it is evident that the students also receive a quality music education.
ContributorsPawelski, Carrie (Author) / Hill, Gary W. (Thesis advisor) / Schmidt, Margaret E (Thesis advisor) / Bailey, Wayne (Committee member) / Rogers, Rodney (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this project is twofold: to contribute to the literature of chamber ensembles comprising mixed wind, string, and percussion instruments by producing arrangements of three piano rags by William Bolcom; and to highlight Bolcom's pivotal role in the ragtime revival of the 1960's and 1970's. Through his influence as a scholar, composer, and performer, Bolcom (b. 1938), one of the most prominent American composers of his generation, helped garner respect for ragtime as art music and as one of America's great popular music genres. Bolcom's 3 Ghost Rags were written in the tradition of classic piano rags, but with a compositional sensibility that is influenced by the fifty years that separate them from the close of the original ragtime era. The basis for the present orchestrations of 3 Ghost Rags is the collection of instrumental arrangements of piano rags published by Stark Publishing Co., entitled Standard High-Class Rags. More familiarly known as the "Red Back Book," this publication was representative of the exchange of repertoire between piano and ensembles and served as a repertory for the various ragtime revivals that occurred later in the twentieth century. In creating these orchestrations of Bolcom's piano rags, the author strove to provide another medium in which Bolcom's music could be performed, while orchestrating the music for an historically appropriate ensemble.
ContributorsMelley, Eric Charles (Author) / Hill, Gary W. (Thesis advisor) / Bailey, Wayne (Committee member) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2013
Description
Convergences, one of the best known orchestral pieces by Marlos Nobre, was originally written in 1968 and scored for winds, percussion and piano; however, that version was neither performed nor published. Upon contacting the composer, the author learned that there was no performance-ready edition available. The purpose of this project, therefore, was to create a performance edition of Convergences Op. 28a by Marlos Nobre; to lead the premiere performance of the original version of the work; and to provide potential future performers with a descriptive analysis of the work, along with biographical information about the composer. After receiving revisions from the composer, the author created a new score, using a music notation program; the score appears at the end of this document. Additionally, performance parts were extracted from the new score. The analytical portion of this paper discusses the structure of the three movements (Vivo, Adagio, Vivo), their interrelationships, and the organic use of motivic transformation that binds the movements together. The work is approximately twenty-one minutes long and is scored for a small wind ensemble comprising: flute/piccolo, oboe, clarinet, bassoon, horn, trumpet, trombone, bass trombone, six percussionists, and piano.
ContributorsPereira, Diogo Ahmed (Author) / Hill, Gary W. (Thesis advisor) / Bailey, Wayne (Committee member) / Pagano, Caio (Committee member) / Rogers, Rodney (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2012
Description
This research paper examines the close relationships between the visual arts and music and the implications of curatorial practice upon the work of conductors. While some conductors consider suitability the prime (or only) factor in determining which music to perform, curators use many more criteria. Five elements of exhibition design are particularly germane to musicians including setting, subject matter, visual weight, compositional direction, and narrative. Each of these five elements is discussed in terms of its impact on concert design with a goal of providing additional criteria to the conductor when planning concerts. Three concert experiences, designed with these principles in mind, are presented as examples. Upon consideration of the elements of exhibition design separately and corporately, one arrives at a new appreciation of the concert as a unified experience--capable of being much more than the sum of its parts. The aim of effective concert design is to eliminate unintentional communication--to present music in the most complimentary manner possible. To this end, this study has implications for conductors at all levels.
ContributorsHoughtalen, Brandon (Author) / Hill, Gary W. (Thesis advisor) / Bailey, Wayne A (Committee member) / Ericson, John Q (Committee member) / Feisst, Sabine M (Committee member) / Russell, Timothy W (Committee member) / Arizona State University (Publisher)
Created2012
Description
The combination of soprano, trumpet, strings and continuo was used with much frequency by Baroque composers in their cantatas, oratorios and operas of the time, giving the trumpet a very important place as a solo instrument from 1600 to 1750. The discovery of two pieces by Neapolitan Baroque composers Domenico Sarro (1679-1744) and Gennaro Manna (1715-1779) enlarges the already important body of known works for this instrumentation. Presenting them in performance editions is a valuable contribution to this repertory. Making performance editions available to performers is always an important and exciting task, especially if they exhibit features that have rarely been seen in this combination of instruments and voices. This is specifically the case with Manna's Tuba Sonora Exclama, which shows many interesting features of the Early Classical style. Both works were discovered by the author in a digital archive sponsored by the Ministry of Heritage and Culture for the Italian Government. The original copies of these works are held at two Neapolitan libraries: Biblioteca Statale Oratoriana del Monumento Nazionale del Girolamini (Manna's piece), and Biblioteca del Conservatorio di musica San Pietro a Majella (Sarro's Per abbattere il mio core, from his opera Partenope.) The manuscripts, obtained in digital format, are well preserved and easy to understand. Along with the scores prepared for this document, some historical background about each composer, a discussion of the use of the trumpet as a solo instrument in arias with voice, and descriptions of the pieces are presented. Other important information, such as editorial procedures and critical notes, is also given.
ContributorsAraya, Luis Miguel (Author) / Hickman, David R (Thesis advisor) / Pilafian, Samuel (Committee member) / Hill, Gary W. (Committee member) / Rogers, Rodney (Committee member) / Bailey, Wayne A (Committee member) / Arizona State University (Publisher)
Created2011
Description
This document accompanies new recordings of four recent sonatas for trumpet and piano. The project’s objective is to promote these works, while providing a comprehensive resource for potential performers. The four sonatas were selected based on their appeal to modern audiences. Composers Brendan Collins, Luis Engelke, William Rowson, and Christoph Nils Thompson each represents a different country, and they offer significant contributions to the trumpet repertoire. Each sonata expertly features the trumpet by highlighting its lyricism, virtuosity, and ability to cross genres.
The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time.
The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time.
ContributorsKlein, Garrett Lane (Author) / Hickman, David R (Thesis advisor) / Holbrook, Amy K (Committee member) / Hill, Gary W. (Committee member) / Arizona State University (Publisher)
Created2019
Description
Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
ContributorsBrown, Jr., Fredrick Marcell (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Schmelz, Peter (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT
Wind band directors in the State of Arizona are required by the Arizona Band and Orchestra Directors Association (ABODA) to choose at least one music selection from the “State Lists of Required Compositions” of Florida, Texas, and/or Virginia for their ABODA scholastic concert band festival presentation and adjudication. The works could also be used for school performance. Additionally, the Arizona State Department of Education requires Certified Wind Band Teachers to use the Arizona Academic Standards in the Arts Music – Performing Ensembles (updated in 2015) as source material for the standard that should be met by the conclusion of the academic year. This research explores the educational and pedagogical correlations between the state standards and an annotated list of select Wind Ensemble repertoire.
The Florida Bandmasters Association, Virginia Band and Orchestra Directors Association, and Texas’s University Interscholastic League’s lists of required compositions include thoughtfully selected titles that promote musical growth. A fourth list found in Richard Miles’ textbook series entitled Teaching Music Through Performance in Band (Volume 1-11) which promotes music education through rehearsal preparation and performance-based practices. This list will only include compositions that all four compilations selected. The list will convey the following information:
1. The average grade, title, composer and date of the composition
2. A brief program note about the composition
3. A description of each teaching standard covered by the selected repertoire
Additionally, the author has decided to add some works to the list to ensure the inclusion of race and gender diversity. These additional works may one day make the state required performance lists as time allows the selection process to catch up with the volume of repertoire added.
Wind band directors in the State of Arizona are required by the Arizona Band and Orchestra Directors Association (ABODA) to choose at least one music selection from the “State Lists of Required Compositions” of Florida, Texas, and/or Virginia for their ABODA scholastic concert band festival presentation and adjudication. The works could also be used for school performance. Additionally, the Arizona State Department of Education requires Certified Wind Band Teachers to use the Arizona Academic Standards in the Arts Music – Performing Ensembles (updated in 2015) as source material for the standard that should be met by the conclusion of the academic year. This research explores the educational and pedagogical correlations between the state standards and an annotated list of select Wind Ensemble repertoire.
The Florida Bandmasters Association, Virginia Band and Orchestra Directors Association, and Texas’s University Interscholastic League’s lists of required compositions include thoughtfully selected titles that promote musical growth. A fourth list found in Richard Miles’ textbook series entitled Teaching Music Through Performance in Band (Volume 1-11) which promotes music education through rehearsal preparation and performance-based practices. This list will only include compositions that all four compilations selected. The list will convey the following information:
1. The average grade, title, composer and date of the composition
2. A brief program note about the composition
3. A description of each teaching standard covered by the selected repertoire
Additionally, the author has decided to add some works to the list to ensure the inclusion of race and gender diversity. These additional works may one day make the state required performance lists as time allows the selection process to catch up with the volume of repertoire added.
ContributorsKoch, Paul Andrew (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Knowles, Kristina (Committee member) / Arizona State University (Publisher)
Created2019
Description
The College Band Directors National Association (CBDNA) began holding
national conferences in 1941, and the organization's six divisions have held biennial conferences on alternating years beginning in 1950. The CBDNA Statement of Purpose specifies, "CBDNA is committed to serving as a dynamic hub connecting individuals to communities, ideas and resources." The regional and national conferences are one of the strongest means to that end. This study presents a history and documentation of the events of the College Band Directors National Association Western/Northwestern Divisional Conference held in Reno, Nevada from 1990 to 2016. The events leading up to the first conference are reported. The details of the clinics and concerts are chronicled to provide a foundation for analyses of various trends and threads regarding number and types of ensembles that performed, types and content of clinics presented, trends in repertoire selection, details of featured composers and commissions, and a discussion of gender disparity across all of these facets.
national conferences in 1941, and the organization's six divisions have held biennial conferences on alternating years beginning in 1950. The CBDNA Statement of Purpose specifies, "CBDNA is committed to serving as a dynamic hub connecting individuals to communities, ideas and resources." The regional and national conferences are one of the strongest means to that end. This study presents a history and documentation of the events of the College Band Directors National Association Western/Northwestern Divisional Conference held in Reno, Nevada from 1990 to 2016. The events leading up to the first conference are reported. The details of the clinics and concerts are chronicled to provide a foundation for analyses of various trends and threads regarding number and types of ensembles that performed, types and content of clinics presented, trends in repertoire selection, details of featured composers and commissions, and a discussion of gender disparity across all of these facets.
ContributorsMartin, Stephen (Author) / Stauffer, Sandra (Thesis advisor) / Hill, Gary W. (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill M. (Committee member) / Arizona State University (Publisher)
Created2016
Description
People are motivated to participate in musical activities for many reasons. Whereas musicians may be driven by an intrinsic desire for musical growth, self-determination theory suggests that this drive must also be sustained and supported by the social environment. Social network analysis is an interdisciplinary theoretical framework and collection of analytical methods that allows us to describe the social context of a musical ensemble. These frameworks are utilized to investigate the relationship of participatory motivation and social networks in a large Division I collegiate marching band. This study concludes that marching band members are predominantly self-determined to participate in marching band and are particularly motivated for social reasons, regardless of their experience over the course of the band season. The members who are highly motived are also more integrated into the band's friendship and advice networks. These highly integrated members also tend to be motivated by the value and importance others display for the marching band activity suggesting these members have begun to internalized those values and seek out others with similar viewpoints. These findings highlight the central nature of the social experience of marching band and have possible implications for other musical leisure ensembles. After a brief review of social music making and the theoretical frameworks, I will provide illustrations of the relationship between motivation and social networks in a musical ensemble, consider the implications of these findings for promoting self-determined motivation and the wellbeing of musical ensembles, and identify directions for future research.
ContributorsWeren, Serena (Author) / Hill, Gary W. (Thesis advisor) / Granger, Douglas (Committee member) / Bailey, Wayne (Committee member) / Norton, Kay (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2015