Matching Items (20)
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- All Subjects: Music
- Genre: Scores
- Creators: Rockmaker, Jody
- Creators: Feisst, Sabine
Description
Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.
ContributorsFelice, Joseph Philip (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2013
Description
Bright Summer, a one-movement piece for orchestra, was composed in Arizona, and completed in February 2013. The piece is approximately twelve minutes long. The motivation for writing this piece was the death of my mother the year before, in 2012. The prevailing mood of this work is bright and pleasant, expressing my mother's cheerful personality when she was alive. It also portrays bright summer days which resemble my mother's spirit. Thus, soundscape plays an important role in this work. It depicts summer breeze, rustling sounds of leaves, and, to translate a Korean saying, "high blue skies." This soundscape opens the piece as well as closes it. In the middle section, the fast upbeat themes represent my mother's witty and optimistic personality. The piece also contains the presence of a hymn tune, The Love of God is Greater Far, which informs the motivic content and also functions as the climax of the piece. It was my mother's favorite hymn and we used to sing it together following her conversion to Christianity. The piece contains three main sections, which are held together by transitional material based on the soundscape and metric modulations. Unlike my earlier works, Bright Summer is tonal, with upper tertian harmonies prevailing throughout the piece. However, the opening and closing soundscapes do not have functional harmonies. For example, tertian chords appear and vanish silently, leaving behind some resonant sounds without any harmonic progression. Overall, the whole piece is reminiscent of my mother who lived a beautiful life.
ContributorsKim, JeeYeon (Composer) / DeMars, James (Thesis advisor) / Hackbarth, Glenn (Committee member) / Rogers, Rodney (Committee member) / Levy, Benjamin (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project features three new pieces for clarinet commissioned from three different composers. Two are for unaccompanied clarinet and one is for clarinet, bass clarinet, and laptop. These pieces are Storm's a Comin' by Chris Burton, Light and Shadows by Theresa Martin, and My Own Agenda by Robbie McCarthy. These three solos challenge the performer in various ways including complex rhythm, use of extended techniques such as growling, glissando, and multiphonics, and the incorporation of technology into a live performance. In addition to background information, a performance practice guide has also been included for each of the pieces. This guide provides recommendations and suggestions for future performers wishing to study and perform these works. Also included are transcripts of interviews done with each of the composers as well as full scores for each of the pieces. Accompanying this document are recordings of each of the three pieces, performed by the author.
ContributorsVaughan, Melissa Lynn (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2013
Description
Three Meditations on the Philosophy of Boethius is a musical piece for guitar, piano interior, and computer. Each of the three movements, or meditations, reflects one level of music according to the medieval philosopher Boethius: Musica Mundana, Musica Humana, and Musica Instrumentalis. From spatial aspects, through the human element, to letting sound evolve freely, different movements revolve around different sounds and sound producing techniques.
ContributorsDori, Gil (Contributor) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2013
Description
This thesis presents a new arrangement of Richard Peaslee's trombone solo "Arrows of Time" for brass band. This arrangement adapts Peaslee's orchestration - and subsequent arrangement by Dr. Joshua Hauser for wind ensemble - for the modern brass band instrumentation and includes a full score. A brief biography of Richard Peaslee and his work accompanies this new arrangement, along with commentary on the orchestration of "Arrows of Time", and discussion of the evolution and adaptation of the work for wind ensemble by Dr. Hauser. The methodology used to adapt these versions for the brass band completes the background information.
ContributorsMalloy, Jason Patrick (Author) / Ericson, John (Thesis advisor) / Oldani, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.
ContributorsLanier, William Hudson (Author) / Koonce, Frank (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
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
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
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
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