Matching Items (41)
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- All Subjects: Music
- Creators: Swoboda, Deanna
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
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
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
This document explores and utilizes the Digital Audio Workstations (DAW) Audacity and SPEAR (Sinusoidal Partial Editing Analysis and Resynthesis) to create a visual representation of euphonium timbre consisting of complex harmonic structures. Using one mouthpiece model, the Schilke 51 D, this research explores what effect the mouthpiece material has on the amplification of these harmonic structures. Through four exercises geared at different and specific qualities of euphonium sound, this study aims to find the best mouthpiece material for the ideal euphonium sound.
ContributorsGonzalez, David Thomas (Author) / Swoboda, Deanna (Thesis advisor) / Edwards, Bradley (Committee member) / Navarro, Fernanda (Committee member) / Arizona State University (Publisher)
Created2021
Description
This document offers composers a contextual reference and pragmatic overview
of the modern marimba. This guide is not designed as an orchestration text, suggesting ways to write for the instrument, rather, it illustrates through examination of well-known solo and chamber works how selected composers have effectively written for the instrument.
A guide for basic notation and examples of successful notation are included, as well as the basics of performer techniques. Samples of problematic, sometimes impossible passages are included to show the instruments and its performers' current limitations. The construction of the marimba and how it is tuned, a guide to mallets, and all of the current established extended techniques is also included. The majority of the information comes from the citation of established research on the marimba, composers and performers, and the author’s own experiences.
The intention of this document is two fold: to give composers who are unfamiliar with marimba a resource to begin composing for the instrument effectively, and for those composers who are familiar with the marimba it is designed to spark their creativity in an efficient and effective manner. The ultimate goal of this document is to create compositional momentum for marimba solo and chamber works and grow the repertoire, which is still in its infancy.
of the modern marimba. This guide is not designed as an orchestration text, suggesting ways to write for the instrument, rather, it illustrates through examination of well-known solo and chamber works how selected composers have effectively written for the instrument.
A guide for basic notation and examples of successful notation are included, as well as the basics of performer techniques. Samples of problematic, sometimes impossible passages are included to show the instruments and its performers' current limitations. The construction of the marimba and how it is tuned, a guide to mallets, and all of the current established extended techniques is also included. The majority of the information comes from the citation of established research on the marimba, composers and performers, and the author’s own experiences.
The intention of this document is two fold: to give composers who are unfamiliar with marimba a resource to begin composing for the instrument effectively, and for those composers who are familiar with the marimba it is designed to spark their creativity in an efficient and effective manner. The ultimate goal of this document is to create compositional momentum for marimba solo and chamber works and grow the repertoire, which is still in its infancy.
ContributorsMillea, Joseph Henry (Author) / Smith, Jeffrey B. (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2015
Description
Composed by Adele Etheridge Woodson in 2018, Thrive is an original composition for live euphonium and prepared electronic backing track; it was commissioned by David Gonzalez and premiered at the International Women’s Brass Conference at Arizona State University. The musical piece incorporates multiple audio bytes from personal interviews and videos found online, including words said by pop figure icons, Congressmen, and President Donald J. Trump. The goal of Thrive is to creatively highlight the fight for gender equality among a male-dominant, misogynist society. It also serves as a fresh piece of repertoire for the euphonium, which often lacks original compositions by living composers. This paper will discuss Etheridge Woodson’s creative writing process, creation of the backing track, its world premiere, audience reaction, and a personal reflection.
ContributorsEtheridge Woodson, Adele (Author) / Swoboda, Deanna (Thesis director) / Roumain, Daniel Bernard (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12
Description
In its totality, “Love and Everything After” consists of five tracks. In musical circles, this is considered an EP (extended play), a collection of music longer than one song but generally more brief than a full album. Each track combines varying degrees of my own acoustic and piano instrumentation with modern production elements, all tied together with a corrected vocal and a quick mix and master by my producer who doubles as my sound engineer for this project. I will outline my experience with the creative process here as well as break down the development of each song. A fair bit of the lyrical composition is dedicated to background information that may seem to verge on oversharing, but alas, I am a writer. I consider verging on oversharing an inevitable cog in any successful songwriting operation. I’ve decided to tackle the songs in chronological order, prioritizing the time during which the bulk of the piece was first assembled.
ContributorsNelson, Christopher Michael (Author) / Wells, Cornelia (Thesis director) / Swoboda, Deanna (Committee member) / School of Politics and Global Studies (Contributor) / Hugh Downs School of Human Communication (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
“Nothing New” is a 4-song project depicting my college experience through song. All of the songs were self-written, self-recorded, and self-produced, with assistance in the mixing and mastering of the final product. Each song functions as a representation of the most important takeaways and messages from each of my four years in college, as well as a sonic representation of what best fit each year.
ContributorsBour, Zachary (Author) / Swoboda, Deanna (Thesis director) / Moyer, Stephen (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor) / School of Accountancy (Contributor)
Created2022-05
Description
Literature is an important source for children to learn about many aspects of life, including music, and, more specifically, the trombone as a special type of musical instrument. The project at hand seeks to encourage the introduction of the trombone to young children through books and stories in which the instrument is featured prominently. Seven such books by various authors are identified and analyzed, and a study guide for each is presented. In addition, a brief history of children’s literature and a discussion of its use in the music classroom provide context for these seven books as well as any music-themed literature. Finally, the centerpiece of this project is the creation of a new book intended for children and featuring the trombone, written and illustrated by the present author.
ContributorsRozanski, Emily Marie (Author) / Yeo, Douglas (Thesis advisor) / Holbrook, Amy (Committee member) / Schmidt, Margaret (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
This paper presents three new arrangements of works for solo tuba and piano, originally written by Black composers before 1950. The works presented here include Méphisto masqué by Edmond Dédé, Three Arabian Dances by Amanda Aldridge, and Warbling in the Moonlight by Alton Augustus Adams. Composer biographies, a formal analysis, and form diagrams are included for each piece, along with the new transcriptions.
ContributorsMatejek, Matthew Ryan (Author) / Swoboda, Deanna (Thesis advisor) / Edwards, Bradley (Committee member) / Shea, Nicholas (Committee member) / Arizona State University (Publisher)
Created2023