Matching Items (44)
Filtering by
- All Subjects: Music
- Creators: Gardner, Joshua
Description
In an effort to provide greater representation to Latin American musicians, this recording and performance guide provides commentary on three works for clarinet by composers of Mexican ethnicity, commissioned and recorded by the author. The works presented are scored for solo clarinet, clarinet & piano, and clarinet, cello, & piano.
Each piece seeks to communicate and explore current sociopolitical issues related to Mexico, and, like this project as a whole, derive their inspiration from La Onda, a multidisciplinary artistic movement in Mexico, translating as the “wave,” “sound wave,” or “the force” that emerged as part of the 1960s and 1970s North American counterculture. La Onda music emerged as a reflection and consequence of marginalized experiences living in the United States, and is representative of ways the broader public and Latinos have claimed music as their own. As music has historically provided an arena for exploring gender, class, sexuality, and race politics for minority communities, specifically Mexicans in the United States and abroad, music continues to afford a mechanism for communicating the counterfactual in the present day. In this context, this guide synthesizes a broader collaboration with composers to create new, narrative-based repertoire that provides accessibility, greater awareness, and lasting representation to a demographic that has historically been underserved within the classical canon.
Each piece seeks to communicate and explore current sociopolitical issues related to Mexico, and, like this project as a whole, derive their inspiration from La Onda, a multidisciplinary artistic movement in Mexico, translating as the “wave,” “sound wave,” or “the force” that emerged as part of the 1960s and 1970s North American counterculture. La Onda music emerged as a reflection and consequence of marginalized experiences living in the United States, and is representative of ways the broader public and Latinos have claimed music as their own. As music has historically provided an arena for exploring gender, class, sexuality, and race politics for minority communities, specifically Mexicans in the United States and abroad, music continues to afford a mechanism for communicating the counterfactual in the present day. In this context, this guide synthesizes a broader collaboration with composers to create new, narrative-based repertoire that provides accessibility, greater awareness, and lasting representation to a demographic that has historically been underserved within the classical canon.
ContributorsDominguez, Vincent Robert (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Schuring, Martin (Committee member) / Bolaños, Gabriel J. (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2020
Description
In the fast-paced, technology-driven society of today, new demands are placed on artists to re-think how music is presented and communicated to the world. Access to the internet, development of sound manipulation software, and broader means of use and distribution through the digital music industry have drastically shifted the way the twenty-first century artist creates and performs music. One of the most striking changes that occurred is the increased use of visual material as a vehicle to enhance and contribute to the depth and intrigue of live performances and recordings.
This project researches twenty-first century works for clarinet and multimedia that specifically include a visual element (including but not limited to images, fixed and interactive video, light effects, and choreography) and highlights the prevalence of this genre in contemporary repertoire. Discussion begins with a brief overview of the history of multimedia, its relation to the clarinet, and how it has been defined by the twenty-first century. Additionally, in order to contribute to this ever-growing repertoire, three new works for clarinet and multimedia were commissioned in collaboration with composers and visual artists. These new works include: Roadrunner (2019) for clarinet and fixed electronics by Spencer Brand with video by Samuel Proctor; I’d known this place (2020) for clarinet and electronics by Dan Caputo with live audio generative animations by Andrew Robinson; and Spectral Passages (2020) for clarinet and electronics by Alvaro Varas with painting by Miguel Godoy. Background information and performance guides are included for each piece to aid future musicians in performance, as well as respective audio/video recordings. Finally, a significant portion of this document includes a catalog of works for clarinet and multimedia. The catalog was compiled by focusing on the output of twenty-first century composers to serve as a resource for future performers.
This project researches twenty-first century works for clarinet and multimedia that specifically include a visual element (including but not limited to images, fixed and interactive video, light effects, and choreography) and highlights the prevalence of this genre in contemporary repertoire. Discussion begins with a brief overview of the history of multimedia, its relation to the clarinet, and how it has been defined by the twenty-first century. Additionally, in order to contribute to this ever-growing repertoire, three new works for clarinet and multimedia were commissioned in collaboration with composers and visual artists. These new works include: Roadrunner (2019) for clarinet and fixed electronics by Spencer Brand with video by Samuel Proctor; I’d known this place (2020) for clarinet and electronics by Dan Caputo with live audio generative animations by Andrew Robinson; and Spectral Passages (2020) for clarinet and electronics by Alvaro Varas with painting by Miguel Godoy. Background information and performance guides are included for each piece to aid future musicians in performance, as well as respective audio/video recordings. Finally, a significant portion of this document includes a catalog of works for clarinet and multimedia. The catalog was compiled by focusing on the output of twenty-first century composers to serve as a resource for future performers.
ContributorsClements, Katrina Isabel (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Meyer, Jeffery (Committee member) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2020
Description
This project includes recordings, composer biographies, and performance guides for four original works commissioned for me. All four compositions were written specifically for the baritone saxophone and piano accompaniment, to contribute and expand the repertoire for baritone saxophone while incorporating pedagogical and performance practices that will aid in the development of a baritone saxophonist. In addition, I will highlight the problems that have become consistent with the limited amount of repertoire for baritone saxophone, and how these commissioned works can be one of many ways to amend these issues. Within these four works, I will discuss and expand on fundamental pedagogical concepts, suitable healthy practice and performance habits to ensure wellness to the performer, as well as my personal approach to each piece. Two of these four original compositions were recorded in Organ Hall at ASU on April 19, while the other two compositions were premiered at the 2023 North American Saxophone Alliance Biennial Conference held in Hattiesburg, Mississippi on Friday, March 31st. Furthermore, all four compositions will be recorded in a recording studio by the Azure Duo, which consists of myself on baritone saxophone, and John Fabius Solari on piano. Recordings will be done at the recording studio Fusion on First, located at Arizona State University Downtown Campus in June 2023. The first piece, On the Hunt (2022) was written by Jorge Machain (b. 1993). The second piece, written by Brooke Herndon (b. 1995), is titled Vignettes (2022). The third piece, Fantasia V (Five) (2023), was written by Kevin Day (b. 1996). The fourth and final piece in the set of commissions is Lonepine (2023), written by Tanner Bayles (b. 1999).
ContributorsLee, Bonson (Author) / Creviston, Christopher (Thesis advisor) / Gardner, Joshua (Committee member) / Navarro, Fernanda (Committee member) / Arizona State University (Publisher)
Created2023
Wellness resources at postsecondary music schools: a survey of how this information is being offered
Description
Musicians have the potential to experience health problems related to their
profession. The National Association of Schools of Music (NASM) requires schools to
provide information about wellness. There are 634 degree-granting, not for profit, NASM
accredited postsecondary music schools in America. This study examined the types of
wellness resources offered at 387 of these schools or 60%. Wellness information was
divided into three categories: physical, psychological and hearing. The types of resources
offered, category of information and the size of the school were considered. Schools were
emailed and their websites were searched for wellness information.
Forty-eight percent of the schools had website information, 32% offered wellness
workshops, 16% of the schools offered wellness courses, and 32% of the schools covered
wellness information through other methods. Nineteen percent of the schools said that
they did not offer courses or workshops and did not say how they are meeting the
requirement. Physical wellness information was most widely available, followed by
hearing information, while psychological wellness information was harder to find.
Smaller schools were less likely to offer wellness courses but otherwise the size of a
school did not play a significant role in the types of wellness resources they were able to
offer.
Based on the findings, more schools should incorporate wellness information on
their websites and hold wellness workshops. Psychological wellness information should
be more widely available. Schools should advertise the wellness information that they
offer so that students are aware of the options available to them.
profession. The National Association of Schools of Music (NASM) requires schools to
provide information about wellness. There are 634 degree-granting, not for profit, NASM
accredited postsecondary music schools in America. This study examined the types of
wellness resources offered at 387 of these schools or 60%. Wellness information was
divided into three categories: physical, psychological and hearing. The types of resources
offered, category of information and the size of the school were considered. Schools were
emailed and their websites were searched for wellness information.
Forty-eight percent of the schools had website information, 32% offered wellness
workshops, 16% of the schools offered wellness courses, and 32% of the schools covered
wellness information through other methods. Nineteen percent of the schools said that
they did not offer courses or workshops and did not say how they are meeting the
requirement. Physical wellness information was most widely available, followed by
hearing information, while psychological wellness information was harder to find.
Smaller schools were less likely to offer wellness courses but otherwise the size of a
school did not play a significant role in the types of wellness resources they were able to
offer.
Based on the findings, more schools should incorporate wellness information on
their websites and hold wellness workshops. Psychological wellness information should
be more widely available. Schools should advertise the wellness information that they
offer so that students are aware of the options available to them.
ContributorsFraser, Catherine (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Caslor, Jason (Committee member) / Feisst, Sabine (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2016
Description
The number of compositions that use electronics alongside the wind ensemble has gradually increased in the 21st century, yet these compositions are infrequently programmed past their premieres. Explanations include lack of access to necessary resources, unfamiliarity with the repertoire, and inexperience with the technology they require. While there are other barriers to performance, this document focuses on familiarizing the repertoire and providing foundational knowledge necessary to overcome inexperience.
As the number of technology-native composers, audience members, and performers continues to increase, electronics in the ensemble are likely to become more standard. Without knowledge of the technology electronics require, these works will remain inaccessible. Composers attempt to bridge the technological knowledge gap by providing technical instructions for individual pieces, but this does not help people recognize the broader concepts that make all of these works more accessible. This document guides ensemble directors and performers to an understanding of these base concepts by developing a grading system for technology difficulty, assessing pedagogical and performance issues, and providing an annotated list of works currently available for electronics and winds.
As the number of technology-native composers, audience members, and performers continues to increase, electronics in the ensemble are likely to become more standard. Without knowledge of the technology electronics require, these works will remain inaccessible. Composers attempt to bridge the technological knowledge gap by providing technical instructions for individual pieces, but this does not help people recognize the broader concepts that make all of these works more accessible. This document guides ensemble directors and performers to an understanding of these base concepts by developing a grading system for technology difficulty, assessing pedagogical and performance issues, and providing an annotated list of works currently available for electronics and winds.
ContributorsHubbard, Justin (Author) / Caslor, Jason (Thesis advisor) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2020
Description
Although many of the effects of the flute’s design and mechanisms have been previously studied, the flute’s stopper remains relatively unexplored. Stoppers are traditionally made of cork, are used to seal the upper end of the headjoint tubing, and determine the overall intonation of the flute. However, new stoppers made of different types of materials have been created to serve an additional purpose: to improve various aspects of player performance. These new non-cork stoppers vary in design and material, and claim to improve players’ projection, resonance, response, and other qualities.
This research project discusses the history of the flute’s stopper and its functions, usage, and effects to improve general stopper knowledge and assist flutists interested in trying or purchasing non-cork stoppers available today. Because only three small studies have been published on the stopper’s acoustic and perceived effects to date, two single-blind experiments were conducted to determine the stoppers’ potential acoustic and perceived effects on listener and player perception. Five of the most popular stoppers available today were tested: the Bigio Stopper, Celestine Rexonator, Seidman Flute Stopper Plug, Swap-Stopper, and the traditional cork stopper.
To determine the stopper’s acoustic effects, which can be quantified, an acoustic experiment was conducted to investigate the stoppers’ effect on intensity in decibels (which correlates with perceived loudness) and spectral centroid in hertz (which correlates with perceived tonal brightness). Perception tests were conducted to examine how both players and listeners perceive the stoppers’ effects on projection, response, tone quality, and timbre. The results of these experiments will help flutists better understand the effects of the stopper and navigate the stopper-makers’ claims about non-cork stoppers available for purchase today.
This research project discusses the history of the flute’s stopper and its functions, usage, and effects to improve general stopper knowledge and assist flutists interested in trying or purchasing non-cork stoppers available today. Because only three small studies have been published on the stopper’s acoustic and perceived effects to date, two single-blind experiments were conducted to determine the stoppers’ potential acoustic and perceived effects on listener and player perception. Five of the most popular stoppers available today were tested: the Bigio Stopper, Celestine Rexonator, Seidman Flute Stopper Plug, Swap-Stopper, and the traditional cork stopper.
To determine the stopper’s acoustic effects, which can be quantified, an acoustic experiment was conducted to investigate the stoppers’ effect on intensity in decibels (which correlates with perceived loudness) and spectral centroid in hertz (which correlates with perceived tonal brightness). Perception tests were conducted to examine how both players and listeners perceive the stoppers’ effects on projection, response, tone quality, and timbre. The results of these experiments will help flutists better understand the effects of the stopper and navigate the stopper-makers’ claims about non-cork stoppers available for purchase today.
ContributorsHoeckley, Stephanie (Author) / Buck, Elizabeth (Thesis advisor) / Gardner, Joshua (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2020
Description
Electronic music, including the subgenre of interactive electronic music, has a century-old history and has established itself as a vital and important element of modern music cultures throughout the world. Acoustic musicians in the twenty-first century will be expected to perform and interact with electronic music. Currently, however, few resources are available to either the student or teacher to help advancing young musicians develop their skills working with electronic musical components. A considerable amount of electronic music is prohibitive due to cost, access to equipment, and degree of difficulty. Therefore, a set of works designed to specifically reduce these prohibitive costs seems necessary. As a performer/composer that plays clarinet and as an electronic musician that regularly utilizes the open-source programming software Pure Data (Pd), I feel my composing, performing, and technical experience uniquely positions me to create educational materials. For this project, I will compose/program a collection of electronic etudes for clarinet and electronics that: (1) utilizes Pd to provide electronic accompaniment, (2) is composed for clarinetists of varying experience levels, (3) and will be commercially available as electronic PDF and Pd files.
ContributorsBennett, Joshua (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Moon, Barry (Committee member) / Arizona State University (Publisher)
Created2020
Description
Until the second half of the 20th century, publications on breathing techniques for woodwinds have been scarce and often failed to adequately address this aspect of performance and pedagogy. It is through various sensory experiences and because of recent technological advances that academics recognize a gap in the existing literature and have since included studies using various methods, as well as modern technical devices and experiments into the woodwind literature and teaching. These studies have proven to be of great importance to confirm ideas and hypotheses on the matter.
The aim of this project is to collect woodwind journal publications into a meta-analysis, focusing specifically on the breathing techniques for woodwind instruments and provide a comprehensive annotated bibliography on the topic and its application. The project is limited to journal articles on breathing techniques applied for woodwinds only, and will not review literature discussing breathing from other perspectives or in a broader sense.
Major findings show that misconceptions and contradictions on the subject still exist. At the same time, they also highlight unique approaches used to help the learner overcome general and specific challenges while mastering the art of breathing.
The project highlights areas where future research on breathing would be encouraged and should be complemented by measured data. Such studies might include a woodwind specific examination of the relationship between the tongue and the soft palate, or analysis of how tension in the torso muscles influences the movement of the diaphragm, or how rhythmical breathing affects breath control and capacity, and finally a discussion on how larynx influences the air stream.
The aim of this project is to collect woodwind journal publications into a meta-analysis, focusing specifically on the breathing techniques for woodwind instruments and provide a comprehensive annotated bibliography on the topic and its application. The project is limited to journal articles on breathing techniques applied for woodwinds only, and will not review literature discussing breathing from other perspectives or in a broader sense.
Major findings show that misconceptions and contradictions on the subject still exist. At the same time, they also highlight unique approaches used to help the learner overcome general and specific challenges while mastering the art of breathing.
The project highlights areas where future research on breathing would be encouraged and should be complemented by measured data. Such studies might include a woodwind specific examination of the relationship between the tongue and the soft palate, or analysis of how tension in the torso muscles influences the movement of the diaphragm, or how rhythmical breathing affects breath control and capacity, and finally a discussion on how larynx influences the air stream.
ContributorsJevtic-Somlai, Csaba (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Humphreys, Jere (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
The percussion ensemble pieces of the 1930s and 1940s have many performance practice and instrumental selection considerations when performed in the modern day. The four pieces of music under consideration for this study are Ionisation (1933) by Edgard Varèse, Ostinato Pianissimo (1934) by Henry Cowell, First Construction (In Metal) (1939), and Third Construction (1941), both by John Cage. These works have stood the test of time, and are still an important part of today’s percussive literature. As with many historical works, issues such as interpretation and instrument selection arise when performed in the twenty first century. This project aims to provide general considerations and specific solutions when preparing these works for performance. The research conducted in this paper will help percussionists and musicologists alike further understand how to properly replicate the early percussion ensemble music, if the performers objectives are to emulate the composers’ original intentions.
ContributorsWales, Tyler (Author) / Compitello, Michael (Thesis advisor) / Smith, J.B. (Committee member) / Saucier, Catherine (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2021
Description
The original scope of this project was to have several conducting experiences and written records about the conductor’s experiences. Due to COVID-19, the focus of the paper has shifted to documenting the preparation, rehearsal, and performance "Recombobulation" (2016) by Theresa Martin. Using the templates found in the "Teaching Music Through Performance in Band" book series as a model, combined with the author’s personal narrative of their experience, this paper aims to serve as a resource for both people considering programming this piece of music as well as early career conductors who strive to improve their craft.
ContributorsStirm, Taylor Lynne (Author) / Caslor, Jason (Thesis director) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / School of Music, Dance and Theatre (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-12