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- Creators: DeMars, James
Description
Traditional consensus in duos with grand piano has been that issues of balance between piano and the other instrument can be corrected through lowering the lid on the piano, particularly when the other instrument has been thought of as less forceful. The perceived result of lowering the lid on the piano is to quiet the piano enough so as not to overwhelm the other instrument, though the physics of the piano and acoustics suggest that it is incorrect to expect this result. Due to the physics of the piano and natural laws such as the conservation of energy, as well as the intricacies of sound propagation, the author hypothesizes that lowering the lid on the piano does not have a significant effect on its sound output for the audience of a musical performance. Experimentation to determine empirically whether the lid has any significant effect on the piano's volume and tone for the audience seating area was undertaken, with equipment to objectively measure volume and tone quality produced by a mechanical set of arms that reproduces an F-major chord with consistent power. The chord was produced with a wooden frame that input consistent energy into the piano, with measurements taken from the audience seating area using a sound pressure level meter and recorded with a Zoom H4N digital recorder for analysis. The results suggested that lowering the lid has a small effect on sound pressure level, but not significant enough to overcome issues of overtone balance or individual pianists’ touch.
ContributorsLee, Paul Allen (Author) / Campbell, Andrew (Thesis advisor) / DeMars, James (Committee member) / FitzPatrick, Carole (Committee member) / Ryan, Russell (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2017
Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018
Description
This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
ContributorsChenoweth, Woodrow (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Gardner, Joshua (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2019
Description
This project’s goal is to expand the repertoire for soprano saxophone featuring improvisation. Each work detailed in this document features improvisation as an integral component. The first piece, Impetus, was written by Grant Jahn for soprano saxophone and piano. The second piece, Sonata, was written for the same instrumentation by Brett Wery. Ethan Cypress wrote the third work for solo soprano saxophone, Noir et Bleu. The final composition on the project, Counterpunch by Gregory Wanamaker, was written for saxophone sextet. This paper also includes composer biographies, program notes, performance guides, and composer questionnaires. The central component of this project is a recording of all these works which features the author.
ContributorsDetweiler, Samuel (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2018
Description
It wasn’t long after the Chicago Opera Company postponed staging The Love for Three Oranges in December of 1919 that Prokofiev decided to create The Fiery Angel. In November of the same year he was reading Valery Bryusov’s novel, “The Fiery Angel.” At the same time he was establishing a closer relationship with his future wife, Lina Codina. For various reasons the composition of The Fiery Angel endured over many years. In April of 1920 at the Metropolitan Opera, none of his three operas - The Gambler, The Love for Three Oranges, and The Fiery Angel - were accepted for staging. He received no additional support from his colleagues Sergi Diaghilev, Igor Stravinsky, Vladimir Mayakovsky, and Pierre Souvchinsky, who did not care for the subject of Bryusov’s plot. Despite his unsuccessful attempts to have the work premiered, he continued working and moved from the U.S. to Europe, where he continued to compose, finishing the first edition of The Fiery Angel. He married Lina Codina in 1923. Several years later, while posing for portrait artist Anna Ostroumova-Lebedeva, the composer learned about the mysteries of a love triangle between Bryusov, Andrey Bely and Nina Petrovskaya. It was then that Prokofiev’s characters took shape, reflecting the conflicting relationships in Bryusov’s real life and characters from the novel, as well as themes from Prokofiev’s own life.
This paper will discuss Prokofiev’s third opera, The Fiery Angel. In addition to brief biographical, character, and plot information, topics will include issues Prokofiev encountered with creating the libretto, the relationship between his real-life love triangle and that depicted in the opera, and the impact Prokofiev’s ever-evolving relationship with religion and the occult had on the work.
This paper will discuss Prokofiev’s third opera, The Fiery Angel. In addition to brief biographical, character, and plot information, topics will include issues Prokofiev encountered with creating the libretto, the relationship between his real-life love triangle and that depicted in the opera, and the impact Prokofiev’s ever-evolving relationship with religion and the occult had on the work.
ContributorsNikolovski, Vanja (Author) / DeMaris, Brian (Thesis advisor) / DeMars, James (Committee member) / Dreyfoos, Dale (Committee member) / Caslor, Jason (Committee member) / Arizona State University (Publisher)
Created2018
Description
Reverend Stormfield Goes to Heaven is an operetta in six scenes for seven vocalists and
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
ContributorsSakamoto, Dale Toshio (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2019
Description
Double bass drumming is a genre of drum set performance that utilizes a bass drum pedal for both the right and left feet. This allows the feet to function much like the hands, and provides the ability to play faster rhythmic passages on the bass drum that would otherwise be impossible in the classic single-pedal arrangement. The feet are then elevated to new levels of importance, which creates new challenges in four-limb coordination.
This double bass drumming tradition has been in use since the mid-20th century, and it has become extremely popular since that time. Today, virtually every drum set retailer offers the double bass pedal as part of their inventory. Many large drum solo competitions, such as the Guitar Center Drum-Off, also include a double bass pedal as part of the provided drum set.
However, even with this recent growth in popularity of double bass drumming, there remains a significant lack of scholarly research on the topic. This could be due to the popularity of double bass drumming remaining fairly new, and that the primary implementation of this drumming style remains outside of the art music tradition. This document will help further bring this complex drumming tradition to light by providing an in-depth analysis of the double-bass drumming style through historical overview, explanation of various technical approaches and considerations, and an analysis of common double bass drumming performance practice.
This double bass drumming tradition has been in use since the mid-20th century, and it has become extremely popular since that time. Today, virtually every drum set retailer offers the double bass pedal as part of their inventory. Many large drum solo competitions, such as the Guitar Center Drum-Off, also include a double bass pedal as part of the provided drum set.
However, even with this recent growth in popularity of double bass drumming, there remains a significant lack of scholarly research on the topic. This could be due to the popularity of double bass drumming remaining fairly new, and that the primary implementation of this drumming style remains outside of the art music tradition. This document will help further bring this complex drumming tradition to light by providing an in-depth analysis of the double-bass drumming style through historical overview, explanation of various technical approaches and considerations, and an analysis of common double bass drumming performance practice.
ContributorsParis, Zach (Author) / Smith, Jeffrey (Thesis advisor) / Kocour, Michael (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2019
Description
For my creative project, I began an art press that produces small-run vinyl records and artist's books. Initially, the venture began as a means to circumvent record pressing facilities as a vinyl record-cutting service. By the end of this project, the focus shifted to encompass more visual art products than just vinyl records. The project began with vinyl records because I saw a need in the market; in the past decade, the industry has grown dramatically, but the dozen record pressing plants in the country cannot keep up with the demand. Because record pressing companies prioritize large orders, it is difficult for many small bands and independent record labels to produce work on this medium. This is due to the long lead times, high prices, and large minimum order sizes. I located a man in Germany, who invented a machine that makes high-quality, lathe-cut records. I named the project Blushing Soup, as homage to my father, who passed during my first semester of college. It is through his passing that I was able to secure funds to pursue this venture. I brought on a partner, who was more familiar with art and audio recording than myself. In the summer of 2015, we met with this inventor to learn how to use his machine. By October of 2015, a machine of our own had arrived. In early November, Blushing Soup won a grant from the Scottsdale Museum of Contemporary Art. During this time, we released two vinyl records for local bands. For a culminating project, I coordinated a Record Store Day compilation album consisting of six bands featuring. After securing all of the music, the machine started having problems, which forced me to cancel this release. Recognizing the delicacy of the machine, prompted a shift in the aim of Blushing Soup. During this process, I started learning printmaking processes, and I realized that Blushing Soup could function as more than a record cutting service; we could be an art press. In the last few month of this project, I started making artist's books. By the end of April 2016, Blushing Soup will have released vinyl records for two bands, as well as produced four handmade books. This creative project centered around the process of creating art through lathe cutting and printmaking; the objective was not to maximize profits but rather refocus the consumption of art (in a sustainable practice).
ContributorsStringer, Shelby Manning (Author) / Essig, Linda (Thesis director) / Peck, Sidnee (Committee member) / School of Art (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Theory Jam is a series of online, education videos that teach music theory in a fun, engaging way. Our project is a response to the growing need for successful online education content. It incorporates strategies for creating effective educational video content and engages with contemporary debates in the field of music theory surrounding the purpose of a music theory education.
ContributorsCannatelli, Joshua Bryce (Co-author) / Daval, Charles Joseph (Co-author) / Miller, April (Thesis director) / Scott, Jason (Committee member) / Tobias, Evan (Committee member) / Department of English (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
21st Century Breakdown: The Influence of Social Media on New Bands in the 21st Century is a creative project that explores the development of social media in its relation to music and how, over time, it has impacted the music industry. More specifically, the documentary explains the significance of social media to new bands at this moment in time (2017), which is seen through the development of local Phoenix band The Breaking Pattern. The documentary follows The Breaking Pattern for a year from the release of their debut album to the early stages of their second album. The documentary reveals that social media is essential to new bands, allows smaller bands to stay competitive in the industry and allows artists to present a certain identity, genuine or cultivated, to the public. Keywords: social media, identity, music, internet, documentary
ContributorsBosselman, Haley Erin (Author) / Jacoby, Jim (Thesis director) / Russell, Dennis (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05