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Description
The repertoire of the saxophone has advanced significantly since its invention circa 1840. Performers are required to adapt to the demands of composers - many of whom are exploring new and unconventional sounds and techniques. Numerous texts exist to identify and explain these so-called "extended" techniques, but there are very

The repertoire of the saxophone has advanced significantly since its invention circa 1840. Performers are required to adapt to the demands of composers - many of whom are exploring new and unconventional sounds and techniques. Numerous texts exist to identify and explain these so-called "extended" techniques, but there are very few resources for the initial stages of performance. In order to offer performers a resource, the author of this text composed forty original etudes (or studies) that incorporate extended techniques in a variety of ways. After identifying common extended techniques that a performer might face, the author focused on four different ways each individual technique might appear in actual repertoire. The resulting work is entitled Pushing Boundaries: Forty Etudes on Extended Techniques. Each etude offers a practical approach to what is generally a single extended technique. Although this text is not pedagogical in the sense of identifying the mechanics and anatomical requirements of each technique, it does contain a performance analysis of each etude. This analysis identifies areas where performers might struggle and offers helpful suggestions. To this end, the etudes accompanied by performance analysis provide a paced, systematic approach to the mastery of each technique.
ContributorsMurphy, Patrick Joseph (Author) / Hill, Gary (Thesis advisor) / Spring, Robert (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2013
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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

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
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Description
A common concern among musical performers in today'’s musical market pertains to their capacity to adapt to the constantly changing climate of the music business. This document focuses on one aspect of the development of a sustainable, entrepreneurship skill set: the production of a recording. While producing the recording Chocolates,

A common concern among musical performers in today'’s musical market pertains to their capacity to adapt to the constantly changing climate of the music business. This document focuses on one aspect of the development of a sustainable, entrepreneurship skill set: the production of a recording. While producing the recording Chocolates, the author examined and documented the multiplicity of skills encompassed with a recording project. The first part of the document includes a discussion of various aspects of the recording project, Chocolates, through an entrepreneurial lens, and an evaluation of the skill sets acquired through the recording process. Additionally, the inspiration and relevance behind the recording project and the process of collaboration between the two composers from whom I commissioned new compositions, Noah Taylor and James Grant, and myself is considered. Finally, I describe the recording and editing processes, including the planning involved within each process, how I achieved the final product, and the entrepreneurial skills involved. The second portion of this document examines a broad range of applications of entrepreneurship, marketing, and career management skills not only within the confines of this particular project, but also in relation to the overall sustainability of a twenty-–first century music-–performing career.
ContributorsStuckemeyer, Mary (Author) / Micklich, Albie (Thesis advisor) / Carpenter, Ellon (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
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Description
There are a significant number of musical compositions for violin by composers who used folk songs and dances of various cultures in their music, including works by George Enescu, Béla Bartók and György Ligeti. Less known are pieces that draw on the plethora of melodies and rhythms from Turkey. The

There are a significant number of musical compositions for violin by composers who used folk songs and dances of various cultures in their music, including works by George Enescu, Béla Bartók and György Ligeti. Less known are pieces that draw on the plethora of melodies and rhythms from Turkey. The purpose of this paper is to help performers become more familiar with two such compositions: Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin. Fazil Say (b. 1970) is considered to be a significant, contemporary Turkish composer. Both of the works discussed in this document simulate traditional "Eastern" instruments, such as the kemenҫe, the baðlama, the kanun and the ud. Additionally, both pieces use themes from folk melodies of Turkey, Turkish dance rhythms and Arabian scales, all framed within traditional structural techniques, such as ostinato bass and the fughetta. Both the Sonata for Violin and Piano and Cleopatra are enormously expressive and musically interesting works, demanding virtuosity and a wide technical range. Although this document does not purport to be a full theoretical analysis, by providing biographical information, analytical descriptions, notes regarding interpretation, and suggestions to assist performers in overcoming technical obstacles, the writer hopes to inspire other violinists to consider learning and performing these works.
ContributorsKalantzi, Panagiota (Author) / Jiang, Danwen (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
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Description
The integration of yoga into the music curriculum has the potential of offering many immediate and life-long benefits to musicians. Yoga can help address issues such as performance anxiety and musculoskeletal problems, and enhance focus and awareness during musical practice and performance. Although the philosophy of yoga has many similarities

The integration of yoga into the music curriculum has the potential of offering many immediate and life-long benefits to musicians. Yoga can help address issues such as performance anxiety and musculoskeletal problems, and enhance focus and awareness during musical practice and performance. Although the philosophy of yoga has many similarities to the process of learning a musical instrument, the benefits of yoga for musicians is a topic that has gained attention only recently. This document explores several ways in which the practice and philosophy of yoga can be fused with saxophone pedagogy as one way to prepare students for a healthy and successful musical career. A six-week study at Arizona State University was conducted to observe the effects of regular yoga practice on collegiate saxophone students. Nine participants attended a sixty-minute "yoga for musicians" class twice a week. Measures included pre- and post- study questionnaires as well as personal journals kept throughout the duration of the study. These self-reported results showed that yoga had positive effects on saxophone playing. It significantly increased physical comfort and positive thinking, and improved awareness of habitual patterns and breath control. Student participants responded positively to the idea of integrating such a course into the music curriculum. The integration of yoga and saxophone by qualified professionals could also be a natural part of studio class and individual instruction. Carrie Koffman, professor of saxophone at The Hartt School, University of Hartford, has established one strong model for the combination of these disciplines. Her methods and philosophy, together with the basics of Western-style hatha yoga, clinical reports on performance injuries, and qualitative data from the ASU study are explored. These inquiries form the foundation of a new model for integrating yoga practice regularly into the saxophone studio.
ContributorsAdams, Allison Dromgold (Author) / Norton, Kay (Thesis advisor) / Hill, Gary (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / Standley, Eileen (Committee member) / Arizona State University (Publisher)
Created2012
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Description
Nino Rota was a prolific composer of twentieth-century film and concert music, including the Concerto for bassoon and orchestra in b-flat major. Composing over 150 film scores for directors such as Federico Fellini, Francis Ford Coppola, Henry Cass, King Vidor and Franco Zeffirelli, Rota received distinguished acclaim from several film

Nino Rota was a prolific composer of twentieth-century film and concert music, including the Concerto for bassoon and orchestra in b-flat major. Composing over 150 film scores for directors such as Federico Fellini, Francis Ford Coppola, Henry Cass, King Vidor and Franco Zeffirelli, Rota received distinguished acclaim from several film institutions, professional film reviewers and film music experts for his contributions to the art form. Rota also composed a great deal of diverse repertoire for the concert stage (ballet, opera, incidental music, concerti, symphonies, as well as several chamber works). The purpose of this analysis is to emphasize the expressive charm and accessibility of his concerto in the bassoon repertoire. The matter of this analysis of the Concerto for bassoon and orchestra concentrates on a single concerto from his concert repertoire completed in 1977, two years before Rota's death. The discussion includes a brief introduction to Nino Rota and his accomplishments as a musician and film composer, and a detailed outline of the motivic and structural events of contained in each movement of the concerto. The shape of the work is analyzed both in detailed discussion and by the use of charts, including reduced score figures of excerpts of the piece, which illustrate significant thematic events and relationships. The analysis reveals how Rota uses lyrical thematic material in a consistently, and he develops the music by creating melodic sequences and varied repetitions of thematic material. He is comfortable writing several forms, as indicated by the first movement, Toccata - a sonata-type form; the second movement, Recitativo, opening with a cadenza and followed by a theme and brief development; and the third movement, a theme (Andantino) and set of six variations. Rota's writing also includes contrapuntal techniques such as imitation, inversion, retrograde and augmentation, all creating expressive interest during thematic development. It is clear from the discussion that Rota is an accomplished, well-studied and lyrical composer. This analysis will inform the bassoonist and conductor, and aid in developing a fondness for the Concerto for bassoon and orchestra and perhaps other concert works.
ContributorsKluesener, Joseph (Author) / Micklich, Albie (Thesis advisor) / Hill, Gary (Committee member) / Levy, Benjamin (Committee member) / Russell, Timothy (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2012
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from

Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
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Description
The normal playing range of a brass instrument includes a definitive stopping note in the instrument's low register. However, players have the ability to manipulate their lips to extend the low range beyond this point; notes sounding below an instrument's normal playing range are called pedal tones. The history of

The normal playing range of a brass instrument includes a definitive stopping note in the instrument's low register. However, players have the ability to manipulate their lips to extend the low range beyond this point; notes sounding below an instrument's normal playing range are called pedal tones. The history of pedal tones in trumpet performance and pedagogy has long been a source of confusion and misinformation. Consequently, this paper also discusses the educational value of using pedal tones, includes a brief history of players and teachers who have formulated pedal tone exercise methods, and examines their use within the six most influential method books that promote the use of pedal tones. The six books are Original Louis Maggio System for Brass by Carlton MacBeth, Double High C in 37 Weeks by Roger Spaulding, Systematic Approach to Daily Practice by Claude Gordon, Trumpet Yoga by Jerome Callet, James Stamp Warm-Ups +Studies by Thomas Stevens, and The Balanced Embouchure by Jeff Smiley.
ContributorsRodriguez, Malachy Sean (Author) / Hickman, David (Thesis advisor) / Holbrook, Amy (Committee member) / Bailey, Wayne (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
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Description
Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have become increasingly popular. Consequently, Latin American performers and composers are

Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have become increasingly popular. Consequently, Latin American performers and composers are receiving more attention and recognition than ever before. The contemporary repertoire for clarinet increasingly includes works highlighted at the ClarinetFest international festivals, and many clarinetists express interest in finding new Latin American compositions. In order to supplement this growing Latin American repertoire and to introduce the life and works of Peruvian composer Armando Guevara Ochoa (1926-2013), this project presents a brief biography of the composer, a discussion of his musical style, and new editions of his popular works transcribed for clarinet. A recording of these works is included in an appendix to this document. Prior to this research, much of the scholarship written about Guevara Ochoa was in Spanish. While most sources and scholars relate that Guevara Ochoa composed over 400 works, the whereabouts of fewer than 200 are currently known. This project will supplement Guevara Ochoa's clarinet literature and raise awareness of his compositions in English-speaking countries.
ContributorsPalmer, Katherine H (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2013
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Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.

The annotated bibliography focuses

This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.

The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.

Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.

In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014