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Description
More and more Taiwanese composers have been internationally recognizednowadays. However, their works have received scarce attention compared to their Western counterparts, even within Taiwan. Ming-Hsiu Yen (b. 1980) is a perfect example of an active composer whose works have been awarded many international prizes and performed worldwide, and yet there are few published studies that promote deeper understanding of her compositional language.
This paper is the explanatory document for a lecture recital presented by the author. Four of Yen’s compositions for piano are examined, namely The Forgotten Corner (2005), “The Core” and “Frozen March” from Movements (2002-2005), and Fantasy Amour (2013). These works are discussed from both compositional and performance perspectives. After a brief biography of Yen and an overview of her piano compositions, the four works are given detailed description focusing on their coherence created by specific elements. Performance suggestions for each work are provided as well.
The discussion offers insight into the musical organization of these pieces and Yen’s unifying techniques. It is hoped that this information will be beneficial to pianists interested in this composer and the repertoire of contemporary Taiwanese piano music.
ContributorsChang, Wen-Huei (Author) / Pagano, Caio (Thesis advisor) / Holbrook, Amy (Thesis advisor) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2021
Description
Noting a lack of solo repertoire for two popular keyboard percussion instruments, the glockenspiel and xylophone, I set out to bring the two instruments up to a level where both could be recognized as vehicles for solo performance. I decided to collaborate with three composers who are not percussionists: Nick Bentz (fitful machinery for solo glockenspiel and fixed media), Ashlee Busch (Elements for solo xylophone and crotales), and Hunter Long (We’ve always had time on our side for solo xylophone and percussion ensemble). By collaborating with these three young composers, I hope to elevate the stature of these underutilized percussion instruments. This document provides information about each composer, the commissioning process, and examinations of each work. In addition, I will discuss some of the challenges of working with non-percussionist composers, issues on performance practice, and my solutions to those challenges.
ContributorsKusuma, Egha (Author) / Compitello, Michael (Thesis advisor) / Smith, J.B. (Committee member) / Bolanos, Gabriel (Committee member) / Arizona State University (Publisher)
Created2021
Description
Mental health of children has been a topic of concern in recent years, and was brought to the forefront again in 2020 due to exacerbated stress caused by the COVID-19 pandemic. Due to the amount of time children spend in school, the effects of their emotional stress and mental health challenges are seen by their teachers. Studies have shown that teachers often have high levels of concern about student mental health, but also do not feel as though they have enough resources and guidance from their schools to be able to support the mental health of the students in their classrooms on a daily basis. Research also shows that music is an effective tool for addressing children’s mental health and bolstering their mindfulness. The goal of this study was to better understand whether or not a subset of elementary school music teachers use music to help students who are feeling anxiety, stress, or other emotional or mental disturbances. To that end, I surveyed a convenience sample of elementary music educators, mainly from Arizona’s Maricopa County, about the following research questions: (1) are educators utilizing music in their classrooms expressly for mental health and mindfulness purposes? (2) how do music educators perceive the mental health of their students? (3) how do they manage related behaviors or challenges in their classrooms? (4) do they feel they have adequate resources to address student mental health? A secondary purpose of the study was to utilize the responses to inform my creation of a website intended to provide resources that would be useful for music educators who are willing to address student mental wellbeing.
In addition to receiving many individual pieces of helpful information, I analyzed survey responses for general trends. My sample indicates that music teachers do have more than moderate levels of concern over their students’ mental health. It also revealed a lack of consistency in teacher pre-service preparation and also in the kinds of programs and associated training that are in place which address student mental health.
ContributorsCole, Casey (Author) / Norton, Kay (Thesis advisor) / Schmidt, Margaret (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2021
Description
This thesis examines the role of advocacy and social justice in the music of three living American women composers, and the ways their efforts as mentors, patrons, academics, and educators interact with their work as composers. Case studies include Gabriela Lena Frank (b. 1972), Missy Mazzoli (b. 1980), and Jennifer Jolley (b. 1981). My musicological narrative is informed by Kimberly Francis’s concept of women as “cultural mosaics” and Patricia Hill Collins’s theorization of intersectionality, which addresses the junction of variable characteristics (such as race, gender, or class) as they relate to an individual’s identity. I have centered my narrative on social issues these composers address through their activism and their music. Gabriela Lena Frank’s orchestral work, Peregrinos (2009), emphasizes Frank’s value of community outreach and her interdependence on others. Frank uses folklórica traditions and Latin mythology to musically recognize the diverse experiences of Latin American immigrants living in Indianapolis. Missy Mazzoli blends operatic traditions with electronics to convey messages of female empowerment in Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt (2012). Mazzoli’s characterization of the fascinating life of this nineteenth-century woman resonates with modern understandings of intersectionality and agency, and aligns with her work with the Luna Composition Lab. Jennifer Jolley’s approach to musical activism in Prisoner of Conscience (2017) mirrors her philosophical and political messages explored on her blog and e-magazine articles. Juxtaposing punk rock with church motets and madrigals, Jolley comments on the nature of protest and the punishment of Russian feminist punk group, Pussy Riot.
I position these composers as cultural agents with diverse concerns and diverse means by which to voice them. Frank, Mazzoli, and Jolley each participate in valuable extra-musical roles outside of their compositions: from Gabriela Lena Frank’s Creative Academy of Music, to Mazzoli’s Luna Composition Lab, to Jolley’s NewMusicBox articles. Each of these composers negotiate agency within traditions that have not always been open to women, and they seek to further remedy race and gender inequities through their prominent positions as educators and composers.
ContributorsMartinac, Caitlin (Author) / Norton, Kay (Thesis advisor) / Saucier, Catherine (Committee member) / Hicks, Glen (Committee member) / Arizona State University (Publisher)
Created2021
Description
When rock music began to appear on Broadway in the 1960s with Bye Bye Birdie and Hair, it opened up the door for new styles to be notated into musical theater scores. Since then, a wide variety of rock and pop genres have been incorporated into Broadway shows. Musical theater scores are representations of the show structure, and how rhythm and syncopation are notated in musical theater score affects how they are interpreted and performed.The past twenty years have seen a growth in popularity of both revivals and jukebox musicals. A revival is a show that appears on Broadway again after the original production; jukebox musicals take an already produced pop rock album or artist and create a loosely structured narrative around it. By analyzing rhythmic notation and syncopations in revivals and jukebox musicals, this paper demonstrates how popular culture and rhythmic notation interact with each other to create complexity in musical scores and performances. Centering around the musical Godspell as a core example, this paper examines rhythmic notation in pop rock musical theater, investigating how revivals and jukebox musicals can contribute to increased rhythmic complexity in scores.
This paper articulates the possibilities of a rhythmic notation system that would simplify the complex and frequent syncopations in pop rock musical scores. Eastman professor David Temperley’s work in rock syncopation and deep structure representation is discussed as it relates to musical theater scores. Expanding on Temperley’s theoretical foundation, the appendices demonstrate a proposed original arrow notation with an original song composed for these research purposes.
ContributorsRudolph, Randi Ellen (Author) / DeMaris, Brian (Thesis advisor) / Meyer, Jeffery (Committee member) / Bolanos, Gabriel (Committee member) / Arizona State University (Publisher)
Created2021
Description
Jaime Mendoza-Nava (1925-2005) was an important Bolivian composer. In addition to writing music for the concert stage, he worked as a composer of film music in Los Angeles during the second half of the twentieth century. His life and work remain greatly unstudied, with the majority of his compositions existing only in manuscript form. The present study surveys the available biographical information on the composer and supplements it with new data collected through interviews with the composer’s family. The information presented here focuses on the composer’s American period as well as his personality traits. The study also examines the development of musical nationalism in Bolivia and other important aspects of Bolivian culture and society, thus creating a historical context through which key influences on the composer are identified. This historical and cultural information also contributes to an examination of Mendoza-Nava’s song cycle País de sombra (1988). A close study of this work reveals Mendoza-Nava’s sensitive setting of the poetry of Ricardo Jaimes Freyre (1868-1933) and his musical references to his Bolivian heritage. A recording of the song cycle by soprano Andrea Ramos and the current author and an edited copy of the musical score conclude the study.
ContributorsSakuma, Masaru (Author) / Ryan, Russell (Thesis advisor) / Holbrook, Amy (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2021
Description
In this paper, I propose that taking an embodied approach to music performance can allow for better gestural control over the live sound produced and greater connection between the performer and their audience. I examine the many possibilities of live electronic manipulation of the voice such as those employed by past and current vocalists who specialize in live electronic sound manipulation and improvisation. Through extensive research and instrument design, I have sought to produce something that will benefit me in my performances as a vocalist and help me step out from the boundaries of traditional music performance. I will discuss the techniques used for the creation of my gestural instrument through the lens of my experiences as a performer using these tools. I believe that, through use of movement and gesture in the creation and control of sound, it is more than possible to step away from conventional ideas of live vocal performance and create something new and unique, especially through the inclusion of improvisation.
ContributorsEstes, Isabel (Author) / Hayes, Lauren (Thesis director) / Thorn, Seth (Committee member) / Barrett, The Honors College (Contributor) / Arts, Media and Engineering Sch T (Contributor)
Created2021-12
Description
In 1975 the Canadian Broadcasting Company (CBC) invited John Cage to write a composition for the bicentennial birthday of the United States. The result was Lecture on the Weather, a multi-media work for twelve expatriate vocalists and/or players with independent sound systems, magnetic tape, and film. Cage used texts by Henry David Thoreau, recordings of environmental sounds made by American composer Maryanne Amacher and a nature-inspired film by Chilean visual artist Luis Frangella. The composition opens with a spoken Preface and is arguably one of Cage’s most overtly political pieces. A year later the National Endowment of the Arts (NEA) and six major United States orchestras commissioned Cage to compose another work commemorating the United States bicentennial of the American Revolution. In response, he created Renga with Apartment House 1776, which follows his concept of a “music circus,” or simply, a musical composition with a multiplicity of events occurring simultaneously. Scored for voices, instrumental soloists and quartets, Renga with Apartment House is a multi-faceted work marked by layers of American hymns and folk tunes.
Cage’s United States Bicentennial compositions – and his other pieces created in the 1970s and 1980s – have received little attention from music scholars. Unique and provocative works within his oeuvre, these compositions raise many questions. Why was Cage commissioned to write these works? How did Cage pay tribute to this celebratory event in American history? What socio–political meanings are implied in these pieces? In this thesis I will provide political, cultural, and biographical contexts of these works. I will further examine their genesis, analyze their scores and selected performances, reflect on their meaning and critical implications and consider the reception of these works. My research draws on unpublished documents housed in the CBC’s archives at McGill University, the archives of C. F. Peters, the New York Public Library and it builds on research of such scholars as David W. Bernstein, William Brooks, Benjamin Piekut, and Christopher Shultis. This thesis offers new information and perspectives on Cage’s creative work in the 1970s and aims at filling a significant gap in Cage scholarship.
Cage’s United States Bicentennial compositions – and his other pieces created in the 1970s and 1980s – have received little attention from music scholars. Unique and provocative works within his oeuvre, these compositions raise many questions. Why was Cage commissioned to write these works? How did Cage pay tribute to this celebratory event in American history? What socio–political meanings are implied in these pieces? In this thesis I will provide political, cultural, and biographical contexts of these works. I will further examine their genesis, analyze their scores and selected performances, reflect on their meaning and critical implications and consider the reception of these works. My research draws on unpublished documents housed in the CBC’s archives at McGill University, the archives of C. F. Peters, the New York Public Library and it builds on research of such scholars as David W. Bernstein, William Brooks, Benjamin Piekut, and Christopher Shultis. This thesis offers new information and perspectives on Cage’s creative work in the 1970s and aims at filling a significant gap in Cage scholarship.
ContributorsFinkel, Joseph Christopher (Author) / Feisst, Sabine M (Thesis advisor) / Rogers, Rodney (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT
Music therapy is a highly effective treatment when used in the care of persons with dementia (PWD) and singing in particular is found to be calming and pleasurable to PWD. Seniorsing.net is a music-based application for use in memory care that provides a fun and interactive sing along activity for PWD. Developed by a music therapist, the application is designed to engage the user in singing along with recorded song performances while lyrics are displayed on the device screen. Seniorsing.net is accessible on any mobile device and is intended to provide a positive musical experience for PWD, whether listening or singing along. This study was conducted to test the design aspects of the application for use with PWD and their caregivers. Eighteen dyads of participants/caregivers were recruited from the senior community. Participants were observed interacting with seniorsing.net by the music therapist to provide an understanding of the usability of seniorsing.net and to collect information on the responses of PWD to seniorsing.net. Caregivers were given the opportunity to evaluate seniorsing.net via survey. The parameters that were measured included visual clarity and appeal, audibility, clarity of directions and usability by PWD and their caregivers. Observations of participants showed positive interactions with the application. Over 64% of participants independently engaged in singing with the application and over 50% of participants were able to activate features of the application with minimal assistance. Caregiver feedback was also positive. Most caregivers strongly agreed or agreed to the effectiveness of the design and its ease of use with PWD. 100% of caregivers found the song performances to be appropriate and comfortable to follow and sing. Caregivers gave suggestions for improvement of seniorsing.net, such as including more song choices and having more written directions on some of the screens. In conclusion, seniorsing.net was found to be enjoyable and easy to use by PWD and their caregivers.
Keywords: Dementia, Music Therapy, Singing, Technology
Music therapy is a highly effective treatment when used in the care of persons with dementia (PWD) and singing in particular is found to be calming and pleasurable to PWD. Seniorsing.net is a music-based application for use in memory care that provides a fun and interactive sing along activity for PWD. Developed by a music therapist, the application is designed to engage the user in singing along with recorded song performances while lyrics are displayed on the device screen. Seniorsing.net is accessible on any mobile device and is intended to provide a positive musical experience for PWD, whether listening or singing along. This study was conducted to test the design aspects of the application for use with PWD and their caregivers. Eighteen dyads of participants/caregivers were recruited from the senior community. Participants were observed interacting with seniorsing.net by the music therapist to provide an understanding of the usability of seniorsing.net and to collect information on the responses of PWD to seniorsing.net. Caregivers were given the opportunity to evaluate seniorsing.net via survey. The parameters that were measured included visual clarity and appeal, audibility, clarity of directions and usability by PWD and their caregivers. Observations of participants showed positive interactions with the application. Over 64% of participants independently engaged in singing with the application and over 50% of participants were able to activate features of the application with minimal assistance. Caregiver feedback was also positive. Most caregivers strongly agreed or agreed to the effectiveness of the design and its ease of use with PWD. 100% of caregivers found the song performances to be appropriate and comfortable to follow and sing. Caregivers gave suggestions for improvement of seniorsing.net, such as including more song choices and having more written directions on some of the screens. In conclusion, seniorsing.net was found to be enjoyable and easy to use by PWD and their caregivers.
Keywords: Dementia, Music Therapy, Singing, Technology
ContributorsFranklin, Danielle (Author) / Rio, Robin (Thesis advisor) / Crowe, Barbara (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2015
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