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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
Most violinists of the Western classical tradition are untrained in the aural skills and left-hand techniques of microtonal intervals. This document surveys the nature of the problem and presents a manual for self-teaching the three-quarter tone step—the equal tempered ‘neutral second’ (N2) a quarter tone between the major and minor second intervals—through the melodic syntax of specific Persian classical music (PCM) modes. While the paper does not teach PCM performance, it does offer a method of melodic functional hearing through a new solmization system designed specifically for PCM. Additionally, the paper guides readers through the PCM repertoire by grouping modes with a shared functional usage of the N2. Combined with the pedagogical research of learning modalities and Edwin Gordon’s Music Learning Theory, these tools provide violinists with a method for achieving the aural accessibility and performance mastery of the N2. This process serves as a future model for learning unfamiliar intervals both within and without the Western classical tradition.
ContributorsDiBarry, Michael (Author) / McLin, Katherine (Thesis advisor) / Buck, Nancy (Committee member) / Knowles, Kristina (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
Patterns and Soundscapes explores the concept album format, popularized in the late 1960s and into modern times by artists such as the Who, Pink Floyd, and Frank Zappa. Specifically, I sought to adapt this format as a compositional process aimed towards the completion of a large-scale work that can be presented in album format and live performance. Further influenced by the concept album, I sought to create pieces consisting of similar musical techniques, motivic ideas, and harmonic language, so that each piece could be performed on its own or be combined as a multi-movement work.
I began writing this work in the spring of 2019, with “Colored Red Currents” for string quartet and “Conspiracy Wall” for two drum sets. After realizing that both pieces had a similar sound and style, I began to consider how they could function within an album format, and how they could also work together to form a large-scale musical work. I then decided that each subsequent piece, in addition to being composed of similar musical ideas, would be written in a manner that allowed for seamless transitions between the end of one and the beginning of another, and would also introduce the instrumentation making up the full ensemble in the last movement.
This work begins with the sparkling and rapid string quartet, “Colored Red Currents,” then moves to the energetic and groove based “Conspiracy Wall” for two drum sets, the meditative “Interlude” for solo viola and electronics, and the quick and mechanical “Beat Frequency” for alto saxophone, bass clarinet, and electronics. The work ends with “ALL IN,” where the full ensemble is finally formed, and all of the patterns and soundscapes come together to form a bombastic and wild finale.
I began writing this work in the spring of 2019, with “Colored Red Currents” for string quartet and “Conspiracy Wall” for two drum sets. After realizing that both pieces had a similar sound and style, I began to consider how they could function within an album format, and how they could also work together to form a large-scale musical work. I then decided that each subsequent piece, in addition to being composed of similar musical ideas, would be written in a manner that allowed for seamless transitions between the end of one and the beginning of another, and would also introduce the instrumentation making up the full ensemble in the last movement.
This work begins with the sparkling and rapid string quartet, “Colored Red Currents,” then moves to the energetic and groove based “Conspiracy Wall” for two drum sets, the meditative “Interlude” for solo viola and electronics, and the quick and mechanical “Beat Frequency” for alto saxophone, bass clarinet, and electronics. The work ends with “ALL IN,” where the full ensemble is finally formed, and all of the patterns and soundscapes come together to form a bombastic and wild finale.
ContributorsGrossman, Brendan Patrick (Author) / Rockmaker, Jody (Thesis advisor) / Norby, Christopher (Thesis advisor) / Bolanos, Gabriel (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
ABSTRACT
The bassoon has the ability to play in varying styles across multiple genres with repertoire spanning from the early Baroque era to the present day. Popular and frequently played pieces for the bassoon, such as concerti by Vivaldi, Mozart, and Weber, are frequently performed in recital, yet the rich musical tradition and repertory of Romanian folk music is seldom performed in the recital hall. The main reason for the shortcoming of this style of music in the bassoon repertoire can be attributed to the sheer lack of prominent composers writing original works for the bassoon in Romania compared to Western Europe.
The purpose of this project is to add Romanian folk music to the bassoon repertoire by arranging and recording three pieces for bassoon and piano: Romanian Rhapsody No. 1 in A Major and Romanian Rhapsody No. 2 in D Major by George Enescu and the six-movement work Romanian Folk Dances by Béla Bartók.
Included in this project is a section covering historical information on the arranged compositions, procedures of the transcription that explain the reasoning to alterations and adjustments from the original score are also incorporated in this document. Lastly, the transcribed scores and recordings of the arrangements are included in this document.
The bassoon has the ability to play in varying styles across multiple genres with repertoire spanning from the early Baroque era to the present day. Popular and frequently played pieces for the bassoon, such as concerti by Vivaldi, Mozart, and Weber, are frequently performed in recital, yet the rich musical tradition and repertory of Romanian folk music is seldom performed in the recital hall. The main reason for the shortcoming of this style of music in the bassoon repertoire can be attributed to the sheer lack of prominent composers writing original works for the bassoon in Romania compared to Western Europe.
The purpose of this project is to add Romanian folk music to the bassoon repertoire by arranging and recording three pieces for bassoon and piano: Romanian Rhapsody No. 1 in A Major and Romanian Rhapsody No. 2 in D Major by George Enescu and the six-movement work Romanian Folk Dances by Béla Bartók.
Included in this project is a section covering historical information on the arranged compositions, procedures of the transcription that explain the reasoning to alterations and adjustments from the original score are also incorporated in this document. Lastly, the transcribed scores and recordings of the arrangements are included in this document.
ContributorsRice-Misura, Sarah Burnett (Author) / Micklich, Albie (Thesis advisor) / Buck, Elizabeth (Committee member) / Saucier, Catherine (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
The core element of this research paper is an analysis of the B-flat minor prelude and fugue BWV 867. The author’s analysis is then compared with the main contributors to Bach’s analytical studies. An understanding of the work’s structure, together with its motivic and harmonic details, help the performer develop an interpretive approach to the work.
Significant Bach scholars, including David Ledbetter and Peter Williams, are used as the source for the additional works to be studied. These scholars also mention close associates of Bach who offer additional insight into his music: Kirnberger and Weiss. The paper includes a brief discussion of the opening chorus fugue BWV 64, instrumental prelude to the cantata BWV 106, chorale prelude BWV 721, and Tombeau sur la Mort de Mr Comte de Logy by Weiss, as they relate to the B-flat minor prelude and fugue. In addition, the analysis provides materials on how the elements of the work relate to the Doctrine of Affections. From the B-flat minor prelude and fugue, the harmonic progressions and figuration are examined from the point of view of the Doctrine. The research also examines the fugue subject, with its unusual leap of a minor 9th, to its structural connection to the opening chorus fugue of BWV 64, and its ties to the Doctrine.
Through the analysis of the B-flat minor prelude and fugue and a comparison to works by Bach that are stylistically connected to this work, the author offers insights into the music and its relationship to works that have a sacred text association.
Significant Bach scholars, including David Ledbetter and Peter Williams, are used as the source for the additional works to be studied. These scholars also mention close associates of Bach who offer additional insight into his music: Kirnberger and Weiss. The paper includes a brief discussion of the opening chorus fugue BWV 64, instrumental prelude to the cantata BWV 106, chorale prelude BWV 721, and Tombeau sur la Mort de Mr Comte de Logy by Weiss, as they relate to the B-flat minor prelude and fugue. In addition, the analysis provides materials on how the elements of the work relate to the Doctrine of Affections. From the B-flat minor prelude and fugue, the harmonic progressions and figuration are examined from the point of view of the Doctrine. The research also examines the fugue subject, with its unusual leap of a minor 9th, to its structural connection to the opening chorus fugue of BWV 64, and its ties to the Doctrine.
Through the analysis of the B-flat minor prelude and fugue and a comparison to works by Bach that are stylistically connected to this work, the author offers insights into the music and its relationship to works that have a sacred text association.
ContributorsYoo, Hye Eun (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2020
Description
This paper closely examines the performance practice regarding articulation of the preludes from Bach’s Well-Tempered Clavier Book I. Recordings by five pianists are studied: Vladimir Feltsman, Glenn Gould, Angela Hewitt, Andras Schiff, and Rosalyn Tureck. The recordings reveal certain recurring articulation patterns which are categorized into six articulation techniques: short slurs, long slurs, detached upbeat, accented downbeats, changing articulation, and rolled chords. The author has divided the preludes into four groups: preludes with continuous running figuration, lyrical preludes, lyrical preludes with distinct melody and accompaniment, and preludes with non-lyrical themes. Analysis reveals that for each group of preludes, there are a set of principles that these pianists follow. Overall, for non-lyrical preludes, the running sixteenth notes are played legato, staccato, or a short slur followed by staccato. The slower moving quarter and eighth notes stay mostly detached or staccato. For lyrical preludes, the melody remains largely legato. Articulation techniques are used more extensively in non-lyrical preludes than lyrical ones, and more often in the slower moving eighth notes than running figuration. Articulation techniques are often used as means of embellishment. They enhance the individual character of each piece and generate Baroque attributes. Despite the principles observed in the recordings, many isolated performances are found which do not conform to any of them, suggesting that there is no authoritative rule when articulating Bach’s works on piano.
ContributorsGan, Nan (Author) / Hamilton, Robert (Thesis advisor) / Meir, Baruch (Committee member) / Little, Bliss (Committee member) / Marshall, Kimberly (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