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Description
Beneath the epidermis, the human body contains a vibrant and complex ecology of interwoven rhythms such the heartbeat, the breath, the division of cells, and complex brain activity. By repurposing emergent medical technology into real-time gestural sound controllers of electronic musical instruments, experimental musicians in the 1960s and 1970s – including David Rosenboom – began to realize the expressive potential of these biological sounds. Composers experimented with breath and heartbeat. They also used electroencephalography (EEG) sensors, which register various types of brain waves. Instead of using the sound of brain waves in fixed-media pieces, many composers took diverse approaches to the challenge of presenting this in live performance. Their performance practices suggest different notions of embodiment, a relationship in this music which has not been discussed in detail.
Rosenboom reflects extensively on this performance practice. He supports his EEG research with theory about the practice of biofeedback. Rosenboom’s work with EEG sensors spans several decades and continue today, which has allowed him to make use of advancing sensing and computing technologies. For instance, in his 1976 On Being Invisible, the culmination of his work with EEG, he makes use of analyzed EEG data to drive a co-improvising musical system.
In this thesis, I parse different notions of embodiment in the performance of EEG music. Through a critical analysis of examples from the discourse surrounding EEG music in its early years, I show that cultural perception of EEG sonification points to imaginative speculations about the practice’s potentials; these fantasies have fascinating ramifications on the role of the body in this music’s performance. Juxtaposing these with Rosenboom, I contend that he cultivated an embodied performance practice of the EEG. To show how this might be manifest in performance, I consider two recordings of On Being Invisible.
As few musicologists have investigated this particular strain of musical experimentalism, I hope to contextualize biofeedback musicianship by offering an embodied reading of this milestone work for EEG.
Rosenboom reflects extensively on this performance practice. He supports his EEG research with theory about the practice of biofeedback. Rosenboom’s work with EEG sensors spans several decades and continue today, which has allowed him to make use of advancing sensing and computing technologies. For instance, in his 1976 On Being Invisible, the culmination of his work with EEG, he makes use of analyzed EEG data to drive a co-improvising musical system.
In this thesis, I parse different notions of embodiment in the performance of EEG music. Through a critical analysis of examples from the discourse surrounding EEG music in its early years, I show that cultural perception of EEG sonification points to imaginative speculations about the practice’s potentials; these fantasies have fascinating ramifications on the role of the body in this music’s performance. Juxtaposing these with Rosenboom, I contend that he cultivated an embodied performance practice of the EEG. To show how this might be manifest in performance, I consider two recordings of On Being Invisible.
As few musicologists have investigated this particular strain of musical experimentalism, I hope to contextualize biofeedback musicianship by offering an embodied reading of this milestone work for EEG.
ContributorsJohnson, Garrett Laroy (Author) / Xin Wei, Sha (Thesis advisor) / Ingalls, Todd (Committee member) / Suzuki, Kotoka (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2015
Description
The purpose of this study was to: (1) record and describe a brief history of the life and career of Bolivian composer Dr. Nicolás Suárez Eyzaguirre, and (2) write an analysis from a vocal performer's perspective of Suárez's song cycle for soprano and piano, Monólogos del Desierto, with texts by Dr. Guillermo Mariaca Iturri.
In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper.
In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper.
ContributorsStanford, Allison (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project examines over 40 publications consisting of published warm-ups, routines, and materials suitable for daily routines. The books were all written specifically for the horn and published between 1940 and 2015. They are split into periods of twenty years each during this timeframe: 1940-1959, 1960-1979, 1980-1999, and 2000-2015. Included are brief annotations for each of the books which consist of general biographical information on the author, a summary of the material presented in each routine including a breakdown of how much each author covers a set of defined components, and suggestions for which type of student would be best to utilize each routine through an assessment of its strengths. Trends are also examined within each time period that attempt to demonstrate the larger evolution within the project over the course of the entire 75-year period.
ContributorsManners, William Alexander (Author) / Ericson, John (Thesis advisor) / DeMars, James (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
Many of Erik Morales's trumpet compositions have become standard repertoire. This study examines his trumpet works, which are examples of Morales's outstanding compositional skill and versatility. The composer, some of the most significant performers, and people who commissioned these pieces were interviewed. Biographical information and compositional characteristics of Morales are presented. Historical information about the pieces is also provided, including the premieres, commissions, recordings, and significant performances. Technical concerns specific to the trumpet, and performance recommendations, are assessed. This study is a pedagogical and informative source for all trumpet educators and performers interested in solo and trumpet ensemble music.
ContributorsZapata Correa, Oswaldo Arley (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2016
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
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
Nikolay Andreyevich Rimsky-Korsakov’s Concerto for Trombone and Military Band and Georg Philipp Telemann’s Sonata in F minor TWV 41:f1 are two works from contrasting periods written by well-known composers. International Music Company first published the Sonata in 1968 for trombone, edited by Allen Ostrander. Rimsky-Korsakov’s Concerto for Trombone was first published in the United States by Leeds Music Corporation in 1952, edited by Davis Shuman. Both of these compositions contain editorial concerns that detract from each composer’s original music.
In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov.
This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions.
In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov.
This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions.
ContributorsHutchens, Timothy (Author) / Yeo, Douglas (Thesis advisor) / Swoboda, Deanna (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2016
Description
Formed in 1999, BCM International, comprised of composers Eric Whitacre, Jonathan Newman, Steven Bryant, and James (Jim) Bonney dedicated itself to publishing repertoire in the wind band medium. This project focuses on the work of these four composers, who, at the beginning of the “digital age,” joined together to create a new entrepreneurial and self-published entity. This paper aims to discuss their contribution to the wind band medium, thereby adding to the genre’s body of research.
Similarly to previous investigations of this sort, the author will: 1) offer a biographical sketch through the lens of each individual composer; 2) discuss the establishment of BCM International; 3) track the individual output for wind band of each of the four composers through performance data found in the College Band Directors National Association’s Report; and 4) discuss the composer reported influence of John Corigliano, their teacher, on their compositional process.
Similarly to previous investigations of this sort, the author will: 1) offer a biographical sketch through the lens of each individual composer; 2) discuss the establishment of BCM International; 3) track the individual output for wind band of each of the four composers through performance data found in the College Band Directors National Association’s Report; and 4) discuss the composer reported influence of John Corigliano, their teacher, on their compositional process.
ContributorsBlanco, Charlie G., III (Author) / Hill, Gary W. (Thesis advisor) / Feisst, Sabine (Committee member) / Caslor, Jason (Committee member) / Bailey, Wayne (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT
This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms build a digital persona, and create an engaged audience. The same techniques used by corporations and opera companies for their social media and marketing strategy can be leveraged to increase brand awareness, build a strong network, and may aid in generating new opportunities for the opera singer.
Key Words: Social Media, Opera Singer, Branding, Marketing, Technology
This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms build a digital persona, and create an engaged audience. The same techniques used by corporations and opera companies for their social media and marketing strategy can be leveraged to increase brand awareness, build a strong network, and may aid in generating new opportunities for the opera singer.
Key Words: Social Media, Opera Singer, Branding, Marketing, Technology
ContributorsJones, Jennifer E. (D.M.A.) (Author) / Kopta, Anne Elgar (Thesis advisor) / Mills, Robert (Committee member) / Rogers, Rodney (Committee member) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2016
Description
This paper provides a comprehensive study of Italian liturgical organ works from the 15th to 17th centuries. This music was composed for the Catholic Mass, and it demonstrates the development of Italian keyboard style and the incorporation of new genres into the organ Mass, such as a Toccata before the Mass, music for the Offertory, and the Elevation Toccata. This often neglected corpus of music deserves greater scholarly attention.
The Italian organ Mass begins with the Faenza Codex of c.1430, which contains the earliest surviving liturgical music for organ. Over a century would pass before Girolamo Cavazzoni published his three organ Masses in 1543: Mass IV (for feasts of apostles), Mass IX (for Marian feasts) and Mass XI (for typical Sundays of the year). The prevalence of publishing in Venice and the flourishing liturgical culture at San Marco led two notable organists, Andrea Gabrieli and Claudio Merulo, to publish their own Masses in 1563 and 1568. Both composers cultivated imitation and figurative lines which were often replete with ornamentation.
Frescobaldi’s Fiori musicali, published in Venice in 1635, represents the pinnacle of the Italian organ Mass. Reflecting the type of music he performed liturgically at San Pietro in Rome, this publication includes several new genres: canzonas after the reading of the Epistle and after Communion; ricercars after the Credo; and toccatas to be played during the Elevation of the Host. Frescobaldi’s music shows unparalleled mastery of counterpoint and invention of figuration. His liturgical music casts a long shadow over the three composers who published organ Masses in the decade following Fiori musicali: Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo.
This comprehensive look at Italian organ Masses from the 15th-17th centuries reveals the musical creativity inspired by the Catholic liturgy. Perhaps because of their practical use, these organ works are often neglected, mentioned merely as addenda to the other accomplishments of these composers. Hopefully insight into the contents of each organ Mass, along with the information about their style and aspects of performance practice, will make these musical gems more accessible to contemporary organists.
The Italian organ Mass begins with the Faenza Codex of c.1430, which contains the earliest surviving liturgical music for organ. Over a century would pass before Girolamo Cavazzoni published his three organ Masses in 1543: Mass IV (for feasts of apostles), Mass IX (for Marian feasts) and Mass XI (for typical Sundays of the year). The prevalence of publishing in Venice and the flourishing liturgical culture at San Marco led two notable organists, Andrea Gabrieli and Claudio Merulo, to publish their own Masses in 1563 and 1568. Both composers cultivated imitation and figurative lines which were often replete with ornamentation.
Frescobaldi’s Fiori musicali, published in Venice in 1635, represents the pinnacle of the Italian organ Mass. Reflecting the type of music he performed liturgically at San Pietro in Rome, this publication includes several new genres: canzonas after the reading of the Epistle and after Communion; ricercars after the Credo; and toccatas to be played during the Elevation of the Host. Frescobaldi’s music shows unparalleled mastery of counterpoint and invention of figuration. His liturgical music casts a long shadow over the three composers who published organ Masses in the decade following Fiori musicali: Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo.
This comprehensive look at Italian organ Masses from the 15th-17th centuries reveals the musical creativity inspired by the Catholic liturgy. Perhaps because of their practical use, these organ works are often neglected, mentioned merely as addenda to the other accomplishments of these composers. Hopefully insight into the contents of each organ Mass, along with the information about their style and aspects of performance practice, will make these musical gems more accessible to contemporary organists.
ContributorsHolton Prouty, Kristin Michelle (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2015