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- Creators: Campbell, Andrew
Description
There are many passages in the standard collaborative piano repertoire that are best executed with average to larger hands, such as densely voiced chords, fast octave passages, spans of 9ths or 10ths, legato lines with wide ranges, or extended arpeggiated passages. As a petite Asian woman with smaller hands, I am frequently engaged to rehearse and perform such works. Such engagements involve a greater amount of practice and preparation, as I spend time determining how to negotiate passages or avoid mistakes that larger hands could easily solve. Nevertheless, despite my best efforts, it is not always possible for one with smaller hands to play exactly what is written by the composer, and one may end up becoming injured by too much stretching of the fingers or hands, which can lead to stress and tension on the arms. This paper will be discussed certain passages from frequently-performed pieces that can be difficult for smaller hands, what makes each passage so awkward or uncomfortable, and provide several solutions that yield musical results without compromising the composer's original intentions. This paper will not only examine orchestral reductions such as concerti, in which the reductions are a mere representation of the composer's true intentions and therefore easier to adjust, but also repertoire originally written for the piano. Three methods will be offered that, while occasionally straying from the printed score, stay as true as possible to the composer's artistic intensions, all the while allowing these collaborative pianists the possibility to approach this repertoire in a realistic fashion.
ContributorsChoi, Hae Ju (Author) / Campbell, Andrew (Thesis advisor) / Rogers, Rodney (Committee member) / Britton, David (Committee member) / Arizona State University (Publisher)
Created2017
Description
Our world has become smaller due to globalization and frequent cultural exchange between different countries. As a result, classical music is becoming increasingly global. There are a significant number of Chinese composers, including Tan Dun, Chen Yi, Zhou Long, and Bright Sheng, who have gained international attention. For a modern performer, familiarity with music outside of the Western canon is increasingly important.
Bright Sheng is an internationally renowned Chinese-American composer who blends the heritage of traditional Chinese musical elements, traditional instruments, Chinese Opera and folk melodies with Western musical techniques. He infuses Chinese character into his works and introduces Chinese music to the Western classical music world.
In this paper, I discuss two of Bright Sheng’s pieces: A Night at the Chinese Opera and Three Fantasies. Both works were composed in 2005 and are the only two compositions he wrote for violin and piano. Most pianists are not familiar with how to transfer or imitate the sounds of traditional Chinese instruments on Western musical instruments. The paper examines traditional Chinese techniques for Western instruments from A Night in Chinese Opera. Three Fantasies contains three distinct musical characters related to different musical elements from different regions of China. I explore the traditional musical forms from Three Fantasies and offer practical suggestions for performance practice.
This document provides Bright Sheng’s biography, educational background, influences, and compositional style. It also features the inspirations for both pieces, a detailed analysis of both scores including a structural outline, discussion of compositional style, usage of rhythm and timbre and explanation of special techniques. This document also serves as an interpretative guide to each composition, including story outlines, suggestions for practice strategies, aesthetic considerations, rehearsal techniques and performance considerations.
The research for this paper is based on personal interview and coaching with Bright Sheng and analysis from the published scores for A Night at the Chinese Opera and Three Fantasies by G. Schirmer, Inc. I hope that this document will be a comprehensive performers’ guide to both works and serve as an explanation and promotion of Chinese classical music to a larger audience.
Bright Sheng is an internationally renowned Chinese-American composer who blends the heritage of traditional Chinese musical elements, traditional instruments, Chinese Opera and folk melodies with Western musical techniques. He infuses Chinese character into his works and introduces Chinese music to the Western classical music world.
In this paper, I discuss two of Bright Sheng’s pieces: A Night at the Chinese Opera and Three Fantasies. Both works were composed in 2005 and are the only two compositions he wrote for violin and piano. Most pianists are not familiar with how to transfer or imitate the sounds of traditional Chinese instruments on Western musical instruments. The paper examines traditional Chinese techniques for Western instruments from A Night in Chinese Opera. Three Fantasies contains three distinct musical characters related to different musical elements from different regions of China. I explore the traditional musical forms from Three Fantasies and offer practical suggestions for performance practice.
This document provides Bright Sheng’s biography, educational background, influences, and compositional style. It also features the inspirations for both pieces, a detailed analysis of both scores including a structural outline, discussion of compositional style, usage of rhythm and timbre and explanation of special techniques. This document also serves as an interpretative guide to each composition, including story outlines, suggestions for practice strategies, aesthetic considerations, rehearsal techniques and performance considerations.
The research for this paper is based on personal interview and coaching with Bright Sheng and analysis from the published scores for A Night at the Chinese Opera and Three Fantasies by G. Schirmer, Inc. I hope that this document will be a comprehensive performers’ guide to both works and serve as an explanation and promotion of Chinese classical music to a larger audience.
ContributorsJiang, Zhou (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Carpenter, Ellon (Committee member) / Arizona State University (Publisher)
Created2018
Description
Video conferencing applications, such as Skype, have long been used in classroom settings. Although musicians have been conducting online lessons for years, and institutions such as the Berklee School of Music and the Manhattan School of Music offer online music classes, scholarly research concerning online video conferencing music lessons is limited. Most studies of video conferencing lessons are based on subjective answers, making it difficult to yield conclusive results. As such, the only basis to evaluate the efficacy of video conferencing lessons are those from opinions. This study offers quantitative research on online video conferencing lessons. Between September and December 2017, 22 cello students from Muscatine High School received weekly private online lessons. Students filled out surveys using a Likert scale to rate these lessons and how they felt video and audio quality affected them. Students also received in-person lessons during October 23 or 24 to compare this experience to online lessons. The responses collected throughout the semester were compiled and sorted to reveal data trends. Using information derived from the data, this study concludes that online video conferencing lessons were less productive than in-person lessons but were still effective. In addition, average lesson ratings improved significantly after meeting in-person. In conclusion, this study found that online private lessons are feasible for high school students.
ContributorsPark, Yeil (Author) / Landschoot, Thomas (Thesis advisor) / Caslor, Jason (Thesis advisor) / Campbell, Andrew (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2019
Description
This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
ContributorsZhang, Dongfang (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
Louis Hector Berlioz (1803-1869) was a pioneer of 19th century Romanticism in France. In the mid-19th century, he broke the traditional mold by connecting poetry and music through French song. This development transformed French song from the simple and structured Romance of the 18th century into the structural freedom of what he established as the a Mélodie. His song cycle Les nuits d’été, op 7 was composed first for voice and piano in 1841 and later arranged for voice and orchestra in 1856. After the 1856 orchestral version was completed, Les nuits d’été received greater recognition than it had from its original scoring for voice and piano.
This paper examines three major aspects to Les nuits d’été. First, it will discuss the reasons why Berlioz re-scored the work for orchestra and transposed the vocal part for various voice types in this later orchestral version. Second, it examines the difference between musical interactions in these two versions by comparing the existing scores of each version with its respective accompaniment based on Berlioz's use of word painting. Finally, this paper provides the author's original transcription of Les nuits d’été in a version for voice and piano that incorporates the later orchestral versions which were not included in the original version for voice and piano.
This paper examines three major aspects to Les nuits d’été. First, it will discuss the reasons why Berlioz re-scored the work for orchestra and transposed the vocal part for various voice types in this later orchestral version. Second, it examines the difference between musical interactions in these two versions by comparing the existing scores of each version with its respective accompaniment based on Berlioz's use of word painting. Finally, this paper provides the author's original transcription of Les nuits d’été in a version for voice and piano that incorporates the later orchestral versions which were not included in the original version for voice and piano.
ContributorsSeol, Yeojin (Author) / Campbell, Andrew (Thesis advisor) / Britton, David (Committee member) / Ryan, Russell (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
"Play less and listen more" is the prevailing wisdom whenever two musical
partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems.
However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry.
The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic.
partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems.
However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry.
The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic.
ContributorsSmith, Brad (Author) / Campbell, Andrew (Thesis advisor) / Kopta, Anne (Committee member) / Oldani, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
Composers and performers alike are pushing the limits of expression with an ever-expanding sonic palette. There has also been a great expansion of saxophone repertoire over the past few decades. This has lead to an increasing number of advanced pieces incorporating saxophone extended techniques. As younger saxophonists discover these compositions, they too become inspired to implement these techniques in their own playing. There is a need for broader selections of introductory to intermediate compositions with saxophone extended techniques. It is the goal of this project to expand this repertoire for pre-college and early-college saxophonists. These target-level saxophonists are those who have already begun their studies in extended techniques. Three commissioned composers have contributed pieces for this target level of saxophonist with the purpose of bridging the gap between first attempts of extended techniques and the advanced pieces that already exist. Saxophonists who have the standard techniques to perform compositions such as Sonata for E-flat Alto Saxophone and Piano by Paul Creston will be suited to approach these compositions. In addition to the compositions, the author has composed short warm up exercises, utilizing selected extended techniques. A professional recording of the resulting compositions and exercises are also included. The enclosed document will provide a performer's analysis to help instructors of potential performers navigate the extended techniques and provide insight on other challenging aspects of the compositions. It is not the intention of the following document to teach the individual techniques.
ContributorsCharbonneau, Christopher Michael (Author) / Creviston, Christopher (Thesis advisor) / Feisst, Sabine (Thesis advisor) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2015
Description
The piano-vocal scores of musical theatre songs often contain simplistic and uninspired piano writing. Characteristically, the scores have right-hand figuration that doubles the voice line, restricting the singer from having the rhythmic and melodic freedom that is an essential component of the style. In addition, the piano-vocal scores have shallow bass lines and thin textures, making it difficult for the pianist to offer the support and expression that the music deserves. Editors may choose this writing style to make the score pianistically accessible for voice teachers accompanying their students, or to provide melodic assistance for less experienced singers. Conductor-vocal scores do exist and more closely resemble what an orchestra might play, but they are expensive, at times only available as rental scores, or highly inconvenient to locate. Therefore, I have designed twelve techniques to enhance piano-vocal scores, and will demonstrate those techniques through seven songs selected from the canon of musical theatre repertoire. The project is intended to be a teaching tool for advanced collaborative pianists working with advanced musical theatre singers, as many of the techniques create virtuosic piano writing and are designed for use with little to no prior rehearsal, which could potentially distract, rather than benefit, a beginning singer. The ultimate aim of enhancing the piano-vocal score is for the finished product to be creative and inspiring. Further objectives include: the creation of orchestral textures, allowing the singer more freedom, the creation of a piano part that is technically rewarding, and piano writing that inspires the singer. Through my descriptions of the techniques and discussions of the piano-vocal score enhancements, I hope to demonstrate that the singer, pianist, and audience all benefit when collaborative pianists enhance the piano-vocal score of musical theater repertoire.
ContributorsNamminga, Jaime (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Committee member) / FitzPatrick, Carole (Committee member) / Ryan, Russell (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT
Chevalier de Saint-Georges, the brilliant swordsman, unequalled equestrian, athlete, dancer, violin virtuoso, composer and orchestral conductor is, and remains a singularly unique historical figure of the 18th century French Court of Louis XVI. Believed to be the first man of mixed race to compose classical music, Saint-Georges, who was frequently invited to the court at Versailles to make music with Marie Antoinette not only thrived, but excelled during the height of an appalling slave trade and one of the most explosive periods in European history: the French Revolution. Saint-Georges’ ever evolving talent, and without preamble composed six operas. This research document will introduce to the reader important milestones that influenced the direction of his life, as well as a survey of two arias and duet from the opera L’Amant Anonyme using the paradigm of dance metrics as described in “Rhythmic Gesture in Mozart, Le Nozze di Figaro and Don Giovanni,” by Wye Jamison Allanbrook and “Classical Music, Expression, Form and Style” by Leonard Ratner.
Chevalier de Saint-Georges, the brilliant swordsman, unequalled equestrian, athlete, dancer, violin virtuoso, composer and orchestral conductor is, and remains a singularly unique historical figure of the 18th century French Court of Louis XVI. Believed to be the first man of mixed race to compose classical music, Saint-Georges, who was frequently invited to the court at Versailles to make music with Marie Antoinette not only thrived, but excelled during the height of an appalling slave trade and one of the most explosive periods in European history: the French Revolution. Saint-Georges’ ever evolving talent, and without preamble composed six operas. This research document will introduce to the reader important milestones that influenced the direction of his life, as well as a survey of two arias and duet from the opera L’Amant Anonyme using the paradigm of dance metrics as described in “Rhythmic Gesture in Mozart, Le Nozze di Figaro and Don Giovanni,” by Wye Jamison Allanbrook and “Classical Music, Expression, Form and Style” by Leonard Ratner.
ContributorsJones, Isola Charlayne (Author) / Britton, David (Thesis advisor) / Campbell, Andrew (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2016