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- Genre: Doctoral Dissertation
Description
In this study, I sought to learn how members of college women’s choirs feel about
their choir and women’s choirs in general. Singers from 19 institutions in the American
Choral Directors Association Southern division participated. From the potential survey
population (n=986), 302 respondents participated (response rate = 28%).
These research questions guided this study:
1. How do current members of college women’s choirs feel their choir is
perceived compared to other types of choirs at their college or university and
in their community?
2. How do current members of college women’s choirs feel about singing in this
group? About women’s choirs in general?
A researcher-developed survey instrument was used to gather demographic
information and other data related to the research questions. After a pilot study, the
survey was edited for clarity. The director of choral activities and the director of the
women’s choir at each institution was contacted via email. The schools that agreed to
participate received the link to the survey and an email script to send to students. Two
weeks later, a follow-up email was sent with the same materials. Two weeks after that,
the survey window closed. The data were collected and analyzed for frequency and
percentage. While analysis of variance (ANOVA) tests found no significant differences,
the analysis of some of the independent variables, especially those having to do with the
age and experience of the singers, were highly suggestive.
In this study, women’s choir members responded positively to statements about
the value of their choir within their institutions and communities. While respondents
often indicate that women’s choirs are seen as inferior to mixed choirs, they nevertheless
enjoy the repertoire they sing and like being challenged. Respondents answered
affirmatively in Likert-scale questions about their women’s choirs and women’s choirs in
general, but answered more critically in open-ended response questions about the same
topics. The survey results echo the findings of earlier studies, amplified by the choir
members’ own opinions. The data in this study offer clear means to ensure that all
students in all choirs are proud of their work and feel equally valued.
their choir and women’s choirs in general. Singers from 19 institutions in the American
Choral Directors Association Southern division participated. From the potential survey
population (n=986), 302 respondents participated (response rate = 28%).
These research questions guided this study:
1. How do current members of college women’s choirs feel their choir is
perceived compared to other types of choirs at their college or university and
in their community?
2. How do current members of college women’s choirs feel about singing in this
group? About women’s choirs in general?
A researcher-developed survey instrument was used to gather demographic
information and other data related to the research questions. After a pilot study, the
survey was edited for clarity. The director of choral activities and the director of the
women’s choir at each institution was contacted via email. The schools that agreed to
participate received the link to the survey and an email script to send to students. Two
weeks later, a follow-up email was sent with the same materials. Two weeks after that,
the survey window closed. The data were collected and analyzed for frequency and
percentage. While analysis of variance (ANOVA) tests found no significant differences,
the analysis of some of the independent variables, especially those having to do with the
age and experience of the singers, were highly suggestive.
In this study, women’s choir members responded positively to statements about
the value of their choir within their institutions and communities. While respondents
often indicate that women’s choirs are seen as inferior to mixed choirs, they nevertheless
enjoy the repertoire they sing and like being challenged. Respondents answered
affirmatively in Likert-scale questions about their women’s choirs and women’s choirs in
general, but answered more critically in open-ended response questions about the same
topics. The survey results echo the findings of earlier studies, amplified by the choir
members’ own opinions. The data in this study offer clear means to ensure that all
students in all choirs are proud of their work and feel equally valued.
ContributorsConway, Ashley Elizabeth (Author) / Schildkret, David (Thesis advisor) / Anderson, Lisa (Committee member) / Norton, Kay (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2020
Description
Pacific Suite (2016) is a four-movement work for solo piano composed by the author of this paper, Holly Kordahl, that incorporates elements of several musical idioms, including Impressionism, tintinnabuli (as in the music of Arvo Pärt), post-modernism, minimalism and improvisation. This Doctorate of Musical Arts project consists of a descriptive paper, analysis, score and recording. The piece features varying levels of performer independence and improvisation along with notated music. Each movement is named after a different environment of the Pacific Ocean: Great Barrier Reef, Mariana Trench, Sunlit Zone, and Bikini Atoll.
Pacific Suite is engaging to mature pianists and accessible to students. The score of Pacific Suite is a blank canvas in some ways; almost all dynamics, tempi, pedaling, and fingerings are to be determined by the performer. The first movement, Great Barrier Reef, presents different musical vignettes. The second movement, Mariana Trench, requires the performer to improvise extensively while following provided instructions. The third movement, Sunlit Zone, asks the performer to improvise on a theme of Debussy. The final movement, Bikini Atoll, illustrates events of nuclear testing at Bikini Atoll in the 1940s.
Pacific Suite is engaging to mature pianists and accessible to students. The score of Pacific Suite is a blank canvas in some ways; almost all dynamics, tempi, pedaling, and fingerings are to be determined by the performer. The first movement, Great Barrier Reef, presents different musical vignettes. The second movement, Mariana Trench, requires the performer to improvise extensively while following provided instructions. The third movement, Sunlit Zone, asks the performer to improvise on a theme of Debussy. The final movement, Bikini Atoll, illustrates events of nuclear testing at Bikini Atoll in the 1940s.
ContributorsKordahl, Holly (Author) / Meir, Baruch (Thesis advisor) / Bolanos, Gabriel (Committee member) / Campbell, Andrew (Committee member) / Hamilton, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2020
Description
ABSTRACT
The annual concours, or examens de fin d’année, of the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) is a centuries-old tradition that began in 1797. It serves to determine each participating student’s readiness for graduation. For each competition from 1797-1999, specific pieces were assigned for each instrument. Through much of the nineteenth century, conservatory professors wrote these pieces for their students. In the twentieth century, the practice of assigning works previously written by other composers or commissioning new works by (usually) French composers became the norm. Oboists outside of France tend to associate terms such as “conservatory pieces” or “concours pieces” with pieces assigned during the nineteenth century, while generally overlooking twentieth century morceaux de concours. The purpose of this paper is to bring these forgotten pieces to light and provide background information to help oboists determine the suitability of these pieces for their own performance contexts.
Because research regarding the pieces selected during Professor Georges Gillet’s tenure (1882-1919) is already available, this paper focuses on the pieces selected from 1920-1999. A list of required pieces for oboe from 1824-2000, obtained from CNSMDP archive manager Sophie Lévy, made possible the compilation of an annotated bibliography of morceaux de concours for oboe from 1920-1999. (The annotated bibliography ends with the 1999 concours because, since 2000, oboists have been required to select their own programs.) The bibliography lists every piece that was performed, but only gives detailed descriptions of (1) twentieth century pieces that were specifically commissioned for the concours and (2) twentieth century pieces selected, but not specifically commissioned, for the concours, that are not considered to be part of the standard oboe repertoire. A brief description of trends observed within this set of contest pieces follows the bibliography, along with appendices intended to facilitate more productive use of the bibliography.
The annual concours, or examens de fin d’année, of the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) is a centuries-old tradition that began in 1797. It serves to determine each participating student’s readiness for graduation. For each competition from 1797-1999, specific pieces were assigned for each instrument. Through much of the nineteenth century, conservatory professors wrote these pieces for their students. In the twentieth century, the practice of assigning works previously written by other composers or commissioning new works by (usually) French composers became the norm. Oboists outside of France tend to associate terms such as “conservatory pieces” or “concours pieces” with pieces assigned during the nineteenth century, while generally overlooking twentieth century morceaux de concours. The purpose of this paper is to bring these forgotten pieces to light and provide background information to help oboists determine the suitability of these pieces for their own performance contexts.
Because research regarding the pieces selected during Professor Georges Gillet’s tenure (1882-1919) is already available, this paper focuses on the pieces selected from 1920-1999. A list of required pieces for oboe from 1824-2000, obtained from CNSMDP archive manager Sophie Lévy, made possible the compilation of an annotated bibliography of morceaux de concours for oboe from 1920-1999. (The annotated bibliography ends with the 1999 concours because, since 2000, oboists have been required to select their own programs.) The bibliography lists every piece that was performed, but only gives detailed descriptions of (1) twentieth century pieces that were specifically commissioned for the concours and (2) twentieth century pieces selected, but not specifically commissioned, for the concours, that are not considered to be part of the standard oboe repertoire. A brief description of trends observed within this set of contest pieces follows the bibliography, along with appendices intended to facilitate more productive use of the bibliography.
ContributorsEthington, Charlotte (Author) / Schuring, Martin (Thesis advisor) / Micklich, Albie (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2020
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
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