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ABSTRACT études; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études.; These works rarely go by the title "étude;," and have not been the focus of much scholarly research. Ensemble études; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble études; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études; in a group, this document introduces creative ways that works for violin ensemble can be used as both études; and performance pieces. The first two chapters explore the history and philosophy of the violin étude; and multiple-violin works, the practice of arranging of solo études; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude; study from solo étude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: étude; for Four Violins, with an explanation of the process and techniques used to create this ensemble étude.; This work is an example of the musical and technical integration essential to étude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble études; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble études; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.
ContributorsLundell, Eva Rachel (Contributor) / Swartz, Jonathan (Thesis advisor) / Rockmaker, Jody (Committee member) / Buck, Nancy (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
Since its inception, the American Broadway industry has flourished and grown to include numerous vocal styles and techniques. The early twenty-first century has seen a rapid increase in demand for collegiate courses and instructors pertaining to music theater. It has therefore become necessary for voice instructors to be equally comfortable teaching both music theater and classical techniques such as bel canto. This document serves as a resource for instructors seeking more information on defining and teaching vocal styles in music theater including legit, mix, and belt. The first two chapters address the following three questions: 1) What is bel canto and how does the technique function? 2) What is music theater as a vocal style and how do colloquial terms such as legit, mix and belt function within music theater? 3) Are the technical ideas behind bel canto and music theater really that different? The third chapter offers a curriculum for a semester-long course (a hybrid between a song literature class and a performance-based seminar) called Singing Music Theater Styles: From Hammerstein to Hamilton. This course shows the rich development tracing techniques of bel canto through techniques used in contemporary music theater. This document concludes with an annotated bibliography of major sources useful to both the instructors wishing to teach this course and the performers looking to expand their knowledge of singing music theater.
ContributorsBruton, Sara (Author) / Weiss, Stephanie (Thesis advisor) / Feisst, Sabine (Thesis advisor) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2018
Description
Ernest Bloch’s Suites for Solo Cello (B. 93, 94, 97) contain a melodic-harmonic language unlike any other twentieth-century unaccompanied work, and when transcribed for viola, become meaningful additions to the existing viola repertoire. Each movement within these three works has its own distinct dancelike character, much like J.S. Bach’s Suites for Solo Cello (BWV 1007-1012). The melodies contain a persistent lyrical quality, and the harmonies are modal and reminiscent of folk music. Rather than compose an appropriate ending to Bloch’s incomplete Suite for Solo Viola (B. 101), a transcription of Bloch’s Suites for Solo Cello provides violists with more variety and opportunity for musicianship. These works present technical challenges such as rapid string crossings, sudden and vast register changes, complex rhythms and meter, and offer interpretationally rich passages. The level of these difficulties can prepare violists for more challenging twentieth-century works; thus, transcribing the Bloch Suites provides an opportunity to bridge a pedagogical divide in solo viola repertoire.
This project includes the transcriptions of Bloch’s Suites for Solo Cello, a performance edition, and a recording. Included is an overview of why these works are suitable for the viola, how these arrangements help fill a pedagogical gap in the unaccompanied viola repertoire, and insight into the transcription process. The performance recording captures the accessibility of these works for violists wishing to perform them and shows the integrity and variety of each piece by programming them all on a single recital.
This project includes the transcriptions of Bloch’s Suites for Solo Cello, a performance edition, and a recording. Included is an overview of why these works are suitable for the viola, how these arrangements help fill a pedagogical gap in the unaccompanied viola repertoire, and insight into the transcription process. The performance recording captures the accessibility of these works for violists wishing to perform them and shows the integrity and variety of each piece by programming them all on a single recital.
ContributorsHankins, Kimberly Michelle (Author) / Buck, Nancy (Thesis advisor) / Feisst, Sabine (Committee member) / Landschoot, Tom (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
ContributorsBuck, Nancy (Performer) / Ryan, Russell E. (Performer) / Weiss, Stephanie (Performer) / D'Avanzo, Dian (Performer) / ASU Library. Music Library (Publisher)
Created2021-09-26