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Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published.

Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.
ContributorsFelice, Joseph Philip (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2013
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Description
ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; have much to offer students, teachers and

ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; 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 &eacutetudes; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble &eacutetude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying &eacutetudes; in a group, this document introduces creative ways that works for violin ensemble can be used as both &eacutetudes; and performance pieces. The first two chapters explore the history and philosophy of the violin &eacutetude; and multiple-violin works, the practice of arranging of solo &eacutetudes; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble &eacutetude; study from solo &eacutetude; 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: &eacutetude; for Four Violins, with an explanation of the process and techniques used to create this ensemble &eacutetude.; This work is an example of the musical and technical integration essential to &eacutetude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble &eacutetudes; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble &eacutetudes; 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
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Description
To be a versatile violinist, one needs interdependence of aural, visual and kinesthetic skills. This thesis introduces aural, visual and kinesthetic learning modalities, and explores the way each is used in the Suzuki, Paul Rolland, Orff, Kodály, and Dalcroze methods, as well as in Edwin Gordon’s Musical Learning Theory. Other

To be a versatile violinist, one needs interdependence of aural, visual and kinesthetic skills. This thesis introduces aural, visual and kinesthetic learning modalities, and explores the way each is used in the Suzuki, Paul Rolland, Orff, Kodály, and Dalcroze methods, as well as in Edwin Gordon’s Musical Learning Theory. Other methods and pedagogical approaches were consulted and influential in developing the curriculum, such as the teaching of Mimi Zweig, but were not included in this paper either because of an overlap with other methods or insufficient comparable material. This paper additionally presents a new curriculum for teaching beginning violin that incorporates aural, visual, and kinesthetic learning in a systematic and comprehensive manner. It also details a sequenced progression to learn new repertoire and develop proficiency with rhythm, solfège, reading and writing musical notation, and left- and right-hand technique.
ContributorsTang, Tee Tong (Author) / Swartz, Jonathan (Thesis advisor) / Schmidt, Margaret (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2017
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Description
Fingerboard study is an essential component of the college guitar curriculum. A Course on Guitar Fingerboard Melody and Harmony is a method to acquire and integrate fundamental music vocabulary for the guitar performer, interpreter, improvisor, and composer, the end goal being mastery of musical vocabulary to enable artistic freedom and

Fingerboard study is an essential component of the college guitar curriculum. A Course on Guitar Fingerboard Melody and Harmony is a method to acquire and integrate fundamental music vocabulary for the guitar performer, interpreter, improvisor, and composer, the end goal being mastery of musical vocabulary to enable artistic freedom and creative depth. This class design facilitates a solid foundation of fundamental components and provides a framework for further study and integration. It offers a concise yet intense course that consolidates, codifies, explores, and applies scale, interval, and chord vocabulary through interpretive, compositional, and improvisational engagement. This project aspires to contribute to the discipline of guitar, its canon, and its pedagogy. This programmed curriculum offers a comprehensive one-year, two-semester, college-level course on fundamental music vocabulary on the guitar fretboard. Its design facilitates a solid foundation for fundamental musical components, equips the student with a working scale and chord vocabulary, reveals how vocabulary is generated on any fretted instrument, and provides a framework for further study and integration. Semester one facilitates in-depth scale and interval study, while semester two investigates triads and seventh chords, reflecting one, two, three, and four voices textures. Each unit contains lessons, assignments, and integration activities. This document provides both teacher edition, units one through four, and student workbook, units five through eight. Students of A Course on Guitar Fingerboard Melody and Harmony can expect dramatic strides in their understanding of musical vocabulary, its applications, and their abilities to associate and engage in real-time interpretative, compositional, and improvisational contexts. Fingerboard knowledge greatly enhances sight reading skills and enables the interpreter to find fingerings that express the rhythmic, melodic, and harmonic character of any particular musical gesture, and consequently, an entire composition. Guitar composers will be most effective when they know the possibilities and parameters of musical vocabulary on the instrument. Often, the study of vocabulary can inform and expand a composer's sonic palette and conception. For improvisers, fingerboard comprehension allows access to any interval, scale, arpeggio, or voicing the ear desires, regardless of where they happen to find themselves on the instrument in that unique moment.
ContributorsZweig, Phillip (Author) / Kim, Ji Leon (Thesis advisor) / Swartz, Jonathan (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2022