Matching Items (15)
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- All Subjects: Chamber music
- All Subjects: Performance
Description
Despite the growth of technology in music composition and performance, professional clarinetists maintain that air microphones are superior to piezoelectric pickups. Pickups offer increased mobility, isolation, and reduced feedback, but air microphones are used simply for the perceived sound quality. In this study a ported barrel pickup and a contact transducer pickup placed at various intervals on the clarinet were sampled and compared to a reference recording to determine how the sound differed for each method. In addition, the history of wind instrument pickups, the acoustics of the clarinet, and the basics of piezoelectricity were discussed to help examine the results. The pickups were examined in three ways: overall level in decibels, frequency cutoff, and overtone displacement. Through these results it was determined that the most accurate methods of clarinet pickup are the ported barrel pickup, contact transducers closer to the vibration of the reed such as the ligature or barrel surface, or a transducer placed at the end of the bell. These findings were consistent with the discussions regarding history, clarinet acoustics, and piezoelectricity. This study also produced a reference for the sounds associated with different pickup methods, as well as possible improvements for clarinet pickup design.
ContributorsEnglert, Patrick William (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Thesis advisor) / Caslor, Jason (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
The number of compositions that use electronics alongside the wind ensemble has gradually increased in the 21st century, yet these compositions are infrequently programmed past their premieres. Explanations include lack of access to necessary resources, unfamiliarity with the repertoire, and inexperience with the technology they require. While there are other barriers to performance, this document focuses on familiarizing the repertoire and providing foundational knowledge necessary to overcome inexperience.
As the number of technology-native composers, audience members, and performers continues to increase, electronics in the ensemble are likely to become more standard. Without knowledge of the technology electronics require, these works will remain inaccessible. Composers attempt to bridge the technological knowledge gap by providing technical instructions for individual pieces, but this does not help people recognize the broader concepts that make all of these works more accessible. This document guides ensemble directors and performers to an understanding of these base concepts by developing a grading system for technology difficulty, assessing pedagogical and performance issues, and providing an annotated list of works currently available for electronics and winds.
As the number of technology-native composers, audience members, and performers continues to increase, electronics in the ensemble are likely to become more standard. Without knowledge of the technology electronics require, these works will remain inaccessible. Composers attempt to bridge the technological knowledge gap by providing technical instructions for individual pieces, but this does not help people recognize the broader concepts that make all of these works more accessible. This document guides ensemble directors and performers to an understanding of these base concepts by developing a grading system for technology difficulty, assessing pedagogical and performance issues, and providing an annotated list of works currently available for electronics and winds.
ContributorsHubbard, Justin (Author) / Caslor, Jason (Thesis advisor) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2020
ContributorsLandes, Heather (Performer) / Schupp, Karen (Performer) / Creviston, Hannah (Performer) / Micklich, Albie (Performer) / Aspnes, Lynne (Performer) / Schuring, Martin (Performer) / Gardner, Joshua (Performer) / Kocour, Mike (Performer) / Hedquist, Ben (Performer) / Moio, Dom (Performer) / Landschoot, Thomas (Performer) / Kuo, Yi-Chun (Performer) / ASU Library. Music Library (Publisher)
Created2018-02-18
ContributorsStover, Chris (Performer) / Berry, David (Performer) / Healey, Biddy (Performer) / Hedquist, Ben (Performer) / Kelly, Keith (Performer) / McClintock, Matt (Performer) / Neff, Megyn (Performer) / Price, Alex (Performer) / Helical Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2019-02-04
ContributorsLandes, Heather (Performer) / Ryan, Russell (Performer) / Kuo, Yi-Chun (Performer) / Swoboda, Deanna (Performer) / Myers, Nathan De' Shon (Performer) / Kocour, Mike (Performer) / Buck, Elizabeth (Performer) / Micklich, Albie (Performer) / Hedquist, Ben (Performer) / Moio, Dom (Performer) / ASU Library. Music Library (Publisher)
Created2020-02-23