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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. 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
Description
According to the United States Department of Labor, the predicted percentage growth of jobs in music performance for 2012-22 is less than half the predicted percentage growth in overall national employment for the same period. While university music performance core curricula prepares students to attain their goals, which can include positions in orchestral, chamber, or solo settings, only a small number of such positions are predicted in the future job market. One possible solution to help students succeed as modern-day musicians is the implementation of curricula that emphasizes innovation and entrepreneurship in music performance. This paper comprises three parts: (1) a study intended to identify core curricula requirements for the Doctor of Musical Arts (DMA) in Violin Performance in the United States; (2) a sample Career Plan; and (3) a Syllabus for an Innovative Music Performance Course.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
ContributorsStrahm, Kathleen Ariel (Author) / Swartz, Jonathan (Thesis advisor) / Creviston, Christopher (Committee member) / Humphreys, Jere T (Committee member) / Norton, Kay (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2017
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 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