Matching Items (7)
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- All Subjects: Performance
- Creators: Gardner, Joshua
- Status: Published
Description
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
Pre-collegiate clarinet instructors are often challenged to teach students both fundamental skills and repertoire with limited instructional time. Insufficient time may cause fundamental skills to be addressed at the expense of repertoire or repertoire study may limit time spent on fundamental development. This document provides a suggested repertoire list that categorizes pre-collegiate clarinet literature based on the fundamental skill addressed in each included piece. Teachers can select repertoire that allows students to concurrently refine a fundamental skill while preparing a piece for performance. Addressed fundamental topics include embouchure, expanding the range into the clarion and altissimo registers, articulation, breathing, intonation, finger technique, and musicality.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
ContributorsAustermann, Kelly R (Author) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2014
Description
New works for the bass clarinet as a solo instrument are uncommon. In the interest of expanding the repertoire of the bass clarinet, three new works for bass clarinet were commissioned from three different composers, all with different instrumentations. The resulting works are Industrial Strength for bass clarinet and piano by Kenji Bunch; Dark Embers for two bass clarinets by Theresa Martin; and Shovelhead for bass clarinet and interactive electronics by Steven Snowden. Although all three works feature the bass clarinet, they are all very different and pose unique challenges to the performer. To accompany these pieces, and as an aid to future performers, a performance practice guide has been included with recommendations for individuals who wish to perform these works. Included in the guide are recommended fingerings, practice techniques, and possible adjustments to the bass clarinet parts designed in collaboration with the composers that make the works more technically accessible. Accompanying this guide are full scores of all three works, a recording of them performed by the author, and a chart that contains recommended altissimo fingerings.
ContributorsMiracle, Matthew (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
This research project was written simultaneously with a composition for double
bass and piano that centers around improvisational concepts. The composition is intended for intermediate to advanced musicians to have an opportunity to practice improvisational performance and, hopefully, further their understanding and improve their ability to make convincing and creative musical decisions.
Improvisation, an aspect of music that has a deep tradition in Western Classical music, is often feared by classical musicians. The lack of improvisation in classical music, the idea that it is a specialized skill, and the lack of encouragement from studio teachers contributes greatly to this fear. In addition, teachers themselves often fear teaching and utilizing improvisation in performance for these same reasons. The introduction of improvisation into both the student’s and the teacher’s studies and daily practice can be beneficial in the development of meaningful performance and understanding music theory concepts.
This paper will introduce improvisation into daily practice that will educate both the student and the teacher and cement the understanding of theoretical concepts and standard repertoire. Various improvisation games (creating new material and improvising from traditional classical music) will be introduced. This study will begin with a brief survey of the tradition of improvisation in Western classical music from the Middle Ages to the present.
bass and piano that centers around improvisational concepts. The composition is intended for intermediate to advanced musicians to have an opportunity to practice improvisational performance and, hopefully, further their understanding and improve their ability to make convincing and creative musical decisions.
Improvisation, an aspect of music that has a deep tradition in Western Classical music, is often feared by classical musicians. The lack of improvisation in classical music, the idea that it is a specialized skill, and the lack of encouragement from studio teachers contributes greatly to this fear. In addition, teachers themselves often fear teaching and utilizing improvisation in performance for these same reasons. The introduction of improvisation into both the student’s and the teacher’s studies and daily practice can be beneficial in the development of meaningful performance and understanding music theory concepts.
This paper will introduce improvisation into daily practice that will educate both the student and the teacher and cement the understanding of theoretical concepts and standard repertoire. Various improvisation games (creating new material and improvising from traditional classical music) will be introduced. This study will begin with a brief survey of the tradition of improvisation in Western classical music from the Middle Ages to the present.
ContributorsHedquist, Benjamin Patrick (Author) / Rotaru, Catalin (Thesis advisor) / DeMars, James (Committee member) / Koonce, Frank (Committee member) / Arizona State University (Publisher)
Created2017
Description
The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them separately in a music studio, then mixed them together into one recording. This document focuses on the critical investigation and description of the piece with a brief theoretical analysis, a discussion of performance difficulties, and guitar preparation. The composer approved the use and the scope of this project. Bryan Johanson is one of the leading contemporary composers for the guitar today. 13 Ways of Looking at 12 Strings is a unique guitar dictionary that takes us from Bach to Hendrix and highlights the unique capabilities of the instrument. It utilizes encoded messages, glass slides, metal mutes, explosive "riffs," rhythmic propulsion, improvisation, percussion, fugual writing, and much more. It has a great potential to make the classical guitar attractive to wider audiences, not limited only to guitarists and musicians. The main resources employed in researching this document are existing recordings of Johanson's other compositions and documentation of his personal views and ideas. This written document uses the composer's prolific and eclectic compositional output in order to draw conclusions and trace motifs. This project is a significant and original contribution in expanding the guitar's repertoire, and it uniquely contributes to bringing forth a significant piece of music.
ContributorsSavic, Nenad (Author) / Koonce, Frank (Thesis advisor) / Rotaru, Catalin (Committee member) / McLin, Katherine (Committee member) / Feisst, Sabine (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
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
Description
The original scope of this project was to have several conducting experiences and written records about the conductor’s experiences. Due to COVID-19, the focus of the paper has shifted to documenting the preparation, rehearsal, and performance "Recombobulation" (2016) by Theresa Martin. Using the templates found in the "Teaching Music Through Performance in Band" book series as a model, combined with the author’s personal narrative of their experience, this paper aims to serve as a resource for both people considering programming this piece of music as well as early career conductors who strive to improve their craft.
ContributorsStirm, Taylor Lynne (Author) / Caslor, Jason (Thesis director) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / School of Music, Dance and Theatre (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-12