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- Creators: Arizona State University
Description
New music is often created as a product of commissions resulting in a collaborative effort between the performer and the composer. This performer-composer relationship represents an important component of the role of the artist in expanding the repertoire of the instrument. Belgian composer, Norbert Goddaer (b. 1933), has written numerous works for clarinet that are the result of such collaborations. Mr. Goddaer's works for clarinet are well-crafted and audience-friendly, and are thus good programming choices for students and professionals alike. His clarinet works have been performed worldwide in artist recitals, conferences for organizations such as the International Clarinet Association, The Midwest Clinic, and the Texas Music Educators Association, and have been commercially recorded and released by some of the foremost contemporary clarinet artists. These works have a great education value given the fact that they are appropriate choices for such a wide range of clarinetists. In an effort to contribute to this body of performance history, the author has produced a recording of five of Goddaer's previously unrecorded works, accompanied by a performance guide to each work. This document provides detailed performance notes with corresponding musical examples, basic formal analyses, and musical suggestions for Las Mañas, Conversations, Ballad, Duets, and Restless by Norbert Goddaer. The author has included a full transcript of an interview with Norbert Goddaer, which includes a first-person discussion of each work, and additionally includes biographical information supported by concert programs and an annotated list of all of Goddaer's works for clarinet, and a discography of his works for clarinet.
ContributorsClasen, Kevin (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Committee member) / Norton, Kay (Committee member) / Hill, Gary (Committee member) / McAllister, Timothy (Committee member) / Arizona State University (Publisher)
Created2012
Description
The ability of musicians to perform well in multiple musical styles is increasingly common and necessary. This paper profiles two trombonists who have gone well beyond the ability to function in multiple genres, and are instead considered significant artists. Tony Baker and Alex Iles were chosen to be profiled for this project because both have achieved recognition as solo artists in the genres of classical music and jazz and have performed on international stages as soloists. They also have significant ensemble experience in both classical and jazz settings and are active teachers as well. Both hold-high profile positions that have helped grow their reputations as performers: Mr. Baker as a professor at one of the largest music schools in the United States, the University of North Texas, and Mr. Iles as a highly in-demand freelance musician in Los Angeles. This paper presents interviews with both trombonists that investigate their development as musicians and soloists in both classical music and jazz. They are asked to describe the benefits and challenges of performing at a high level in both styles, and how these have affected their musical voices. Common traits found in their responses are examined, and recommendations are created for musicians seeking stylistic versatility.
ContributorsLennex, William (Author) / Pilafian, J. Samuel (Thesis advisor) / Bush, Jeffrey (Committee member) / Ericson, John (Committee member) / Hackbarth, Glenn (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2012
Description
This project uses fourteen transcriptions of Pete Fountain’s solos as examples to
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
ContributorsWu, Shengwen (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Carpenter, Ellon (Committee member) / Kocour, Michael (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2019
Description
The percussion jazz ensemble is a long-established yet rare component of 21st century percussion studios in the United States. While many American collegiate programs have percussion ensembles that perform jazz-based pieces, none are identified as a “percussion jazz ensemble.” This may be for a variety of reasons. Professors may not have considered adding a percussion jazz ensemble to their program because of its scarcity in American universities. Including such a class would be challenging if the instructors did not feel comfortable or familiar enough with jazz idioms and vernacular. Additionally, very few compositions or arrangements are available for this group. While there are several method books on jazz vibraphone, there are no pedagogical resources designed specifically for the percussion jazz ensemble. The purpose of this document is to provide historical context, curricula, resource materials, and arrangements necessary for establishing a percussion jazz ensemble at the collegiate level. The end result will be to demonstrate the importance of an ensemble such as this for aspiring percussionists and motivate institutions focused on Western classical music to incorporate jazz elements into their percussion program. Research conducted for this project was limited to academic universities, pedagogical approaches, and ensembles found only in the United States and will not include a survey of those outside this country.
ContributorsMoreau, Danielle (Author) / Smith, Jeffrey (Thesis advisor) / Feisst, Sabine (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
This dissertation describes the public sphere that coalesced in the Soviet jazz scene during Josef Stalin’s reign. Scholars debate the extent to which Soviet citizens, especially under Stalin, were coerced into cooperating with the regime through terror; willingly cooperated with the regime out of self-interest; or re-aligned their speech, behavior, and thoughts to conform to Bolshevik ideology and discourse. In all cases, citizens were generally unable to openly express their own opinions on what Soviet society should look like. In this dissertation, I attempt to bridge this gap by analyzing the diverse reactions to jazz music in Josef Stalin’s Soviet Union. I argue that audience engagement with jazz and discussions about the genre in the Soviet press and elsewhere were attempts to grapple with bigger questions of public concern about leisure, morality, ethnicity, cosmopolitanism and patriotism in a socialist society. This jazz public sphere was suppressed in the late 1940s and early 1950s because of Cold War paranoia and fears of foreign influences in Soviet life. In its place, a counterpublic sphere formed, in which jazz enthusiasts expressed views on socialism that were more open and contradictory to official norms. This counterpublic sphere foreshadowed aspects of post-Stalinist Soviet culture. To support my arguments, I employ archival documents such as fan mail and censorship records, periodicals, memoirs, and Stalin-era jazz recordings to determine the themes present in jazz music, how audiences reacted to them, and how these popular reactions overlapped with those of journalists, musicologists, bureaucrats, and composers. This project expands our understanding of when and where public spheres can form, challenges top-down interpretations of Soviet cultural policy, and illuminates the Soviet Union and Russia’s ambivalent relationship with the West and its culture.
ContributorsBeresford, Benjamin J. (Author) / Von Hagen, Mark (Thesis advisor) / Manchester, Laurie (Committee member) / Schmelz, Peter (Committee member) / Moore, Aaron (Committee member) / Arizona State University (Publisher)
Created2017
ContributorsGoodrich, Andrew (Contributor) / Stack, Aric (Performer) / Schuster, Aaron (Performer) / Margolis, Andy (Performer) / Belcher, Shon (Performer) / Yednak, Michael (Performer) / Jester, Jennifer (Performer) / Art Blakey Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2001-02-21
ContributorsRuth, Bryon (Performer) / Art Blakey Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created1996-04-10
ContributorsArt Blakey Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created1993-11-03
Description
This project aims to produce repertoire that will help bridge the gap between classical music and jazz, particularly focusing on some of the obstacles that female classical saxophonists face when playing jazz. By commissioning six new works for saxophone and piano written by female jazz composers, this project facilitates an entry-level experience with improvised materials that will help break down this barrier for interested saxophonists. The compositions are From A to Z: Two Women’s Journeys by Ayn Inserto, Sunlit Dream by Annie Booth, Taking Flight by Katelyn Vincent, Des-Dunes by Sam Spear, Jogo by Yoko Suzuki, and Impromptu by Aida De Moya. For each work, this project provides recordings, performance guides, improvisation guides, biographical contents, and program notes. I hope to encourage young female saxophonists to explore their interests in jazz without fear or reservation through performance of these pieces.
ContributorsZelenak, Kristen (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2022
Description
This paper highlights a method for jazz transcription, comprehension, and practice to be implemented primarily in applied saxophone instruction with undergraduate students. The purpose is the identify and mend the divide between jazz and classical that appears in academia. This divide is one that came about by necessity in the saxophone’s relative youth in the academic world as it found solid footing in conservatories around the world. A literature review establishes the current state of dialogue between both jazz and classical in the academic saxophone community, including the current state of crossover scholarship that discusses the interaction between multiple genres. This review investigates what serves as pedagogical material in an aural discipline like jazz. A thorough approach to transcription is crucial change to the standard practice of jazz transcription typically employed in applied saxophone studios. This approach takes the focus away from the product and places it on the process. This process is demonstrated through a transcription and deconstruction of Charlie Parker’s “Cheryl.” Though this approach is presented through the perspective of a saxophonist, this process can be applied to any number of instrumental disciplines seeking to understand jazz transcription and improvisation more fully.
ContributorsFeher, Patrick Francis (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Libman, Jeffrey (Committee member) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022