Matching Items (25)
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- All Subjects: Collaborative piano
- All Subjects: Recording
- Creators: Ryan, Russell
- Creators: Schuring, Martin
- Status: Published
Description
ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Several contemporary clarinet works use Chinese folk music elements from different regions in new compositions to entice listener's and performer's appreciation of Chinese culture. However, to date, limited academic research on this topic exists. This research paper introduces six contemporary clarinet works by six Chinese composers: Qigang Chen's Morning Song, Yan Wang's Mu ma zhi ge (The Song of Grazing Horses), An-lun Huang's Capriccio for Clarinet and Strings Op. 41, Bijing Hu's The Sound of Pamir Clarinet Concerto, Mei-Mi Lan's Concerto for Clarinet and String Orchestra with Harp and Percussion, and Yu-Hui Chang's Three Fantasias for Solo Clarinet in B-flat. They are examined from different perspectives, including general structure, style, and rejuvenated folk music use. The focus of this research paper is to investigate the use of Chinese folk music in several works in collaboration with the composers. The author found that although contemporary composers use Chinese folk music differently in their works (i.e., some use melodies, others use harmony, while others use modes), each work celebrates the music and culture of the folk music on which the pieces are based. It is the author's hope to stimulate people's interest in music using Chinese folk music elements, and bring these lesser known works into the common clarinet repertoire.
ContributorsFeng, Chiao-Ting (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Committee member) / Micklich, Albie (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation focuses on seven solo piano works written by contemporary Chinese-American composer Chen Yi. It is presented in the form of a recording project, with a written analysis of each recorded composition. The seven recorded pieces are Variations on "Awariguli", Duo Ye, Guessing, Two Chinese bagatelles: Yu Diao and Small Beijing Gong, Ba Ban, Singing in the Mountain, and Ji-Dong-Nuo. They were written between 1978 and 2005, presenting a wide range of Chen Yi's compositional style. The written portion consists of five chapters. After the introductory chapter, a sketch of Chen Yi's life is presented in Chapter Two. This chapter specifically uncovers Chen Yi's deep roots of Chinese traditional and folk music through her experiences during the Cultural Revolution. Chapter Three analyzes each of the seven pieces. Through formal structure realization, motivic analysis, and folk music implication, the author discovers the blend of Chinese and Western cultures throughout Chen Yi's music. Chapter Four discusses the performance aspect of these compositions through the author's recording experience. In this chapter, the author provides background information as well as suggestions on specific performance practice. The last chapter summarizes the entire dissertation.
ContributorsFeeken, Qing Nadia (Author) / Meir, Baruch (Thesis advisor) / Carpenter, Ellon (Committee member) / Cosand, Walter (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
A common concern among musical performers in today'’s musical market pertains to their capacity to adapt to the constantly changing climate of the music business. This document focuses on one aspect of the development of a sustainable, entrepreneurship skill set: the production of a recording. While producing the recording Chocolates, the author examined and documented the multiplicity of skills encompassed with a recording project. The first part of the document includes a discussion of various aspects of the recording project, Chocolates, through an entrepreneurial lens, and an evaluation of the skill sets acquired through the recording process. Additionally, the inspiration and relevance behind the recording project and the process of collaboration between the two composers from whom I commissioned new compositions, Noah Taylor and James Grant, and myself is considered. Finally, I describe the recording and editing processes, including the planning involved within each process, how I achieved the final product, and the entrepreneurial skills involved. The second portion of this document examines a broad range of applications of entrepreneurship, marketing, and career management skills not only within the confines of this particular project, but also in relation to the overall sustainability of a twenty-–first century music-–performing career.
ContributorsStuckemeyer, Mary (Author) / Micklich, Albie (Thesis advisor) / Carpenter, Ellon (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Collaborative piano skills are not only important for pianists. Many of the skills that collaborative pianists use regularly are the same skills used by music educators, music therapists, and vocal and instrumental professionals. If these skills were included in the class piano curriculum of music majors for whom piano is not their primary instrument, students might be better prepared for essential tasks they will accomplish in their future careers. This study seeks to discover the extent to which collaborative piano skills such as sight-reading, collaboration with a singer or instrumentalist, and score reduction are incorporated into the class piano courses offered in Arizona. A survey was sent in 2021 to all community college and university instructors of class piano in Arizona, asking them about the role, frequency, and assessment methods of collaborative piano skills in their courses. Public information was also gathered from institutional websites regarding course curriculum. To collect more detailed information regarding the pedagogical practices of Arizona class piano educators, I interviewed four professors who develop and implement class piano curricula in Arizona.
The results of this study suggest that Arizona class piano educators desire to incorporate more collaborative piano skills in their courses. The goal of this research is to bring awareness to the discrepancy in class piano curriculum standards with regards to collaborative piano skills across Arizona and spur pedagogical dialogue among educators regarding ways to improve programs. These enhancements will ultimately serve to give each student the best possible preparation for a career in music.
ContributorsSherrill, Amanda May (Author) / Campbell, Andrew (Thesis advisor) / DeMaris, Amanda (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2022
Description
This project features three new pieces for oboe commissioned from three different composers. Each piece explores styles and/or instrumentations that are less common in the current body of repertoire. These pieces are Scenes for Charlie by Bryan Kennard, Love’s Last Gift by Thomas Juneau, and But Joy Comes in the Morning by William Brusick. A performance guide has been included for each piece, providing tips and suggestions for musicians wanting to perform these pieces in the future. In addition to the performance guide, each composer answered a list of interview questions to provide background information and give insight into their compositional process. Accompanying this document are recordings performed by the author.
ContributorsSummers, Season (Author) / Schuring, Martin (Thesis advisor) / Gardner, Joshua (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2021
ContributorsCampbell, Andrew (Pianist) (Performer) / FitzPatrick, Carole (Performer) / McLin, Katherine (Performer) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Micklich, Albie (Performer) / Dreyfoos, Dale (Narrator) / Peterman, Jeremy (Graphic technician deprecated, use Artist)) / ASU Library. Music Library (Publisher)
Created2013-01-30
ContributorsHutchinson, Taylor (Performer) / Simpson-Puckett, Abby (Performer) / Skinner, Wesley (Performer) / McCauley, Laura (Performer) / Haltiwanger, Nathan (Performer) / Arch, Nathan (Performer) / ASU Library. Music Library (Publisher)
Created2017-04-08
ContributorsLee, Juhyun (Performer) / Zhang, Aihua (Performer) / Skinner, Wesley (Performer) / Khaleghi, Jill (Performer) / Hoeckley, Stephanie (Performer) / ASU Library. Music Library (Publisher)
Created2017-04-08