Matching Items (181)
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- All Subjects: Chamber music
- Creators: Spring, Robert
- Creators: Cosand, Walter, 1950-
Description
Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous Computing Laboratory. Performance tasks included performing a slurred three-octave chromatic scale in sixteenth notes, at sixty quarter-note beats per minute, three times, with a metronome and a short pause between repetitions, and forming three pedagogical hand postures. Following the CyberGloves® tasks, each subject completed a questionnaire about equipment, playing history, practice routines, health practices, and hand usage during computer and sports activities. CyberGlove® data were analyzed to find average hand/finger postures and differences for each pitch across subjects, subject variance in the performance task and differences in ascending and descending postures of the chromatic scale. The data were also analyzed to describe generalized finger posture characteristics based on hand size, whether right hand thumb position affects finger flexion, and whether professional clarinetists use similar finger/hand postures when performing on clarinet, holding a tennis ball, allowing hands to hang freely by the sides, or form a "C" shape. The findings of this study suggest an individual approach based on hand size is necessary for teaching clarinet hand posture.
ContributorsHarger, Stefanie (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Stauffer, Sandy (Committee member) / Arizona State University (Publisher)
Created2011
Description
As clarinet compositions created by Taiwanese composers have not been widely discussed and published in academia, this research paper examines three unaccompanied clarinet works by three Taiwanese composers: Ballade by Hsiao-Wen Tseng, Chin Thoughts III by Ling-Huei Tsai, and Pointe de Flame by Chia-Lin Pan, all commissioned by the author in 2007. This research also includes a compact disc with recordings of these works, aiming to document the creativity of Taiwanese composers. This research paper examines these three commissioned works by analyzing their overall musical styles, notations, formal structures, rhythmical and melodic materials, unconventional clarinet techniques as well as the influence of Chinese musical elements. The analysis reveals the distinctive characteristic of each piece. Moreover, the author provides composers' insights and performance guides to help interested readers practice these pieces. To further understand how the composers create these pieces by drawing upon different life experiences, the paper also includes information about their backgrounds, program notes, lists of compositions, and music examples for reference. The author found that collaborating with these composers helped to establish a closer composer-performer relationship in interpreting the music. It is hoped that this compact disc recording will help make Taiwanese composers' clarinet works more accessible to a wider audience. Moreover, this research paper hopes to generate more interest in performing and appreciating music composed by Taiwanese composers.
ContributorsChuang, Yenting (Author) / Spring, Robert (Thesis advisor) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Jiang, Danwen (Committee member) / Hackbarth, Glenn (Committee member) / Arizona State University (Publisher)
Created2011
Description
Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have become increasingly popular. Consequently, Latin American performers and composers are receiving more attention and recognition than ever before. The contemporary repertoire for clarinet increasingly includes works highlighted at the ClarinetFest international festivals, and many clarinetists express interest in finding new Latin American compositions. In order to supplement this growing Latin American repertoire and to introduce the life and works of Peruvian composer Armando Guevara Ochoa (1926-2013), this project presents a brief biography of the composer, a discussion of his musical style, and new editions of his popular works transcribed for clarinet. A recording of these works is included in an appendix to this document. Prior to this research, much of the scholarship written about Guevara Ochoa was in Spanish. While most sources and scholars relate that Guevara Ochoa composed over 400 works, the whereabouts of fewer than 200 are currently known. This project will supplement Guevara Ochoa's clarinet literature and raise awareness of his compositions in English-speaking countries.
ContributorsPalmer, Katherine H (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2013
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Research in fulfillment of the degree of Doctor of Musical Arts in performance has included CD recording projects, commissions of new pieces, as well as papers on existing pieces that push the performer beyond traditional playing by incorporating extended techniques, multimedia, technology, or movement. This study attempts to synthesize these ideas by commissioning a new work for clarinet and electronics that can be performed alone, combined with movement, or with an interactive video accompaniment. Primary work for this project has been the audio recording, music video, and live dance performance of the new work, entitled Agents of Espionage, which can be viewed at: http://www.youtube.com/watch?v=SAZ20kCb0Qg or http://www.youtube.com/watch?v=94- C7wWTeKs&context;=C4063fdcADvjVQa1PpcFPv1fBtuWcqgV638q_BRacH7 XWR-xy1B7A=. The entirety of the project, including creating the music, video, audio recordings, and dance was completed on a limited budget of under $500USD, using all student performers and creators. The accompanying written document outlines the various steps for completing each portion of the project, interviews with the artists involved, including Zachary Bramble, composer; Jason Mills, videographer; and Jacquelyn Achord, choreographer; and an analysis of the music from the performer's perspective. This paper should convey ideas about how future undertakings of this sort are possible. This work has been greatly inspired by Martin Fröst and his collaboration with Fredrik Hogberg on the piece The Invisible Duet.
ContributorsViliunas, Brian Bodo (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Marshall, Kimberly (Committee member) / Schuring, Martin (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2012
Description
Examples of new or extended clarinet techniques first appeared early in the twentieth century. By the 1960s, composers and performers began to drastically augment standard clarinet technique, by experimenting with multiphonics and microtones. Subsequently, clarinetists-teachers William O. Smith, Gerard Errante, Ronald Caravan, and others further pushed the limits of sound through their compositions for clarinet. This study explores the important contributions of clarinetist-teacher-composer Eric Mandat to the clarinet repertoire, and presents readers with a detailed biography of Mandat. Additionally, this research paper provides insights into Eric Mandat's instinctive approach to life and considers how this modus operandi translates into success as a composer, as a clarinetist, and as a teacher. Interviews with Eric Mandat comprise the basis for this document; these are supplemented by his writings, articles about Mandat, reviews of his music, and interviews with select colleagues and students. This is the first document to examine Eric Mandat's history and development as a composer, teacher and clarinetist.
Contributorsd'Alessio, Rebecca Tout (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Hackbarth, Glenn (Committee member) / Schuring, Martin (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsZhu, Shuang (Performer) / Spring, Robert (Performer) / Zhang, Aihua (Performer) / Skinner, Wesley (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-09
ContributorsSpring, Robert (Performer) / Gardner, Joshua (Performer) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Micklich, Albie (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Smith, J. B., 1957- (Performer) / Ryan, Russell (Contributor) / ASU Library. Music Library (Publisher)
Created2018-09-16
Description
Asthma is a chronic respiratory disease affecting millions of people in the United States. Medication is effective at treating physiological symptoms of asthma, but other treatments are necessary to address the corresponding physical, emotional, social, and psychological issues and promote increased quality of life for patients. This paper presents a literature review on the applications of music therapy for asthma and other respiratory disorders, utilizing elements of Therapeutic Singing and Therapeutic Instrumental Music Performance. A treatment protocol that uses therapeutic clarinet playing interventions, combined with breathing exercises and music-assisted relaxation techniques, can, as a compliment to medication, help asthma patients increase their physical functioning, effectively manage their symptoms, improve mood, and enhance overall quality of life.
ContributorsOlson, Shelbe Erin (Author) / Rio, Robin (Thesis director) / Gardner, Joshua (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
Proper clarinet embouchure presents a pedagogical conundrum simply because the many forces involved cannot be observed visually, and many pedagogical resources state conflicting opinions often based on subjective "feel" rather than any empirical data. In order to broaden our understanding of clarinet embouchure dynamics, seven professional clarinetists were asked to perform various tasks using thin-film force sensors to measure embouchure and thumb forces. The results indicate variations in how clarinetists apply embouchure forces during performance.
ContributorsLow, Erica (Author) / Gardner, Joshua (Thesis director) / Jacob, Richard (Committee member) / Barrett, The Honors College (Contributor)
Created2014-05