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- Genre: Masters Thesis
Description
Three Meditations on the Philosophy of Boethius is a musical piece for guitar, piano interior, and computer. Each of the three movements, or meditations, reflects one level of music according to the medieval philosopher Boethius: Musica Mundana, Musica Humana, and Musica Instrumentalis. From spatial aspects, through the human element, to letting sound evolve freely, different movements revolve around different sounds and sound producing techniques.
ContributorsDori, Gil (Contributor) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2013
Description
Preservation Symphony is a short, multi-movement, orchestral composition that explores the versatility of the [016] pitch class set as the dominant unifying force of this cyclical work. The composition is scored for Piccolo, two Flutes, two Oboes, English Horn, two Clarinets, Bass Clarinet, full complement of Brass, Timpani, two Percussionists, and Strings. Movement one is in sonata form; the [016] set is used in structuring its overall formal scheme. The primary focus of the movement is on the tritone [0 6] as a replacement for the traditional tonic and dominant polarity. The movement features a driving force that alternates between pulse subdivisions of even sixteenth notes and sixteenth-note triplets. Movement two is in simple binary form with a central tonality of A. An English Horn solo functions as both the opening of the movement and a transition from the tonality of movement one (F) into the new tonal center of A. The unifying pitch class set [016] is used in this movement in a Phrygian context. Movement two has a contemplative and dark tone, which is in stark contrast to the outer movements. Movement three has a lighter, upbeat nature. The movement is in rondo form with its main theme written in a folk-like character. This movement returns to F as the central tonality, completing the overall tonal plan of the work. As in movement one, it explores the tritone polarity of F and B. The movement also revisits the chromatic mediant relationship found in the middle of movement two in the oboes. The pitch class set is now used in the context of a Lydian-Mixolydian (or acoustic) scale, from which both the central and secondary themes of the rondo are derived.
ContributorsKemp, Tyler (Composer) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2014
Description
Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end.
ContributorsBell, Jeremy, 1986- (Composer) / Rogers, Rodney (Thesis advisor) / Oldani, Robert (Committee member) / Levy, Benjamin (Committee member) / Arizona State University (Publisher)
Created2011
Description
This composition was commissioned by the Orgelpark to be performed in Amsterdam in September 2011 during Gaudeamus Muziekweek. It will be performed by the vocal group VocaalLab Nederland. It is scored for four vocalists, organ, tanpura, and electronic sound. The work is a culmination of my studies in South Indian Carnatic rhythm, North Indian classical singing, and American minimalism. It is a meditation on the idea that the drone and pulse are micro/macro aspects of the same phenomenon of vibration. Cycles are created on the macroscale through a mathematically defined scale of harmonic/pitch relationships. Cycles are created on the microscale through the subdivision and addition of rhythmic pulses.
ContributorsAdler, Jacob (Composer) / Rockmaker, Jody (Thesis advisor) / Feisst, Sabine (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Arizona State University (Publisher)
Created2011
Description
This dissertation is an account of the strategies that I employed in the compositionof three of my recent pieces: Situación #3, for flute (bass flute), clarinet (bass clarinet), piano, percussion, violin, cello, and electronics; Situación #2, for amplified acoustic guitar and two performers; and Between transparency and the invisible, for orchestra and electronics.
The first chapter, devoted to Situación #3 discusses the re-interpretation of memories and visual records with musical means. The second chapter focuses on Situación #2 and the issues of physicality and collaboration that originated the piece. The third chapter addresses Between transparency and the invisible and how it was informed by my experience contemplating visual art.
ContributorsZárate Flores, Carlos Angel (Author) / Navarro, Fernanda A (Thesis advisor) / Bolaños, Gabriel J (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2023
Description
A Garden of Roses is a composition for wind ensemble written between October 2022 and March 2023 during a residency with the Arizona State University Wind Ensemble. The piece was inspired by a narrative of grief and acceptance abstracted from Antoine de Saint-Exupéry’s children’s story The Little Prince, and explores the relationship between auditory perception and expectation, influenced by David Huron’s Sweet Anticipation: Music and the Psychology of Expectation. The piece is approximately 9 minutes in duration.
ContributorsCastillo, Alicia (Author) / Bolanos, Gabriel (Thesis advisor) / Navarro, Fernanda (Committee member) / Shea, Nicholas (Committee member) / Arizona State University (Publisher)
Created2023
Description
Component simulation models, such as agent-based models, may depend on spatial data associated with geographic locations. Composition of such models can be achieved using a Geographic Knowledge Interchange Broker (GeoKIB) enabled with spatial-temporal data transformation functions, each of which is responsible for a set of interactions between two independent models. The use of autonomous interaction models allows model composition without alteration of the composed component models. An interaction model must handle differences in the spatial resolutions between models, in addition to differences in their temporal input/output data types and resolutions.
A generalized GeoKIB was designed that regulates unidirectional spatially-based interactions between composed models. Different input and output data types are used for the interaction model, depending on whether data transfer should be passive or active. Synchronization of time-tagged input/output values is made possible with the use of dependency on a discrete simulation clock. An algorithm supporting spatial conversion is developed to transform any two-dimensional geographic data map between different region specifications. Maps belonging to the composed models can have different regions, map cell sizes, or boundaries. The GeoKIB can be extended based on the model specifications to be composed and the target application domain.
Two separate, simplistic models were created to demonstrate model composition via the GeoKIB. An interaction model was created for each of the two directions the composed models interact. This exemplar is developed to demonstrate composition and simulation of geographic-based component models.
A generalized GeoKIB was designed that regulates unidirectional spatially-based interactions between composed models. Different input and output data types are used for the interaction model, depending on whether data transfer should be passive or active. Synchronization of time-tagged input/output values is made possible with the use of dependency on a discrete simulation clock. An algorithm supporting spatial conversion is developed to transform any two-dimensional geographic data map between different region specifications. Maps belonging to the composed models can have different regions, map cell sizes, or boundaries. The GeoKIB can be extended based on the model specifications to be composed and the target application domain.
Two separate, simplistic models were created to demonstrate model composition via the GeoKIB. An interaction model was created for each of the two directions the composed models interact. This exemplar is developed to demonstrate composition and simulation of geographic-based component models.
ContributorsBoyd, William Angelo (Author) / Sarjoughian, Hessam S. (Thesis advisor) / Maciejewski, Ross (Committee member) / Sarwat, Mohamed (Committee member) / Arizona State University (Publisher)
Created2019
Description
“The Mystery of Light” is the first movement of a yet to be completed larger work titled ...to melt into the sun for chamber choir and percussion quartet. The text of the work is an excerpt from Kahlil Gibran’s masterpiece, The Prophet. This book tells the story of a prophet-like man, Almustafa, who, before embarking on the journey back to his native land, stops in the city of Orphalese, where the townspeople, having known him for many years, entreat him to share his wisdom before he departs. The seeress, Almitra, urges him, “speak to us and give us of your truth.” Almustafa proceeds to philosophize on a range of topics including love, laws, pain, friendship, children, time, beauty, and self-knowledge. Just before his farewell to the people of Orphalese, he speaks of death, saying that it is not something to be feared, but rather, embraced as a necessary and beautiful part of life.
This interconnectedness of the life and death process, of which Almustafa speaks, is the subject of “The Mystery of Light.” Almitra’s aforementioned request returns directly and indirectly throughout the movement as a reference to humanity’s undying desire to understand the great mysteries of our own mortal condition. The choir shifts throughout the movement between the three following perspectives: 1) that of people who live in fear, whose anxious whispers grow into shouts of horror as they are faced with the threat of death, 2) that of people who share Almitra’s inquisitiveness and are inspired with wonder by the secret of death and 3) that of the prophet, as he speaks words of comfort and wisdom to those who look, either in terror or wonder, upon the face of death. My hope with this music is to share the comforting words which Gibran has spoken through the character, Almustafa, so that, as they have done for me, these words may provide comfort to those who will stand trembling in the presence of life’s most inevitable consequence.
This interconnectedness of the life and death process, of which Almustafa speaks, is the subject of “The Mystery of Light.” Almitra’s aforementioned request returns directly and indirectly throughout the movement as a reference to humanity’s undying desire to understand the great mysteries of our own mortal condition. The choir shifts throughout the movement between the three following perspectives: 1) that of people who live in fear, whose anxious whispers grow into shouts of horror as they are faced with the threat of death, 2) that of people who share Almitra’s inquisitiveness and are inspired with wonder by the secret of death and 3) that of the prophet, as he speaks words of comfort and wisdom to those who look, either in terror or wonder, upon the face of death. My hope with this music is to share the comforting words which Gibran has spoken through the character, Almustafa, so that, as they have done for me, these words may provide comfort to those who will stand trembling in the presence of life’s most inevitable consequence.
ContributorsStefans, Karl (Author) / Temple, Alex (Thesis advisor) / Knowles, Kristina (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2020
Description
Patterns and Soundscapes explores the concept album format, popularized in the late 1960s and into modern times by artists such as the Who, Pink Floyd, and Frank Zappa. Specifically, I sought to adapt this format as a compositional process aimed towards the completion of a large-scale work that can be presented in album format and live performance. Further influenced by the concept album, I sought to create pieces consisting of similar musical techniques, motivic ideas, and harmonic language, so that each piece could be performed on its own or be combined as a multi-movement work.
I began writing this work in the spring of 2019, with “Colored Red Currents” for string quartet and “Conspiracy Wall” for two drum sets. After realizing that both pieces had a similar sound and style, I began to consider how they could function within an album format, and how they could also work together to form a large-scale musical work. I then decided that each subsequent piece, in addition to being composed of similar musical ideas, would be written in a manner that allowed for seamless transitions between the end of one and the beginning of another, and would also introduce the instrumentation making up the full ensemble in the last movement.
This work begins with the sparkling and rapid string quartet, “Colored Red Currents,” then moves to the energetic and groove based “Conspiracy Wall” for two drum sets, the meditative “Interlude” for solo viola and electronics, and the quick and mechanical “Beat Frequency” for alto saxophone, bass clarinet, and electronics. The work ends with “ALL IN,” where the full ensemble is finally formed, and all of the patterns and soundscapes come together to form a bombastic and wild finale.
I began writing this work in the spring of 2019, with “Colored Red Currents” for string quartet and “Conspiracy Wall” for two drum sets. After realizing that both pieces had a similar sound and style, I began to consider how they could function within an album format, and how they could also work together to form a large-scale musical work. I then decided that each subsequent piece, in addition to being composed of similar musical ideas, would be written in a manner that allowed for seamless transitions between the end of one and the beginning of another, and would also introduce the instrumentation making up the full ensemble in the last movement.
This work begins with the sparkling and rapid string quartet, “Colored Red Currents,” then moves to the energetic and groove based “Conspiracy Wall” for two drum sets, the meditative “Interlude” for solo viola and electronics, and the quick and mechanical “Beat Frequency” for alto saxophone, bass clarinet, and electronics. The work ends with “ALL IN,” where the full ensemble is finally formed, and all of the patterns and soundscapes come together to form a bombastic and wild finale.
ContributorsGrossman, Brendan Patrick (Author) / Rockmaker, Jody (Thesis advisor) / Norby, Christopher (Thesis advisor) / Bolanos, Gabriel (Committee member) / Arizona State University (Publisher)
Created2020
Description
With the InSight mission deploying a seismometer , Martian bulk chemical compositional models are more important than ever. Three largely consistent models for the Martian mantle have been suggested over the past two decades. Of these three, two are fairly similar and one is dramatically different. Of these three, the EH70 (Sanloup et al., 1999) models have the systematically lower divalent cation to silicon ratios as compared to the other model, the DW85 (Dreibus and Wanke, 1985) model. However, impact of such a low (Mg+Fe+Ca)/Si ratio on mineralogy has not been experimentally investigated. Measurements have been made of the mineralogy of the EH70 bulk mantle composition (Sanloup et al., 1999)) through in-situ laser-heated diamond anvil cell (LHDAC) and large volume press (LVP). Majorite-garnet (Mj) dominated mineralogy has been observed up to 25 GPa. Bridgmanite (Bm) begins to appear from 25.2 GPa and continues in a mixed phase with Mj up to 27 GPa at which point only Bm and calcium perovskite (CaPv) remain. Akimotoite (Ak) is stable up to 1873 K, higher by ≈300 K compared to numerical calculations (Connolly, 2009). This may result in an Ak layer in the Martian mantle, something missing in Earth’s mantle. The overall ratio of pyroxene to olivine polymorphs by volume is high, approaching pure pyroxene. This agrees with numerical calculations. Additionally, ferropericlase (Fp) is stable at lower temperatures, suggesting a higher dependence on temperature for its stability, something that is different from Perple_X calculations which show a strong dependence on pressure. Furthermore, Mj, which make up a majority of the volume of EH70 mantles, was measured to increase in Fe content as pressure increases. The more oxidizing conditions coupled with the silicon-rich composition resulted in three times higher Fe3+ content in Mj as opposed to a pyrolite model. This increased Fe3+ meant our Mj composition approached that of skiagite (Ski,Fe2+ 3 Fe3+ 2 Si3O12) and this caused Mj to have a very low compressibility of only 152.8 GPa, lower than any other Mj compositions in literature. This result suggests that a mantle with EH70 bulk composition would have lower than predicted seismic wave velocities , lower than Perple_X predicts. The Al content of Mj was also found to suppress the first derivative of compressibility to 4.45, lower than that of Ski100 at 6.7. Such differences compared with pyrolitic composition are important to estimate the velocity profiles and to model the dynamics of the Martian mantle. This dataset of mineralogy and composition can also model terrestrial exoplanetary mantles. Current measurements of stellar abundances show a wide range of compositions, and especially compositions with (Mg+Fe+Ca)/Si ratios approaching 1 (Brewer and Fischer, 2016). This experimental study of EH70 composition can fill-in this gap.
ContributorsDolinschi, Jonathan David (Author) / Shim, Sang-Heon D. (Thesis advisor) / Desch, Steven (Committee member) / Lee, Mingming (Committee member) / Arizona State University (Publisher)
Created2019