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- Creators: School of Music, Dance and Theatre
Description
A piece of music consisting of a single movement was composed with baroque and classical elements. The piece is written in common time in D minor, and the key, along with the slow tempo, give the piece a somber mood. It is written for a string quartet: violin I, violin II, viola, and cello. The prominence and complexity of each of the four parts is evenly balanced so as not to give the impression that certain parts are more important. The piece is centered around a theme, which each of the parts plays in some form in the piece. This structure was largely inspired by Bach's Art of the Fugue, which introduces a theme (first played unaccompanied and unmodified in Contrapunctus I) and adds different variations in later movements. Like Bach's Art of the Fugue, the theme is passed between the four parts with new modifications in each introduction. After the completion of the theme, the progression was composed without specific inspiration to keep the piece as original as possible. To maintain a baroque style, the parts were composed separately and viewed as independent melodic lines. Ensuring that the lines were harmoniously interdependent was one of the largest challenges in this project. The piece was originally composed by hand on notebook paper, but a majority of the work was done using the professional music writing program Dorico. Dorico was an incredibly useful tool in this process because it easy to learn and allows users to try it free for a month.
ContributorsMunson, Cody (Author) / Rogers, Rodney (Thesis director) / Fritz, Gregory (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
DescriptionReflections of Self is an original score containing three movements composed and transcribed entirely by myself (Cameron Labban) under the guidance of Dr. David Schildkret. The foundation of the movements within the score are based upon stand-alone melodies created since I first began teaching myself how to play the piano.
ContributorsLabban, Cameron Wael (Author) / Schildkret, David (Thesis director) / Evans, Bartlett (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This creative project includes a self-reflection, four original compositions by Drew Hensley, and supplementary song commentaries. The self-reflection section of the project contains an extensive look into how Hensley's musical experiences and upbringing influenced his song writing process and compositional voice. Specifically, the piece analyzes how Hensley's gravitation to jazz music and musical styles of various cultures influenced the chord structures, rhythms, and melodies in his pop compositions. The track list for the project includes "Do It Anyway," "Puppeteer," "You Really Kind of Suck at Love," and "Drag You Down." Each piece includes lyrics and composed sheet music for vocals and instruments including guitar, piano, bass, and violin. The pieces were supplemented with commentaries describing specific inspirations for both the lyrics and music. "Do It Anyway" discusses Hensley's decision to pursue music and takes inspiration from classic American jazz melodies and Latin jazz rhythms. "Puppeteer" addresses the complexities of control through the metaphor strings. The piece pulls inspiration from the double harmonic scale often associated with Arabic music. "You Really Kind Of Suck At Love" addresses a break up through expertly placed humor and sarcasm. The piece is a new take on the standard 12 bar blues song form. "Drag You Down" tells of Hensley's personal struggles in music using thoroughly developed metaphors and chord progressions native to American rock music of the 1990's and 2000's. Together, the work will be recorded as an Extended Play entitled Do It Anyway. Hensley plans move to Los Angeles, California and use the recordings to pursue a career in pop music performance.
ContributorsHensley, Andrew Michael (Author) / McAdams, Charity (Thesis director) / Bhattacharjya, Nilanjana (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The aim of this project was to create an original sound design and score for the ASU SOMDT production of HEDDATRON, by Elizabeth Meriwether. Composition and sound design was done primarily with a modular synthesizer. All audio editing was done in Reaper, and the cues were programmed in Qlab.
ContributorsJansen, Troy Sherk (Author) / Max, Bernstein (Thesis director) / Lance, Gharavi (Committee member) / School of Music, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
Tales from the Amusement Park is a collection of songs in the musical theatre style with music and lyrics by Matt Villar. The song cycle illustrates a series of vignettes, with each song featuring a different archetypal character (or group thereof) as they navigate a day in a popular amusement park. The project is written for piano and voices, and is most-suited to twelve or fewer voices. The debut performance occurred on March 26 in the Evelyn Smith Music Theatre, and featured twelve singers and one pianist. The cycle aims to connect the audience through the demonstration of "human moments" which are widely relatable, while also introducing them to unique and interesting characters.
ContributorsVillar, Matthew (Author) / DeMaris, Brian (Thesis director) / Chin, Michelle (Committee member) / Yatso, Toby (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsVillar, Matthew (Author) / DeMaris, Brian (Thesis director) / Chin, Michelle (Committee member) / Yatso, Toby (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsVillar, Matthew (Author) / DeMaris, Brian (Thesis director) / Chin, Michelle (Committee member) / Yatso, Toby (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
Description
Tales from the Amusement Park is a collection of songs in the musical theatre style with music and lyrics by Matt Villar. The song cycle illustrates a series of vignettes, with each song featuring a different archetypal character (or group thereof) as they navigate a day in a popular amusement park. The project is written for piano and voices, and is most-suited to twelve or fewer voices. The debut performance occurred on March 26 in the Evelyn Smith Music Theatre, and featured twelve singers and one pianist. The cycle aims to connect the audience through the demonstration of "human moments" which are widely relatable, while also introducing them to unique and interesting characters.
ContributorsVillar, Matthew (Author) / DeMaris, Brian (Thesis director) / Chin, Michelle (Committee member) / Yatso, Toby (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
Description
This presentation explores the processes of writing and producing the original musical "Subplots," debuted in August 2022. Through composition and music direction lenses, this presentation outlines the creative journey from conception to performance, highlighting the process of collaborating with a librettist, performers, and production team members. This thesis was completed under the direction of Dr. Jody Rockmaker and Dr. Alex Temple; all materials are copyrighted by Anthony Procopio and Sara Matin.
ContributorsProcopio, Anthony (Author) / Rockmaker, Jody (Thesis director) / Temple, Alex (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
Description
Only in recent decades have music libraries become more aware of the importance of preservation of musical scores and materials in their collections. It follows that the preservation goals in a library differ from those in a museum due to the specific purpose of the collecting institution. As a student of paper conservation in an art museum setting and a musician with classical training, I wanted to investigate the scope of art conservation as it applies to cultural heritage objects outside the realm of works of visual art in a museum—namely the musical scores and ephemera contained in the Bavicchi archive in the ASU Music Library Special Collections. The archive is a large, unexplored collection of materials pertaining to approximately ninety opuses composed by the teacher, conductor, and composer, John A. Bavicchi (1922-2012). These materials include final scores, drafts of scores, preliminary sketches, programs from performances, correspondence, news publications, publishing agreements, and financial records. Although these types of ephemera materials are transitory by nature and pose considerable problems for the institution responsible for their preservation, the goal of this project is to demonstrate the importance of preserving non-art objects related to non-visual artforms in a music library context, to show the value of musical ephemera in general, and to advocate for the care of the Bavicchi archive in particular. Using one Bavicchi composition, Opus 51, as a case study from which to develop a protocol for the preservation of the rest of the archive, I made an inventory of all seventy-four objects pertaining to Opus 51, executed and documented conservation treatment, and implemented proper housing for all objects. Making sure to consider how and where these archival materials are most likely to be used—for scholarly research in a music library—I established guidelines for evaluating condition and assigning treatment priority, provided descriptions of relevant remedial treatment procedures, and recommended rehousing and potential preservation practices. Additionally, I offered justification for my conservation work through the contextualization of the archival materials relating to Opus 51. I provided an initial musical analysis of the archival materials and compared the informational content of the Opus 51 ephemera to general information gathered from outside sources, with the intention of illustrating the need to preserve these materials in order to better understand Bavicchi’s compositional process and the public reception of his work.
ContributorsTuijl-Goode, Remi (Author) / Saucier, Catherine (Thesis director) / Mossman Tepper, Dana (Thesis director) / Mehrens, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / School of Music, Dance and Theatre (Contributor) / School of Molecular Sciences (Contributor)
Created2022-12