Matching Items (35)
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- All Subjects: Clarinet and piano music
- All Subjects: Orchestra
- All Subjects: Saxophone
- Creators: Gardner, Joshua
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
Currently, an aspiring assistant conductor is faced with a lack of information regarding the expectations and successful strategies in preparing to take on an assistant conductorship in the United States. A conductor's training in the United States focuses heavily on stick and rehearsal technique, score study, performance practice, and developing a deeper understanding of the administrative and logistical structure of the modern symphony orchestra - as it should be. Speaking as a an aspiring young conductor, I believe that, although these aspects of conducting are crucial for one's success in the field, two important aspects of a conductor's education are often not given an adequate amount of attention in the basic curriculum. These are: 1) Developing a clearer understanding of the official and unofficial functions of an assistant orchestra conductor in the United States; and, 2) Providing a model of the elements of a professional and highly effective press packet including: conducting footage, CV/resume, photographs, website, references and cover letter. The purpose of this project was to collect and present information that may inform an aspiring assistant orchestra conductor regarding the expectations of such a position and strategies to improve one's marketability for such a job in the United States. A handbook for the aspiring conductor was also created.
ContributorsVizireanu, Vlad (Author) / Russell, Timothy (Thesis advisor) / Reber, William (Committee member) / Bailey, Wayne (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2014
Description
During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America.
ContributorsOcampo Cardona, Javier Andrés (Author) / McAllister, Timothy (Thesis advisor) / Spring, Robert (Committee member) / Hill, Gary (Committee member) / Pilafian, Sam (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2011
Description
Everyday Arias for soprano and orchestra was composed largely in Arizona and completed in February 2011. The text was taken from a small collection of the composer's own poetry referencing her memories of life in rural Mississippi. Everyday Arias endeavors to elevate these prosaic experiences and settings to art, expressing the everyday as beautiful and worthy of artistic treatment. The primary compositional model for this work was Samuel Barber's Knoxville: Summer of 1915, but other influences included Charles Ives, Aaron Copland, Benjamin Britten, and Dominick Argento. Barber's and Argento's musical treatment of prose style seemed particularly appropriate to the goals of Everyday Arias. Ives and Copland used hymn tunes both to evoke certain associations of worship and as sources of interesting material. The vocal writing of all five composers was influential, but the orchestration techniques for winds are largely a product of studying Ives and Argento, while many string gestures are more obviously tied to Britten and - more historically - Debussy.The primary motive that weaves through the work features an ascending major second followed by a descending perfect fourth, in a long-short-long rhythmic pattern. As a melodic fragment, the motive is often inverted to a descending-ascending pattern, or distorted slightly by expanding the second interval to a perfect fifth, or used in retrograde. The motive was derived from the first measure of the melody "Toplady" (1830) by Thomas Hastings, better known as the hymn "Rock of Ages." In the first movement, the motive is used most frequently in sequences. The second movement treats the motive as a melodic element and as a unit in ostinati. The final movement humorously transforms it into a syncopated gesture to evoke ragtime.
ContributorsPage, Carrie Leigh (Composer) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
The use of instrumental vibrato in certain periods of classical music performances has become a highly debated and often fiery topic. The scholars of yesterday had only a few sources with which to gain a better understanding of the definition, mechanics, employment, and prevalent attitudes of those coming before them. This project aims to develop the foundation to a better understanding of instrumental vibrato by compiling primary source material written before 1940 and secondary source material relevant to that period into an annotated bibliography. The source materials in this study were mainly comprised of treatises, tutors, method books, newspaper articles, and dictionaries. The instruments covered in this study included the violin family and relatives (viols, etc...), woodwinds (including recorder), members of the brass family, organ, other keyboard instruments, guitar/banjo/lute, theremin, and prototype
iche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable.
iche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable.
ContributorsVerville, Timothy David (Author) / Russell, Timothy (Thesis advisor) / Humphreys, Jere T (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2012
Description
This study presents a conductor's guide to the Carpathian Concerto by Myroslav Skoryk. As a Deputy Head of the National Composers Association of Ukraine, a professor at the Tchaikovsky National Academy of Music and the Music Artistic Director of the National Opera of Ukraine, Skoryk continues to be active as a composer, teacher, and conductor. The Carpathian Concerto was composed in 1972 and was inspired by the culture and folklore of the west region of Ukraine, the Carpathian Mountains. Over the years the Carpathian Concerto has become standard repertoire for many symphony orchestras in the Ukraine. The author, himself from the Ukraine, performed this work in 2002, as a member of the Tchaikovsky National Academy of Music Symphony Orchestra, with the composer present. That experience was the inspiration for this study. This guide is intended as a score study supplementary from a conductor to a conductor, to aid in preparing a performance of the paper. The commentary focuses on issue of conducting, suggestions for score study, suggestions for interpretation and instructions to performers in connection with the rhythm, intonation, balance and orchestra placement. Programming ideas conclude this project, with short program notes provided for each program, in which Carpathian Concerto would contribute toward building a "theme" concert.
ContributorsIvanov, Lev, D.M.A (Author) / Russell, Timothy (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
This project includes a recording, composer biographies, performance guides, and composer questionnaires for seven original works commissioned for either the Rogue Trio or Lotus. The members of the Rogue Trio are violinist Kathleen Strahm, saxophonist Justin Rollefson, and pianist Mary Cota. Lotus’s members include Samuel Detweiler, Justin Rollefson, and Kristen Zelenak on saxophone. Both ensembles are based in Tempe, Arizona. All seven original compositions were recorded at Tempest Recording in February of 2018.
The first piece, Four Impersonations (2016), was commissioned by the Rogue Trio and written by Theo Chandler (b.1992) for violin, soprano saxophone and piano. The second piece was written by Spencer Arias (b. 1990) titled He Said There Was No Sound (2015) for violin, alto saxophone, and piano. The final work is titled Cabinet Meeting (2017), composed by Zachary Green (b. 1993) for violin, alto and tenor saxophone, and piano.
The first piece commissioned by Lotus and composed by Spencer Arias is titled As I escape, the water calms (2017) for soprano saxophone, alto saxophone, and tenor saxophone. The second piece was composed by Graham Cohen (b. 1999), titled Introduction and Toccata (2017), written for soprano, alto, and baritone saxophones. The third piece, titled Everything that rises, was written by David “Clay” Mettens (b. 1990) in 2014 for three soprano saxophones. Samuel Detweiler, Justin Rollefson and Tyler Flowers originally commissioned this piece. The final piece commissioned by Lotus was written by Matthew Kennedy (b. 1987) titled Triceratops: tasty grooves for saxophone trio (2017) for alto, tenor, and baritone saxophones.
The first piece, Four Impersonations (2016), was commissioned by the Rogue Trio and written by Theo Chandler (b.1992) for violin, soprano saxophone and piano. The second piece was written by Spencer Arias (b. 1990) titled He Said There Was No Sound (2015) for violin, alto saxophone, and piano. The final work is titled Cabinet Meeting (2017), composed by Zachary Green (b. 1993) for violin, alto and tenor saxophone, and piano.
The first piece commissioned by Lotus and composed by Spencer Arias is titled As I escape, the water calms (2017) for soprano saxophone, alto saxophone, and tenor saxophone. The second piece was composed by Graham Cohen (b. 1999), titled Introduction and Toccata (2017), written for soprano, alto, and baritone saxophones. The third piece, titled Everything that rises, was written by David “Clay” Mettens (b. 1990) in 2014 for three soprano saxophones. Samuel Detweiler, Justin Rollefson and Tyler Flowers originally commissioned this piece. The final piece commissioned by Lotus was written by Matthew Kennedy (b. 1987) titled Triceratops: tasty grooves for saxophone trio (2017) for alto, tenor, and baritone saxophones.
ContributorsRollefson, Justin David (Author) / Creviston, Christopher (Thesis advisor) / Gardner, Joshua (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2018
Description
This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
ContributorsChenoweth, Woodrow (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Gardner, Joshua (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2019
Description
This project’s goal is to expand the repertoire for soprano saxophone featuring improvisation. Each work detailed in this document features improvisation as an integral component. The first piece, Impetus, was written by Grant Jahn for soprano saxophone and piano. The second piece, Sonata, was written for the same instrumentation by Brett Wery. Ethan Cypress wrote the third work for solo soprano saxophone, Noir et Bleu. The final composition on the project, Counterpunch by Gregory Wanamaker, was written for saxophone sextet. This paper also includes composer biographies, program notes, performance guides, and composer questionnaires. The central component of this project is a recording of all these works which features the author.
ContributorsDetweiler, Samuel (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2018
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016