Matching Items (37)
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- All Subjects: Clarinet and piano music
- All Subjects: Bassoon
- Creators: Gardner, Joshua
- Creators: Micklich, Albie
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (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
Nino Rota was a prolific composer of twentieth-century film and concert music, including the Concerto for bassoon and orchestra in b-flat major. Composing over 150 film scores for directors such as Federico Fellini, Francis Ford Coppola, Henry Cass, King Vidor and Franco Zeffirelli, Rota received distinguished acclaim from several film institutions, professional film reviewers and film music experts for his contributions to the art form. Rota also composed a great deal of diverse repertoire for the concert stage (ballet, opera, incidental music, concerti, symphonies, as well as several chamber works). The purpose of this analysis is to emphasize the expressive charm and accessibility of his concerto in the bassoon repertoire. The matter of this analysis of the Concerto for bassoon and orchestra concentrates on a single concerto from his concert repertoire completed in 1977, two years before Rota's death. The discussion includes a brief introduction to Nino Rota and his accomplishments as a musician and film composer, and a detailed outline of the motivic and structural events of contained in each movement of the concerto. The shape of the work is analyzed both in detailed discussion and by the use of charts, including reduced score figures of excerpts of the piece, which illustrate significant thematic events and relationships. The analysis reveals how Rota uses lyrical thematic material in a consistently, and he develops the music by creating melodic sequences and varied repetitions of thematic material. He is comfortable writing several forms, as indicated by the first movement, Toccata - a sonata-type form; the second movement, Recitativo, opening with a cadenza and followed by a theme and brief development; and the third movement, a theme (Andantino) and set of six variations. Rota's writing also includes contrapuntal techniques such as imitation, inversion, retrograde and augmentation, all creating expressive interest during thematic development. It is clear from the discussion that Rota is an accomplished, well-studied and lyrical composer. This analysis will inform the bassoonist and conductor, and aid in developing a fondness for the Concerto for bassoon and orchestra and perhaps other concert works.
ContributorsKluesener, Joseph (Author) / Micklich, Albie (Thesis advisor) / Hill, Gary (Committee member) / Levy, Benjamin (Committee member) / Russell, Timothy (Committee member) / Schuring, Martin (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
ContributorsGardner, Joshua (Performer) / Novak, Gail (Pianist) (Performer) / Pan, Tiffany (Performer) / Murphy, Patrick (Performer) / Gardner, Stefanie (Performer) / Kluesener, Joseph (Performer) / Egide Duo (Performer) / Paradise Winds (Performer) / ASU Library. Music Library (Publisher)
Created2022-09-04
Description
The versatility of the bassoon has always been a signature trait, noticeable both inthe diversity of canonic works conceived for the instrument and in transcriptions. While
Russian composer and pianist, Sergei Prokofiev (1891-1953), is well-known for his
orchestral and piano compositions, outside from moments in his compositions for
orchestra, most woodwind musicians have been unable to experience his solo repertoire
and writing style. Prokofiev did not write any solo compositions for the bassoon. In fact,
his only solo work for woodwinds is his Sonata for Flute and Piano, Op. 94. The purpose
of this project is to transcribe Prokofiev’s Sonata for Flute and Piano, Op. 94 for bassoon
and piano as an addition to the bassoon solo literature. The project begins with an
historical overview of both composer and composition, then turns into a description of
the rationale and process of transcription, followed by the transcription for bassoon and
piano itself as well as a complete recording.
ContributorsJin, Leon (Author) / Micklich, Albie (Thesis advisor) / Schmelz, Peter (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2022
Description
The purpose of this DMA project is to broaden the bassoon repertoire from Latin American composers with the commission and recording of a new work, Duasteño for bassoon and clarinet, by Arodi Martínez Serrano (Mexico) and to record the existing works Duasteco by Arodi Martínez Serrano, Argenta by Noelia Escalzo (Argentina), and Fagot Pukllay by Daniel Cueto (Peru). In order to provide a better understanding of these works and the composers, this document contains transcripts of interviews with each composer, including their styles, aesthetics, and backgrounds. The interviews with the composers are the primary sources for this document. Additionally, a performance guide is included providing recommendations to the bassoonists preparing these works. It is my hope that the recordings and performance guide included in this project can be a helpful resource for the bassoonist seeking to perform new works by Latin American composers.
ContributorsBonilla Aguilar, Alfredo (Author) / Micklich, Albie (Thesis advisor) / Gardner, Joshua (Committee member) / Navarro, Fernanda (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2023
ContributorsGardner, Joshua (Performer) / Novak, Gail (Pianist) (Performer) / Gardner, Stefanie (Performer) / Spring, Robert (Performer) / Pan, Tiffany (Performer) / Murphy, Patrick (Performer) / Kluesener, Joseph (Performer) / Egide Duo (Performer) / Paradise Winds (Performer) / ASU Library. Music Library (Publisher)
Created2023-09-10
ContributorsGardner, Joshua (Performer) / Novak, Gail (Pianist) (Performer) / Stapley, Sara (Performer) / Bowlin, Sarah (Performer) / Chen, Yi-Chia (Performer) / ASU Library. Music Library (Publisher)
Created2008-12-06
ContributorsGardner, Joshua (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2009-03-21