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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
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
This honors thesis is focused on two separate catalysis projects conducted under the mentorship of Dr. Javier Pérez-Ramírez at ETH Zürich. The first project explored ethylene oxychlorination over supported europium oxychloride catalysts. The second project investigated alkyne semihydrogenation over nickel phosphide catalysts. This work is the subject of a publication of which I am a co-author, as cited below.
Project 1 Abstract: Ethylene Oxychlorination
The current two-step process for the industrial process of vinyl chloride production involves CuCl2 catalyzed ethylene oxychlorination to ethylene dichloride followed by thermal cracking of the latter to vinyl chloride. To date, no industrial application of a one-step process is available. To close this gap, this work evaluates a wide range of self-prepared supported CeO2 and EuOCl catalysts for one-step production of vinyl chloride from ethylene in a fixed-bed reactor at 623 773 K and 1 bar using feed ratios of C2H4:HCl:O2:Ar:He = 3:3 6:1.5 6:3:82 89.5. Among all studied systems, CeO2/ZrO2 and CeO2/Zeolite MS show the highest activity but suffer from severe combustion of ethylene, forming COx, while 20 wt.% EuOCl/γ-Al2O3 leads to the best vinyl chloride selectivity of 87% at 15.6% C2H4 conversion with complete suppression of CO2 formation and only 4% selectivity to CO conversion for over 100 h on stream. Characterization by XRD and EDX mapping reveals that much of the Eu is present in non-active phases such as Al2Eu or EuAl4, indicating that alternative synthesis methods could be employed to better utilize the metal. A linear relationship between conversion and metal loading is found for this catalyst, indicating that always part of the used Eu is available as EuOCl, while the rest forms inactive europium aluminate species. Zeolite-supported EuOCl slightly outperforms EuOCl/γ Al2O3 in terms of total yield, but is prone to significant coking and is unstable. Even though a lot of Eu seems locked in inactive species on EuOCl/γ Al2O3, these results indicate possible savings of nearly 16,000 USD per kg of catalyst compared to a bulk EuOCl catalyst. These very promising findings constitute a crucial step for process intensification of polyvinyl chloride production and exploring the potential of supported EuOCl catalysts in industrially-relevant reactions.
Project 2 Abstract: Alkyne Semihydrogenation
Despite strongly suffering from poor noble metal utilization and a highly toxic selectivity modifier (Pb), the archetypal catalyst applied for the three-phase alkyne semihydrogenation, the Pb-doped Pd/CaCO3 (Lindlar catalyst), is still being utilized at industrial level. Inspired by the very recent strategies involving the modification of Pd with p-block elements (i.e., S), this work extrapolates the concept by preparing crystalline metal phosphides with controlled stoichiometry. To develop an affordable and environmentally-friendly alternative to traditional hydrogenation catalysts, nickel, a metal belonging to the same group as Pd and capable of splitting molecular hydrogen has been selected. Herein, a simple two-step synthesis procedure involving nontoxic precursors was used to synthesize bulk nickel phosphides with different stoichiometries (Ni2P, Ni5P4, and Ni12P5) by controlling the P:Ni ratios. To uncover structural and surface features, this catalyst family is characterized with an array of methods including X-ray diffraction (XRD), 31P magic-angle nuclear magnetic resonance (MAS-NMR) spectroscopy, and X-ray photoelectron spectroscopy (XPS). Bulk-sensitive techniques prove the successful preparation of pure phases while XPS analysis unravels the facile passivation occurring at the NixPy surface that persists even after reductive treatment. To assess the characteristic surface fingerprints of these materials, Ar sputtering was carried out at different penetration depths, reveling the presence of Ni+ and P-species. Continuous-flow three-phase hydrogenations of short-chain acetylenic compounds display that the oxidized layer covering the surface is reduced under reaction conditions, as evidenced by the induction period before reaching the steady state performance. To assess the impact of the phosphidation treatment on catalytic performance, the catalysts were benchmarked against a commercial Ni/SiO2-Al2O3 sample. While Ni/SiO2-Al2O3 presents very low selectivity to the alkene (the selectivity is about 10% at full conversion) attributed to the well-known tendency of naked nickel nanoparticles to form hydrides, the performance of nickel phosphides is highly selective and independent of P:Ni ratio. In line with previous findings on PdxS, kinetic tests indicate the occurrence of a dual-site mechanism where the alkyne and hydrogen do not compete for the same site.
This work is the subject of a publication of which I am a co-author, as cited below.
D. Albani; K. Karajovic; B. Tata; Q. Li; S. Mitchell; N. López; J. Pérez-Ramírez. Ensemble Design in Nickel Phosphide Catalysts for Alkyne Semi-Hydrogenation. ChemCatChem 2019. doi.org/10.1002/cctc.201801430
Project 1 Abstract: Ethylene Oxychlorination
The current two-step process for the industrial process of vinyl chloride production involves CuCl2 catalyzed ethylene oxychlorination to ethylene dichloride followed by thermal cracking of the latter to vinyl chloride. To date, no industrial application of a one-step process is available. To close this gap, this work evaluates a wide range of self-prepared supported CeO2 and EuOCl catalysts for one-step production of vinyl chloride from ethylene in a fixed-bed reactor at 623 773 K and 1 bar using feed ratios of C2H4:HCl:O2:Ar:He = 3:3 6:1.5 6:3:82 89.5. Among all studied systems, CeO2/ZrO2 and CeO2/Zeolite MS show the highest activity but suffer from severe combustion of ethylene, forming COx, while 20 wt.% EuOCl/γ-Al2O3 leads to the best vinyl chloride selectivity of 87% at 15.6% C2H4 conversion with complete suppression of CO2 formation and only 4% selectivity to CO conversion for over 100 h on stream. Characterization by XRD and EDX mapping reveals that much of the Eu is present in non-active phases such as Al2Eu or EuAl4, indicating that alternative synthesis methods could be employed to better utilize the metal. A linear relationship between conversion and metal loading is found for this catalyst, indicating that always part of the used Eu is available as EuOCl, while the rest forms inactive europium aluminate species. Zeolite-supported EuOCl slightly outperforms EuOCl/γ Al2O3 in terms of total yield, but is prone to significant coking and is unstable. Even though a lot of Eu seems locked in inactive species on EuOCl/γ Al2O3, these results indicate possible savings of nearly 16,000 USD per kg of catalyst compared to a bulk EuOCl catalyst. These very promising findings constitute a crucial step for process intensification of polyvinyl chloride production and exploring the potential of supported EuOCl catalysts in industrially-relevant reactions.
Project 2 Abstract: Alkyne Semihydrogenation
Despite strongly suffering from poor noble metal utilization and a highly toxic selectivity modifier (Pb), the archetypal catalyst applied for the three-phase alkyne semihydrogenation, the Pb-doped Pd/CaCO3 (Lindlar catalyst), is still being utilized at industrial level. Inspired by the very recent strategies involving the modification of Pd with p-block elements (i.e., S), this work extrapolates the concept by preparing crystalline metal phosphides with controlled stoichiometry. To develop an affordable and environmentally-friendly alternative to traditional hydrogenation catalysts, nickel, a metal belonging to the same group as Pd and capable of splitting molecular hydrogen has been selected. Herein, a simple two-step synthesis procedure involving nontoxic precursors was used to synthesize bulk nickel phosphides with different stoichiometries (Ni2P, Ni5P4, and Ni12P5) by controlling the P:Ni ratios. To uncover structural and surface features, this catalyst family is characterized with an array of methods including X-ray diffraction (XRD), 31P magic-angle nuclear magnetic resonance (MAS-NMR) spectroscopy, and X-ray photoelectron spectroscopy (XPS). Bulk-sensitive techniques prove the successful preparation of pure phases while XPS analysis unravels the facile passivation occurring at the NixPy surface that persists even after reductive treatment. To assess the characteristic surface fingerprints of these materials, Ar sputtering was carried out at different penetration depths, reveling the presence of Ni+ and P-species. Continuous-flow three-phase hydrogenations of short-chain acetylenic compounds display that the oxidized layer covering the surface is reduced under reaction conditions, as evidenced by the induction period before reaching the steady state performance. To assess the impact of the phosphidation treatment on catalytic performance, the catalysts were benchmarked against a commercial Ni/SiO2-Al2O3 sample. While Ni/SiO2-Al2O3 presents very low selectivity to the alkene (the selectivity is about 10% at full conversion) attributed to the well-known tendency of naked nickel nanoparticles to form hydrides, the performance of nickel phosphides is highly selective and independent of P:Ni ratio. In line with previous findings on PdxS, kinetic tests indicate the occurrence of a dual-site mechanism where the alkyne and hydrogen do not compete for the same site.
This work is the subject of a publication of which I am a co-author, as cited below.
D. Albani; K. Karajovic; B. Tata; Q. Li; S. Mitchell; N. López; J. Pérez-Ramírez. Ensemble Design in Nickel Phosphide Catalysts for Alkyne Semi-Hydrogenation. ChemCatChem 2019. doi.org/10.1002/cctc.201801430
ContributorsTata, Bharath (Author) / Deng, Shuguang (Thesis director) / Muhich, Christopher (Committee member) / Chemical Engineering Program (Contributor, Contributor) / School of Sustainability (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
Using two interviews with local Phoenix professional chamber musicians, this document aims to compare their experiences across musical styles to find common ground and understand the value of chamber music as a professional and educational tool.
ContributorsGrahmann, Robert (Author) / Libman, Jeffrey (Thesis director) / Compitello, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
Description
Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
ContributorsBrown, Jr., Fredrick Marcell (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Schmelz, Peter (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
ContributorsWu, Xuelai (Author) / Campbell, Andrew (Thesis advisor) / DeMars, James (Committee member) / Landschoot, Thomas (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2017
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016