Matching Items (40)
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- All Subjects: Guitar music
- All Subjects: Piano music
- Creators: Meir, Baruch
- Creators: Koonce, Frank
- Creators: Lake, Brendan
DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014
Description
Arrangements of music from other instruments have always played a key role in expanding the guitar repertoire. This project investigates the life and work of eighteenth-century composer Antonio Soler (1729-1783), specifically his sonatas for solo keyboard. This study carries out a formal inquiry on Soler's influences, including a background of Soler's life and training, his connection with Domenico Scarlatti (1685-1757), and an overview of the eighteenth-century sonata in Spain. Timbres, articulations, tessitura, and other aspects of Spanish folk music are discussed as related to Soler's composition style. Five sonatas are analyzed in connection to Spanish folk music, and part of this study's focus was arranging the sonatas for two guitars: R. 48, 50, 60, 106 and 114. An overview of the current arrangements of Soler's sonatas for guitar is included in Appendix A.
ContributorsCrissman, Jonathan (Author) / Koonce, Frank (Thesis advisor) / Swartz, Jonathan (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014
Description
This is a solo guitar transcription of the first five movements, known as the "Joyous Mysteries," of the Mystery Sonatas by Heinrich Ignaz Franz von Biber, accompanied by a history of the sonata collection, an analysis of the process of translating a Baroque solo sonata to the guitar, and a guide for performance. The work was chosen because of its significance and popularity within violin repertoire, and the suitability of the solo sonata genre for performance on a guitar. The first section of this project addresses the history and appeal of Biber and the Mystery Sonatas. It is supplemented by a brief survey of guitar transcriptions of Biber's compositions, and the value of the present edition in modern guitar literature. The second section explores the process and challenges of arranging the Mystery Sonatas for solo guitar, followed by a summation of the general allowances and limitations the genre offers to arrangers. The third section focuses on performance practice issues encountered in adapting this series and other Baroque solo sonatas to the guitar. The project concludes with the arrangement, complemented with the original violin and continuo parts for comparison.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
ContributorsLake, Brendan (Author) / Koonce, Frank (Thesis advisor) / Oldani, Robert W. (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project presents eight harpsichord sonatas, 3, 5, 10, 12, 13, 18, 19, and 21, by Sebastián de Albero (1722-1756), arranged for the classical guitar. These pieces were chosen because of the success of other eighteenth-century Iberian harpsichord music that has been arranged for guitar, including works by composers such as Domenico Scarlatti, Carlos Seixas, and Antonio Soler. The popularity and enjoyment of Scarlatti's harpsichord sonatas on the guitar today was the inspiration for this project.
Historically, guitarists have used arrangements as a means to expand the guitar's repertoire. The late eighteenth century, especially, was a time in which the instrument was undergoing significant changes from being a five-course instrument into becoming the standard six single string instrument of today. Also, composer/guitarists at that time were beginning to abandon tablature in favor of modern staff notation. Because of these changes, the amount of music originally written for the guitar from this period that is suitable to be played on a modern instrument is limited.
I chose to focus on eight selected sonatas from Sebastián Albero's Treinta Sonatas para Clavicordio because of the influence of Domenico Scarlatti's harpsichord arrangements for solo guitar. It is intriguing to note that Albero and Scarlatti both held positions at the Spanish Royal Chapel for a number of years and, in this capacity, may have influenced one another in their musical compositions and style. Certain similarities are documented in this paper.
Since Scarlatti's music has been successfully arranged, and is popular to play on modern guitar, it is hoped that these sonatas by Albero may enjoy similar success.
Historically, guitarists have used arrangements as a means to expand the guitar's repertoire. The late eighteenth century, especially, was a time in which the instrument was undergoing significant changes from being a five-course instrument into becoming the standard six single string instrument of today. Also, composer/guitarists at that time were beginning to abandon tablature in favor of modern staff notation. Because of these changes, the amount of music originally written for the guitar from this period that is suitable to be played on a modern instrument is limited.
I chose to focus on eight selected sonatas from Sebastián Albero's Treinta Sonatas para Clavicordio because of the influence of Domenico Scarlatti's harpsichord arrangements for solo guitar. It is intriguing to note that Albero and Scarlatti both held positions at the Spanish Royal Chapel for a number of years and, in this capacity, may have influenced one another in their musical compositions and style. Certain similarities are documented in this paper.
Since Scarlatti's music has been successfully arranged, and is popular to play on modern guitar, it is hoped that these sonatas by Albero may enjoy similar success.
ContributorsSloyka, Erik Robert (Author) / Koonce, Frank (Thesis advisor) / McLin, Katherine (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2014
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsLake, Brendan (Performer) / ASU Library. Music Library (Publisher)
Created2010-09-28
ContributorsEmler, Blythe (Performer) / Chan, Kenny (Performer) / Lake, Brendan (Performer) / Koseki, Jay (Performer) / ASU Library. Music Library (Publisher)
Created2009-12-02
ContributorsBryan, Karen (Speaker) / Meir, Baruch (Performer) / Campbell, Andrew (Pianist) (Performer) / Cosand, Walter, 1950- (Performer) / ASU Library. Music Library (Publisher)
Created2006-03-29
ContributorsFriar, Tyson Levell (Performer) / Glemser, Tim (Performer) / ASU Library. Music Library (Publisher)
Created2003-05-01
ContributorsLake, Brendan (Performer) / Fehser, Cheyne (Performer) / ASU Library. Music Library (Publisher)
Created2013-12-04