Matching Items (1,229)
Filtering by
- All Subjects: Piano music
ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
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
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
Most research on the experience of young women in student service roles in higher education is focused on a reflection of the early career experiences of mid and senior level professionals. Young women enter the field with a set of expectations about the work and their early career experiences need to be uncovered in order to better understand what they expect from their roles in student services. This study focused on the experience of young women in student services and the dynamics they identify as being significant to their work experience. Six women in their mid-twenties working in student service roles participated in two dialogic interviews regarding their work experience. Findings from these women's stories suggest that women are aware of internal and external dynamics that shaped their work experience, and are engaged in their journey toward Self-Authorship along intrapersonal and interpersonal dimensions. Specifically, the women actively chose their career path, looked for opportunities to develop their professional cache, and were impacted by their relationships with their supervisors and colleagues. The women are interested in their professional development in student services in higher education and are active in shaping the experience to meet their expectations. The findings suggest that to understand the experience of young women in student service roles in higher education, women should be asked to share their stories on their early career experiences, including interactions with supervisors and other professional colleagues. By representing these voices in the dialogue on the experience of young women in student service roles, the dynamics that shaped those experiences can be better understood.
ContributorsBeech, Rachel A (Author) / Ewing, Kris M (Thesis advisor) / Calleroz White, Mistalene (Committee member) / Sullivan, Linda (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26
Description
This study explored the phenomenon of student affairs professionals working at Arizona State University who shifted from a student affairs unit to perform similar work in an academic unit. The conceptual framework for this exploration was social identity theory (Tajfel, 1974), which asserts that individuals develop a self-concept or image that derives, in part, from her/his membership in a group or groups. This qualitative study utilized in-person interviews to capture raw data from four purposeful participants, and a software package (NVivo 9) aided in the grounded theory approach to data analysis (Charmaz, 2006). The study found that participants placed a high value on the college-centric approach to their student affairs work, but they still identified as student affairs professionals working inside the academic unit. Findings are useful to: supervisors who have an interest in the professional development and personal well-being of staff; faculty and administrators of master's and doctoral degree programs designed to prepare student affairs professionals; associations that serve student affairs professionals; higher education leaders engaged in organizational change; and higher education administrators interested in the roles of individual biases and values in organizations. This study will interest student affairs professionals making the shift from a student affairs unit to an academic unit, and it will inform the researcher's own practice and career development through his investigation of his own organization.
ContributorsMader, Michael (Author) / Mcintyre, Lisa R (Thesis advisor) / Hesse, Marian (Committee member) / Roen, Duane (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsLee, Eunhwa (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-17