Matching Items (21)
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- All Subjects: Orchestra
- All Subjects: Music History
ContributorsMcCauley, Laura (Performer) / Wulff, Elliot (Performer) / Condon, Joshua (Conductor) / Di Russo, Michelle (Conductor) / Gupta, Kamna (Conductor) / Alpizar, Mark (Conductor) / Fritz, Greg (Conductor) / ASU Library. Music Library (Publisher)
Created2018-04-13
ContributorsMeyer, Jeffery (Conductor) / Rodrigues, Christiano (Performer) / Micklich, Albie (Performer) / Chamber Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2017-02-27
ContributorsMeyer, Jeffery (Conductor) / Alpizar, Mark (Conductor) / Gupta, Kamna (Conductor) / Lucas, Cullan (Conductor) / Chen, Grace (Performer) / Skinner, Wesley (Performer) / Rodrigues, Christiano (Performer) / Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2017-01-27
ContributorsMeyer, Jeffery (Director) / Landschoot, Thomas (Performer) / Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2016-11-04
ContributorsMeyer, Jeffery (Conductor) / Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2017-03-24
Description
The unmeasured Fantasias by Johann Gottfried Müthel appear as part of a collection of pedagogical exercises to foster improvisation. The information he gives in the notation of his fantasias can be elucidated with a historiographical interpretation of musical rhetoric. Müthel developed musical figures and contrasting textures in accordance with contemporary rhetorical principles of inventio, dispositio and elaboratio. An analysis of Müthel’s G-minor Fantasia provides a link between musical rhetoric and performance, as seen through its improvisatory gestures. Issues of performance practice that arise in the G-minor Fantasia are the execution of ornaments, rhythmic alterations, registration, and articulation. This paper explores primary sources contemporary to Müthel to make sense of these issues. The unmeasured Fantasias are written for a keyboard with pedal. At the time that they were written, the pedal fortepiano and pedal clavichord were seen by musicians such as Carl Phillip Emanual Bach to be the superior instruments for performing improvisations. While the notation and texture of the Fantasias suggests that Müthel intended them for organ, a consideration of the possibilities provided by the fortepiano suggests that it may be more suited to conveying aspects of the galant aesthetic.
ContributorsMealey, Natalie (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2022
Description
Organ culture of the late nineteenth century played an important role in the development of cities on the American Western Frontier. By 1869, the transcontinental railroad connected cities across the United States, enabling coast-to-coast travel and spawning a new tourist industry. Rail travelers stopping in Utah frequently visited the Tabernacle and were impressed by the organ, requesting to hear it played. The Salt Lake Tabernacle free daily organ recital program was initiated to meet that demand. This came at a critical time in the growth of the city as it sought to develop a positive image of itself. These organ recitals became a highlight of travelers’ journeys across the United States, shaping the image of Utah as a place of culture and refinement. Although free daily organ recital programs sprang up across the country during the early twentieth century, very few persisted for more than a decade. Today, the only two remaining continuous free daily organ recital series are given on the Salt Lake Tabernacle organ and on the Wanamaker organ in Philadelphia. Location, promotion, purpose, and programming were key factors vital to the early and continued success of the program. At a time when attendance is in decline for organ recitals, and indeed for all classical art music, the elements of this uniquely successful program may suggest new approaches for sharing organ music.
ContributorsHarris, Valerie (Author) / Marshall, Kimberly (Thesis advisor) / Saucier, Catherine (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsDi Russo, Michelle (Conductor) / Alpizar, Mark (Conductor) / Shaker, Shannon (Conductor) / Gupta, Kamna (Conductor) / ASU Library. Music Library (Publisher)
Created2017-11-29
ContributorsOh, Mia (Conductor) / Evans, Bartlett R. (Conductor) / Neish, Julie (Conductor) / Thompson, Jason D. (Conductor) / Alpizar, Mark (Conductor) / Meyer, Jeffery (Conductor) / Choral Union (Performer) / Concert Choir (Performer) / Chamber Singers (Performer) / Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2016-12-02
Description
Josh Oxford wrote the Luminous Mysteries Rosary Sonata in 2022 on commission from the violinist Esther Witherell. The piece continues in the Rosary Sonata tradition begun by Heinrich Biber while also incorporating contemporary composition styles and violin techniques, most notably the use of dynamic scordatura. The formidable challenges involved in realizing the written score make the provision of a performance guide with a semi-tablature notation of the violin part all but essential. This document serves as a guide to future performers of the Luminous Mysteries Rosary Sonata. The paper provides the historical background for its composition, supplies information from the composer regarding Biblical allusions in the piece, and suggests solutions to common technical difficulties. The appendix consists of the semi-tablature violin part with at-pitch notation from the composer and as-fingered notation from the author.
ContributorsWitherell, Esther (Author) / McLin, Katherine (Thesis advisor) / Meyer, Jeffery (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2024