Matching Items (7)
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- All Subjects: Song cycles--Analysis, appreciation.
- Creators: Ryan, Russell
- Creators: Rahman, Qasim
- Member of: Theses and Dissertations
- Status: Published
Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Arnold Schoenberg's 1908-09 song cycle, Das Buch der hängenden Gärten [The Book of the Hanging Gardens], opus 15, represents one of his most decisive early steps into the realm of musical modernism. In the midst of personal and artistic crises, Schoenberg set texts by Stefan George in a style he called "pantonality," and described his composition as radically new. Though stylistically progressive, however, Schoenberg's musical achievement had certain ideologically conservative roots: the composer numbered among turn-of-the-century Viennese artists and thinkers whose opposition to the conventional and the popular--in favor of artistic autonomy and creativity--concealed a reactionary misogyny. A critical reading of Hanging Gardens through the lens of gender reveals that Schoenberg, like many of his contemporaries, incorporated strong frauenfeindlich [anti-women] elements into his work, through his modernist account of artistic creativity, his choice of texts, and his musical settings. Although elements of Hanging Gardens' atonal music suggest that Schoenberg valued gendered-feminine principles in his compositional style, a closer analysis of the work's musical language shows an intact masculinist hegemony. Through his deployment of uncanny tonal reminiscences, underlying tonal gestures, and closed forms in Hanging Gardens, Schoenberg ensures that the feminine-associated "excesses" of atonality remain under masculine control. This study draws upon the critical musicology of Susan McClary while arguing that Schoenberg's music is socially contingent, affected by the gender biases of his social and literary milieux. It addresses likely influences on Schoenberg's worldview including the philosophy of Otto Weininger, Freudian psychoanalysis, and a complex web of personal relationships. Finally, this analysis highlights the relevance of Schoenberg's world and its constructions of gender to modern performance practice, and argues that performers must consider interrelated historical, textual, and musical factors when interpreting Hanging Gardens in new contexts.
ContributorsGinger, Kerry Anne (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mook, Richard (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
Motor behavior is prone to variable conditions and deviates further in disorders affecting the nervous system. A combination of environmental and neural factors impacts the amount of uncertainty. Although the influence of these factors on estimating endpoint positions have been examined, the role of limb configuration on endpoint variability has been mostly ignored. Characterizing the influence of arm configuration (i.e. intrinsic factors) would allow greater comprehension of sensorimotor integration and assist in interpreting exaggerated movement variability in patients. In this study, subjects were placed in a 3-D virtual reality environment and were asked to move from a starting position to one of three targets in the frontal plane with and without visual feedback of the moving limb. The alternating of visual feedback during trials increased uncertainty between the planning and execution phases. The starting limb configurations, adducted and abducted, were varied in separate blocks. Arm configurations were setup by rotating along the shoulder-hand axis to maintain endpoint position. The investigation hypothesized: 1) patterns of endpoint variability of movements would be dependent upon the starting arm configuration and 2) any differences observed would be more apparent in conditions that withheld visual feedback. The results indicated that there were differences in endpoint variability between arm configurations in both visual conditions, but differences in variability increased when visual feedback was withheld. Overall this suggests that in the presence of visual feedback, planning of movements in 3D space mostly uses coordinates that are arm configuration independent. On the other hand, without visual feedback, planning of movements in 3D space relies substantially on intrinsic coordinates.
ContributorsRahman, Qasim (Author) / Buneo, Christopher (Thesis director) / Helms Tillery, Stephen (Committee member) / Barrett, The Honors College (Contributor) / Harrington Bioengineering Program (Contributor)
Created2014-05
Description
Motor behavior is prone to variable conditions and deviates further in disorders affecting the nervous system. A combination of environmental and neural factors impacts the amount of uncertainty. Although the influence of these factors on estimating endpoint positions have been examined, the role of limb configuration on endpoint variability has been mostly ignored. Characterizing the influence of arm configuration (i.e. intrinsic factors) would allow greater comprehension of sensorimotor integration and assist in interpreting exaggerated movement variability in patients. In this study, subjects were placed in a 3-D virtual reality environment and were asked to move from a starting position to one of three targets in the frontal plane with and without visual feedback of the moving limb. The alternating of visual feedback during trials increased uncertainty between the planning and execution phases. The starting limb configurations, adducted and abducted, were varied in separate blocks. Arm configurations were setup by rotating along the shoulder-hand axis to maintain endpoint position. The investigation hypothesized: 1) patterns of endpoint variability of movements would be dependent upon the starting arm configuration and 2) any differences observed would be more apparent in conditions that withheld visual feedback. The results indicated that there were differences in endpoint variability between arm configurations in both visual conditions, but differences in variability increased when visual feedback was withheld. Overall this suggests that in the presence of visual feedback, planning of movements in 3D space mostly uses coordinates that are arm configuration independent. On the other hand, without visual feedback, planning of movements in 3D space relies substantially on intrinsic coordinates.
ContributorsRahman, Qasim (Author) / Buneo, Christopher (Thesis director) / Helms Tillery, Stephen (Committee member) / Barrett, The Honors College (Contributor) / Harrington Bioengineering Program (Contributor)
Created2014-05
Description
The purpose of this study was to: (1) record and describe a brief history of the life and career of Bolivian composer Dr. Nicolás Suárez Eyzaguirre, and (2) write an analysis from a vocal performer's perspective of Suárez's song cycle for soprano and piano, Monólogos del Desierto, with texts by Dr. Guillermo Mariaca Iturri.
In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper.
In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper.
ContributorsStanford, Allison (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
In an interview with the author, composer Chen Yi shared thoughts regarding her inspiration to compose the piece As in a Dream. She composed the first version in 1988 for soprano, violin, and cello. Left unpublished, this work was re-done in 1994 with the Chinese instruments zheng and pipa in place of the violin and cello. As in a Dream is a setting of two linked poems of six lines each by Qingzhao Li, one of the earliest female poets in China. Chen Yi kept the voice part the same in the two versions, but adapted the accompaniment to suit the Chinese instruments.
This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese.
Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry.
This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese.
Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry.
ContributorsIp, Hoi Lam (Author) / Britton, David (Thesis advisor) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
More and more Taiwanese composers have been internationally recognizednowadays. However, their works have received scarce attention compared to their Western counterparts, even within Taiwan. Ming-Hsiu Yen (b. 1980) is a perfect example of an active composer whose works have been awarded many international prizes and performed worldwide, and yet there are few published studies that promote deeper understanding of her compositional language.
This paper is the explanatory document for a lecture recital presented by the author. Four of Yen’s compositions for piano are examined, namely The Forgotten Corner (2005), “The Core” and “Frozen March” from Movements (2002-2005), and Fantasy Amour (2013). These works are discussed from both compositional and performance perspectives. After a brief biography of Yen and an overview of her piano compositions, the four works are given detailed description focusing on their coherence created by specific elements. Performance suggestions for each work are provided as well.
The discussion offers insight into the musical organization of these pieces and Yen’s unifying techniques. It is hoped that this information will be beneficial to pianists interested in this composer and the repertoire of contemporary Taiwanese piano music.
ContributorsChang, Wen-Huei (Author) / Pagano, Caio (Thesis advisor) / Holbrook, Amy (Thesis advisor) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2021