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- All Subjects: Songs (High voice) with piano
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- All Subjects: Music--Performance
Description
Imitation is the genesis of change. One basic principle of human nature is that people imitate what they see and hear. In the professional choral arena, musicians extend the high art of imitation through fine-tuning, and creative reinterpretation. Stimulated by this cycle, the color of the twenty-first-century professional choir shifted compared to that of professional choirs from the 1950s through 1970s, causing an evolution in choral sound. In a series of interviews with iconic composers and conductors of professional choirs, the subjects involved in the study conveyed comprehensive and personal accounts outlining how professional choirs have refined the standard of choral sound. The paper is organized into three sections: (1) where have we been, (2) where are we now and (3) where are we going? It explores various conductors' perceptions of how and why choirs are unique when compared to earlier generations and what they believe caused the shift in choral tone. Paired with this perspective is the role of modern composers, whose progressive compositional techniques helped shape the modern choral sound. The subjects involved in the study further theorize how current inclinations may potentially shape the future of professional choral music. Although the subjects expressed differing opinions about the quality of the twenty-first-century choral tone, many agree that there have been specific transformations since the 1970s. The shift in choral tone occurred due to developments in vocal technique, exploration of contemporary compositional extended techniques, an adherence to historically informed performance practice, imitation of vocal colors from numerous cultures, incorporation of technology and emulation of sound perceived on recordings. Additionally, choral music subtly became prominent in film scores, and innovative conductors created progressive concert programming, and developed novel approaches to entertain audiences. Samplings of contributors involved in this study include: John Rutter, Harry Christophers, Charles Bruffy, Nigel Short, Craig Hella Johnson, Alice Parker, Michael McGlynn, Phillip Brunelle, Craig Jessop, Libby Larsen, Ola Gjeilo, Cecilia McDowall, Jaakko Mäntyjärvi and Stephen Paulus.
ContributorsRugen, Kira Zeeman (Author) / Rugen, Kira Z (Thesis advisor) / Reber, William (Committee member) / Saucier, Catherine (Committee member) / Doan, Jerry (Committee member) / Bailey, Wayne (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study catalogues symphonies for wind band from the origin of the genre in the late eighteenth century through 2014. Wind bands include any mixed wind group of eight or more players. Works using the word "symphony" or its derivatives in the title are included in the study. A total of 1342 works that fit these criteria were identified. An annotated bibliography (Appendix A) includes detailed information about 695 of these works. Such information was not available for an additional 621 wind band symphonies; consequently, these works are listed in a second appendix that includes a list of sources for each work so that future researchers might investigate them further. The final appendix lists 26 wind band symphonies that are no longer available based on the author's current sources.
The titles included in this study were found by examining many repertoire resources for the wind band, including previous studies of wind band symphonies and more comprehensive repertoire resources like the Heritage Encyclopedia of Band Music and the website "The Wind Repertory Project." Details of each piece in the annotated bibliography were found in their scores whenever possible. Contact with composers and publishers, through both their websites and direct correspondence, played a major role in this part of the study. The classified bibliography in this document sorts all of these sources categorically for easy reference. All parts of this document are intended as tools for conductors wishing to research or program symphonies for wind band.
The titles included in this study were found by examining many repertoire resources for the wind band, including previous studies of wind band symphonies and more comprehensive repertoire resources like the Heritage Encyclopedia of Band Music and the website "The Wind Repertory Project." Details of each piece in the annotated bibliography were found in their scores whenever possible. Contact with composers and publishers, through both their websites and direct correspondence, played a major role in this part of the study. The classified bibliography in this document sorts all of these sources categorically for easy reference. All parts of this document are intended as tools for conductors wishing to research or program symphonies for wind band.
ContributorsPease, Andrew Donald (Author) / Hill, Gary W. (Thesis advisor) / Bailey, Wayne (Committee member) / Reber, William (Committee member) / Saucier, Catherine (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2015
Description
The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included.
ContributorsMinov, Jana (Author) / Russell, Timothy (Thesis advisor) / Levy, Benjamin (Committee member) / Schildkret, David (Committee member) / Rogers, Rodney (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2011
Description
Miguel de Cervantes Saavedra created the character of Don Quixote in his book El ingenioso hidalgo Don Quijote de la Mancha, published in 1605. Since its creation, stories from the book have been reimagined in art, in literature and in music. Frequently, Cervantes – the man and author – and Quixote – the novel’s protagonist and hero – have been inextricably linked in character. Subsequent adaptors of the novel have been influenced by this connection: composers Jules Massenet (1842-1912), Jacques Ibert (1890-1962) and Mitch Leigh (1928-2014) all wrote their own versions of the Quixote saga. Though their approaches to the story are varied, the basic characteristics of it remain: Love, Life and Dreams. Those themes are reflected in the old knight’s death scene in each of their respective works. Here, the lives of the adaptors are briefly discussed and a dramatic and musical (Schenkerian), analysis of Quixote’s last hours are presented.
ContributorsKim, Se Hoon (Author) / Britton, David (Thesis advisor) / Reber, William (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
Since the 1920's, the school musical has been an important event in American high schools and in the lives of students. This study begins with a condensed history of the American musical theatre, into focus on selected shows' value as potential high school repertoire. Review of literature included studies of high school musical theatre, production guides and related materials, and writings both against and in favor of musicals at the high school level. The school musical is usually undertaken as an extra-curricular activity led by performing arts faculty. This study focuses on the preparation, responsibilities, and attitudes of high school music educators toward musical theatre direction. Musical direction is defined as teaching the vocal music, and teaching and leading the instrumental music of the production where applicable. A researcher-designed survey was distributed to Arizona music educators in schools that included grade 12. The response rate was 71%. Questions included items designed to assess the pervasiveness of musical theatre productions, the roles and responsibilities of music educators, and their preparation for those roles. Additional Likert-type questions comprised an inventory measuring attitudes toward musical theatre productions. Results of the survey showed that musicals are produced in 80% of Arizona high schools, and music faculty are expected to lead at least the musical aspects of these productions. Although 62% report that they learned about teaching musical theatre on the job, and that they received no other preparation, 70% report a large amount of personal enjoyment and fulfillment from their work in musical theatre. The mean attitude score for positive feelings about work in musical theatre was found to be significantly higher for choral teachers than instrumental teachers. The primary implications of the study are the need for better preparation and in-service opportunities for music educators in musical theatre pedagogy.
ContributorsDavey, Debra Jo (Author) / Stauffer, Sandra (Thesis advisor) / Bush, Jeffrey (Thesis advisor) / Reber, William (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2010
ContributorsBubar, Kristina (Performer) / Cangelosi, Dianne (Performer) / Bowman, Joseph (Performer) / Hlavenka, Dasha (Performer) / Neuenschwander, Amy (Performer) / Johnson, J.J. (Performer) / Patel, Ajay (Performer) / Woodrich, Matthew (Performer) / Bausman, Christina (Performer) / Reber, William (Conductor) / ASU Library. Music Library (Publisher)
Created2001-04-20
ContributorsBubar, Kristina (Performer) / Cangelosi, Dianne (Performer) / Reber, William (Conductor) / ASU Library. Music Library (Publisher)
Created2000-04-06
ContributorsYin, Joyce (Performer) / Song, Peipei (Performer) / Kupitz, Emily (Performer) / DePuy, Ethan (Performer) / Mihajlovich, Lazo (Performer) / Reber, William (Conductor) / ASU Library. Music Library (Publisher)
Created2013-04-07
ContributorsHendricks, Karen Louise (Performer) / Reber, William (Performer) / ASU Library. Music Library (Publisher)
Created1999-11-07
ContributorsOh, Mija (Performer) / Hakes, Roy (Performer) / Reber, William (Performer) / Koonce, Frank (Performer) / Reber, Margaret (Performer) / Flegg, Lynne Marie (Performer) / Greenup, Garth (Performer) / Kim, Doosook (Performer) / Hlavenka, Dasha (Performer) / Hoxie, Jonathan (Performer) / Jackson, Nicole (Performer) / ASU Library. Music Library (Publisher)
Created1993-04-02