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Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from

Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The

This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for

The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
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Description
Shallow earthquakes in the upper part of the overriding plate of subduction zones can be devastating due to their proximity to population centers despite the smaller rupture extents than commonly occur on subduction megathrusts that produce the largest earthquakes. Damaging effects can be greater in volcanic arcs like Java

Shallow earthquakes in the upper part of the overriding plate of subduction zones can be devastating due to their proximity to population centers despite the smaller rupture extents than commonly occur on subduction megathrusts that produce the largest earthquakes. Damaging effects can be greater in volcanic arcs like Java because ground shaking is amplified by surficial deposits of uncompacted volcaniclastic sediments. Identifying the upper-plate structures and their potential hazards is key for minimizing the dangers they pose. In particular, the knowledge of the regional stress field and deformation pattern in this region will help us to better understand how subduction and collision affects deformation in this part of the overriding plate. The majority of the upper plate deformation studies have been focused on the deformation in the main thrusts of the fore-arc region. Study of deformation within volcanic arc is limited despite the associated earthquake hazards. In this study, I use maps of active upper-plate structures, earthquake moment tensor data and stress orientation deduced from volcano morphology analysis to characterize the strain field of Java arc. In addition, I use sandbox analog modeling to evaluate the mechanical factors that may be important in controlling deformation. My field- and remotely-based mapping of active faults and folds, supplemented by results from my paleoseismic studies and physical models of the system, suggest that Java’s deformation is distributed over broad areas along small-scale structures. Java is segmented into three main zones based on their distinctive structural patterns and stress orientation. East Java is characterized by NW-SE normal and strike-slip faults, Central Java has E-W folds and thrust faults, and NE-SW strike-slip faults dominate West Java. The sandbox analog models indicate that the strain in response to collision is partitioned into thrusting and strike-slip faulting, with the dominance of margin-normal thrust faulting. My models test the effects of convergence obliquity, geometry, preexisting weaknesses, asperities, and lateral strength contrast. The result suggest that slight variations in convergence obliquity do not affect the deformation pattern significantly, while the margin shape, lateral strength contrast, and perturbation of deformation from asperities each have a greater impact on deformation.
ContributorsMarliyani, Gayatri Indah (Author) / Arrowsmith, J Ramon (Thesis advisor) / Clarke, Amanda B (Committee member) / Hartnett, Hilairy (Committee member) / Whipple, Kelin (Committee member) / Garnero, Edward (Committee member) / Arizona State University (Publisher)
Created2016