Matching Items (426)
ContributorsWard, Geoffrey Harris (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
Description
The Space Race (1957–1975), a period of rapid technological advancements prompted by the uncertainty and fear of the Cold War, captured the curiosity and attention of many artists, filmmakers and composers. Their responses, recorded in a multitude of works from various genres, reflect the overall tone and mirror societal views in the midst of uncertain, politically-charged times.
My thesis explores two seminal American artists who explored outer space in numerous works. John Cage (1912–1992), an avant-garde classical composer, wrote such works as Atlas Eclipticalis (1961), Etudes Australes (1974–75), and the Freeman Etudes (1977–1980), all composed using star-maps. Sun Ra (1914–1993), an American Afrofuturist jazz composer, created hundreds of iconic experimental jazz works on the theme of outer space, with albums such as We Travel the Space Ways (1967), Space Is the Place (1973), and Cosmos (1976).
The works of these two composers span across several decades, encompassing the Space Race and Cold War. In this thesis, I will specifically discuss the details of two works: Cage’s Atlas Eclipticalis, and Ra’s composition Space Is the Place (later included in the soundtrack of a film by the same name). Discussion will elaborate on the cultural, political, philosophical, and societal influences that played a part in the creation of these two compositions.
My research materials for this thesis includes a collection of primary sources in the form of recordings, early musical sketches, and in the case of Ra, film footage from Space Is the Place (1974), as well as multitude of secondary sources. By choosing works from two different genres I hope to present a wider, more nuanced snapshot of artist responses to space exploration during the Cold War.
My thesis explores two seminal American artists who explored outer space in numerous works. John Cage (1912–1992), an avant-garde classical composer, wrote such works as Atlas Eclipticalis (1961), Etudes Australes (1974–75), and the Freeman Etudes (1977–1980), all composed using star-maps. Sun Ra (1914–1993), an American Afrofuturist jazz composer, created hundreds of iconic experimental jazz works on the theme of outer space, with albums such as We Travel the Space Ways (1967), Space Is the Place (1973), and Cosmos (1976).
The works of these two composers span across several decades, encompassing the Space Race and Cold War. In this thesis, I will specifically discuss the details of two works: Cage’s Atlas Eclipticalis, and Ra’s composition Space Is the Place (later included in the soundtrack of a film by the same name). Discussion will elaborate on the cultural, political, philosophical, and societal influences that played a part in the creation of these two compositions.
My research materials for this thesis includes a collection of primary sources in the form of recordings, early musical sketches, and in the case of Ra, film footage from Space Is the Place (1974), as well as multitude of secondary sources. By choosing works from two different genres I hope to present a wider, more nuanced snapshot of artist responses to space exploration during the Cold War.
ContributorsIvis, Andrea (Author) / Feisst, Sabine (Thesis advisor) / Wells, Christopher (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2017
Description
Historically, music and the experiences of deaf or hard-of-hearing (DHH) individuals have been intertwined in one manner or another. However, music has never ignited as much hope for the “improvement” of the Deaf experience as during the American oralist movement (ca. 1880-1960) which prioritized lip-reading and speaking over the use of sign language. While it is acknowledged that the oralist movement failed to provide the best possible education to many American DHH students and devastated many within the Deaf community, music scholars have continued to cite publications by oralist educators as rationales for the continued development of music programs for DHH students.
This document is an attempt to reframe the role of music during the American oralist movement with a historical account of ways music was recruited as a tool for teaching vocal articulation at schools for the deaf from 1900 to 1960. During this time period, music was recruited simply as a utility to overcome disability and as an aid for assimilating into the hearing world rather than as the rich experiential phenomenon it could have been for the DHH community. My goal is to add this important caveat to the received history of early institutional music education for DHH students. Primary sources include articles published between 1900 and 1956 in The Volta Review, a journal founded by the oralist leader Alexander Graham Bell (1847-1922).
This document is an attempt to reframe the role of music during the American oralist movement with a historical account of ways music was recruited as a tool for teaching vocal articulation at schools for the deaf from 1900 to 1960. During this time period, music was recruited simply as a utility to overcome disability and as an aid for assimilating into the hearing world rather than as the rich experiential phenomenon it could have been for the DHH community. My goal is to add this important caveat to the received history of early institutional music education for DHH students. Primary sources include articles published between 1900 and 1956 in The Volta Review, a journal founded by the oralist leader Alexander Graham Bell (1847-1922).
ContributorsLloyd, Abby Lynn (Author) / Norton, Kay (Thesis advisor) / Gardner, Joshua (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2017
Description
Tres Tangos para Duo de Contrabajos (Three Tangos for Double Bass Duet) is a three-movement set written by Andrés Martín and commissioned by Darren Cueva specifically for this document and accompanying performance project. This piece blends tango with Western art music in a style often referred to as “nuevo tango” (new tango) which was popularized by Astor Piazzolla. This research paper will serve as a performance aid for those wishing to present tango idioms on the double bass in addition to a more detailed guide to performing Tres Tangos by Martín.
To give context to performers, this survey begins with a brief history of the tango and the life and stylistic developments of Astor Piazzolla. Various music and dance styles that contributed to early tango include, milonga, habanera, and tango andalúz. The resulting tango was popularized as a music and dance style in the early twentieth century. Astor Piazzolla brought the tango to the concert hall after studying composition with acclaimed professor Nadia Boulanger. His new tango style merged traditional tango, classical composition, and jazz music, which he was exposed to after his family moved from Argentina to New York.
Tres Tangos was modeled after the style of Piazzolla. Characteristic articulation and improvised techniques are a fundamental aspect of the tango sound; a successful performance will depend on the musician’s ability to create these sounds. A detailed description of the most common elements is provided as well as suggestions for creating them on the double bass. Finally, I have compiled a specific performance guide for Tres Tangos. This guide includes rhythmic, articulation, fingering, and notational considerations, to assist in the performance of this piece.
To give context to performers, this survey begins with a brief history of the tango and the life and stylistic developments of Astor Piazzolla. Various music and dance styles that contributed to early tango include, milonga, habanera, and tango andalúz. The resulting tango was popularized as a music and dance style in the early twentieth century. Astor Piazzolla brought the tango to the concert hall after studying composition with acclaimed professor Nadia Boulanger. His new tango style merged traditional tango, classical composition, and jazz music, which he was exposed to after his family moved from Argentina to New York.
Tres Tangos was modeled after the style of Piazzolla. Characteristic articulation and improvised techniques are a fundamental aspect of the tango sound; a successful performance will depend on the musician’s ability to create these sounds. A detailed description of the most common elements is provided as well as suggestions for creating them on the double bass. Finally, I have compiled a specific performance guide for Tres Tangos. This guide includes rhythmic, articulation, fingering, and notational considerations, to assist in the performance of this piece.
ContributorsCueva, Darren (Author) / Rotaru, Catalin (Thesis advisor) / Koonce, Frank (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
Joseph Turrin’s compositions for trumpet are frequently performed, and have
become a large part of the trumpet repertoire. His trumpet works are played at events
such as International Trumpet Guild conferences, have been featured with many well-known
orchestras and bands, and are standard recital works. Many of Turrin’s trumpet
works have been performed and recorded by well-established musicians, which include
Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas
Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom.
This study examines in detail each of Joseph Turrin’s twenty-four published
works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada,
Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits,
Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph
Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan,
and Thomas Hooten. A complete history of each composition and arrangement, and
information relating to their premieres are presented. Technical elements from the music
are discussed, such as range, articulation, melodic contour, endurance, and difficult
fingerings. Biographical information such as youth, education, and career about Turrin
are incorporated, along with a discussion of his compositional characteristics and
influences. In addition, a list of each work with an assigned difficulty grade, as well as a
current discography, is included.
become a large part of the trumpet repertoire. His trumpet works are played at events
such as International Trumpet Guild conferences, have been featured with many well-known
orchestras and bands, and are standard recital works. Many of Turrin’s trumpet
works have been performed and recorded by well-established musicians, which include
Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas
Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom.
This study examines in detail each of Joseph Turrin’s twenty-four published
works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada,
Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits,
Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph
Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan,
and Thomas Hooten. A complete history of each composition and arrangement, and
information relating to their premieres are presented. Technical elements from the music
are discussed, such as range, articulation, melodic contour, endurance, and difficult
fingerings. Biographical information such as youth, education, and career about Turrin
are incorporated, along with a discussion of his compositional characteristics and
influences. In addition, a list of each work with an assigned difficulty grade, as well as a
current discography, is included.
ContributorsAlbrecht, Christopher (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
After the passing of the Homestead Act in 1862, a large wave of immigrants arrived in Dakota Territory, most of them during the last quarter of the nineteenth century. Two of the largest immigrant populations in the Dakotas were the Norwegians and Germans who had spent approximately the last hundred years living in isolated rural colonies in Russia, referred to as Germans from Russia or russlanddeutschen. This document examines the role of music in the lives of these ethnic groups from the 1862 to 1930, and includes the discussion of sacred music, especially hymns, secular music such as folk songs and dance music, and music’s place in the rural one-room schools that their children attended.
ContributorsGross, Kelsey (Author) / Norton, Kay (Thesis advisor) / Mills, Robert (Thesis advisor) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsBolari, John (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-04
Description
The purpose of this thesis is to examine the events surrounding the creation of the oboe and its rapid spread throughout Europe during the mid to late seventeenth century. The first section describes similar instruments that existed for thousands of years before the invention of the oboe. The following sections examine reasons and methods for the oboe's invention, as well as possible causes of its migration from its starting place in France to other European countries, as well as many other places around the world. I conclude that the oboe was invented to suit the needs of composers in the court of Louis XIV, and that it was brought to other countries by French performers who left France for many reasons, including to escape from the authority of composer Jean-Baptiste Lully and in some cases to promote French culture in other countries.
ContributorsCook, Mary Katherine (Author) / Schuring, Martin (Thesis director) / Micklich, Albie (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Music (Contributor)
Created2015-05
ContributorsOftedahl, Paul (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-29
ContributorsMarshall, Kimberly (Performer) / Meszler, Alexander (Performer) / Yatso, Toby (Narrator) / ASU Library. Music Library (Publisher)
Created2018-09-16