Matching Items (6)
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- All Subjects: Music History
- Creators: Koonce, Frank
- Creators: Gardner, Joshua
- Status: Published
Description
Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.
ContributorsFelice, Joseph Philip (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2013
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
In 1568, Vincenzo Galilei published the first edition of Fronimo as a guide to the art of intabulating vocal music for the lute. A second edition was released in 1584 in which Galilei presents “26 Ricercari” to demonstrate the sound of each Glarean mode. These short works provide a methodical approach to experiencing the Renaissance modes through his beautiful writing for the lute.
This research project focuses on the “26 Ricercari” and explores the challenges of transcribing and arranging Renaissance lute tablatures to be played on the guitar. Topics such as making decisions for voicings, fingerings, tactus reductions, and formatting are examined. Historically-informed playing suggestions such as articulations, lute techniques, and tempo are also included.
Many lute and vihuela works, like the ricercari, have not yet been transcribed. The ricerari tablatures are idiomatic and instantly playable for guitarists who are familiar with different forms of tablature, but most classical guitarists today are familiar only with modern staff notation. Because of this, Galilei’s works have been wrongfully neglected.
My project presents the first guitar edition of these works, along with the documentation of my methodology, and serves as an aid to others for transcribing lute tablatures.
This research project focuses on the “26 Ricercari” and explores the challenges of transcribing and arranging Renaissance lute tablatures to be played on the guitar. Topics such as making decisions for voicings, fingerings, tactus reductions, and formatting are examined. Historically-informed playing suggestions such as articulations, lute techniques, and tempo are also included.
Many lute and vihuela works, like the ricercari, have not yet been transcribed. The ricerari tablatures are idiomatic and instantly playable for guitarists who are familiar with different forms of tablature, but most classical guitarists today are familiar only with modern staff notation. Because of this, Galilei’s works have been wrongfully neglected.
My project presents the first guitar edition of these works, along with the documentation of my methodology, and serves as an aid to others for transcribing lute tablatures.
ContributorsOeth, John (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2020
Description
Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B.
ContributorsSewell, David (Author) / Koonce, Frank (Thesis advisor) / Rotaru, Catalin (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
In the early part of 2020, musicians faced an unprecedented challenge. A novel coronavirus emerged, spreading throughout the world and creating a pandemic. To control the spread of this virus, local governing officials suspended large gatherings in public spaces, which meant that all live music performances were cancelled for the foreseeable future. As a response to these cancellations, many musicians turned to live streaming, sharing transmissions of live performances over the internet. However, as life under COVID-19-related restrictions continued, the internet quickly became oversaturated with live stream music performances. This led musicians to discover innovative ways to adapt their creative practices for virtual settings. Through the process of commissioning, premiering, and recording new works, this research project explores how music practitioners can create music that is designed specifically for the imposed restrictions on the performing arts that accompanied the COVID-19 pandemic. To complete this project, I commissioned new works for clarinet and bass clarinet intended for performance under shelter-in-place conditions. The pieces included in this project are Two Flights for B-Flat Clarinet by Bill Clay (2020), 8 Months by Jessi Harvey (2020), R....v...rs....m oooiiiiii by Gabo Champagne (2021) and Od-ieu by Kim Farris-Manning (2021). I presented these works in two virtual formats: (1) I staged a virtual concert of their premieres from my home studio space, and (2) released studio-quality recordings of them paired with extra-musical video footage. This document offers an account of the virtual concert, a description of the process of the video production component, and performance guides for each commissioned piece. An audio/video recording of the virtual concert is included as a supplemental media file to this document, as are all music videos.
ContributorsLougheed, Julia Lynn (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Knowles, Kristina (Committee member) / Wells, Christi Jay (Committee member) / Caslor, Jason (Committee member) / Arizona State University (Publisher)
Created2021