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ContributorsSchuring, Martin (Performer) / Stromberg, Eric (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-08-19
ContributorsDe La Cruz, Nathaniel (Performer) / LoGiudice, Rosa (Contributor) / Tallino, Michael (Performer) / McKinch, Riley (Performer) / Li, Yuhui (Performer) / Armenta, Tyler (Contributor) / Gonzalez, David (Performer) / Jones, Tarin (Performer) / Ryall, Blake (Performer) / Senseman, Stephen (Performer)
Created2018-10-10
ContributorsZaleski, Kimberly (Contributor) / Kazarian, Trevor (Performer) / Ryan, Russell (Performer) / IN2ATIVE (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-28
ContributorsDelaney, Erin (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
Description
The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
This study frames research on board games within a body of anthropological theory and method to examine the long-term social changes that effect play and mechanisms through which play may influence societal change. Drawing from ethnographic literature focusing on the performative nature of games and their effectiveness at providing a method for strengthening social bonds through grounding, I examine changes in the places in which people engaged in play over the course of the Bronze Age on Cyprus (circa 2500¬–1050 BCE), a period of increasing social complexity. The purpose of this research is to examine how the changes in social boundaries concomitant with emergent complexity were counteracted or strengthened through the use of games as tools of interaction.
Bronze Age sites on Cyprus have produced the largest dataset of game boards belonging to any ancient culture. Weight and morphological data were gathered from these artifacts to determine the likelihood of their portability and to identify what type of game was present. The presence of fixed and likely immobile games, as well as the presence of clusters of portable games, was used to identify spaces in which games were played. Counts of other types of artifacts found in the same spaces as games were tabulated, and Correspondence Analysis (CA) was performed in order to determine differences in the types of activities present in the same spaces as play.
The results of the CA showed that during the Prehistoric Bronze Age, which has fewer indicators of social complexity, gaming spaces were associated with artifacts related to consumption or specialty, heirloom and imported ceramics, and rarely played in public spaces. During the Protohistoric Bronze Age, when Cyprus was more socially complex, games were more commonly played in public spaces and associated with
artifacts related to consumption. These changes suggest a changing emphasis through time, where the initiation and strengthening of social bonds through the grounding process afforded by play is more highly valued in small-scale society, whereas the social mobility that is enabled by performance during play is exploited more commonly during periods of complexity.
Bronze Age sites on Cyprus have produced the largest dataset of game boards belonging to any ancient culture. Weight and morphological data were gathered from these artifacts to determine the likelihood of their portability and to identify what type of game was present. The presence of fixed and likely immobile games, as well as the presence of clusters of portable games, was used to identify spaces in which games were played. Counts of other types of artifacts found in the same spaces as games were tabulated, and Correspondence Analysis (CA) was performed in order to determine differences in the types of activities present in the same spaces as play.
The results of the CA showed that during the Prehistoric Bronze Age, which has fewer indicators of social complexity, gaming spaces were associated with artifacts related to consumption or specialty, heirloom and imported ceramics, and rarely played in public spaces. During the Protohistoric Bronze Age, when Cyprus was more socially complex, games were more commonly played in public spaces and associated with
artifacts related to consumption. These changes suggest a changing emphasis through time, where the initiation and strengthening of social bonds through the grounding process afforded by play is more highly valued in small-scale society, whereas the social mobility that is enabled by performance during play is exploited more commonly during periods of complexity.
ContributorsCrist, Walter (Author) / Hjorleifur Jonsson (Thesis advisor) / Serwint, Nancy (Thesis advisor) / Michelaki, Konstantina-Eleni (Committee member) / de Voogt, Alex (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsASU Library. Music Library (Publisher)
Created2018-01-31
Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
ContributorsHsu, Gabrielle (Performer) / Kierum, Caitlin (Performer) / Song, Yiqian (Performer) / Fox, Matt (Performer) / Lougheed, Julia (Performer) / Jones, Evelyn (Performer) / Miller, Isaac (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-14
ContributorsMoonitz, Olivia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-13