Matching Items (11)
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- All Subjects: Chamber music
- 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
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
ContributorsPendell, Marian (Performer) / Spring, Robert (Performer) / Rausch, Jack (Performer) / Bacon, Thomas (Performer) / Koonce, Frank (Performer) / Doan, Jerry (Performer) / Meyer, Janice (Performer) / Metz, John (Performer) / ASU Library. Music Library (Publisher)
Created1995-02-14
ContributorsAtsumi, Takayori (Performer) / Pagano, Caio, 1940- (Performer) / Hoover, Eric (Performer) / Koonce, Frank (Performer) / Los Celistas (Performer) / ASU Library. Music Library (Publisher)
Created1987-01-31
ContributorsHoover, Eric (Performer) / Koonce, Frank (Performer) / Spring, Robert (Performer) / Barroll-Aschaffenburg, Rayna (Performer) / ASU Library. Music Library (Publisher)
Created1989-04-28
ContributorsDe Kant, Ronald (Performer) / Rausch, Jack (Performer) / Lockwood, Ralph (Performer) / Skoldberg, Phyllis (Performer) / Magers, William (Performer) / Atsumi, Takayori (Performer) / Meyer, Janice (Performer) / Kliewer, Darleen (Performer) / Hoover, Eric (Performer) / Koonce, Frank (Performer) / Hickman, David, 1950- (Performer) / Fleming, Robert C. (Performer) / Wilson, Gail E. (Performer) / Cosand, Walter, 1950- (Performer) / Strange, Richard E. (Richard Eugene) (Performer) / ASU Library. Music Library (Publisher)
Created1986-11-20
ContributorsDoan, Jerry (Performer) / Swaim, Daniel (Performer) / Pendleton, Mary (Performer) / Barroll-Aschaffenburg, Rayna (Performer) / Cosand, Walter, 1950- (Performer) / Hoffer, Warren (Performer) / Stalzer, Frank (Performer) / Koonce, Frank (Performer) / Metz, John (Performer) / Hoover, Eric (Performer) / McLeod, Lois (Performer) / Debenport, Sylvia (Narrator) / ASU Library. Music Library (Publisher)
Created1987-10-06
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsAtsumi, Takayori (Performer) / Hamilton, Robert, 1937- (Performer) / Koonce, Frank (Performer) / Sunkett, Mark, 1949- (Performer) / Swaim, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created1989-04-30
ContributorsPeterson, Trygve (Performer) / Novak, Gail (Pianist) (Performer) / Schuring, Martin (Performer) / Lyman, Jeffrey (Performer) / Koonce, Frank (Performer) / ASU Library. Music Library (Publisher)
Created2000-02-17