Matching Items (17)
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- All Subjects: Songs (High voice) with piano
- All Subjects: Flute and piano music
- All Subjects: Organ (Musical instrument)
- Creators: Ryan, Russell
Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study examines the effectiveness of various types of alternative resources in organ building in order to determine whether a change to more sustainable materials would benefit or hinder the overall sound production of the instrument. The qualities of the metals and woods currently used in organ production (e.g. lead, walnut, etc.) have been prized for centuries, so the substitution of different, more sustainable materials must be considered with regards to the sonic alterations, as well as the financial implications, of using alternatives to make the organ more “green.”
Five organ builders were interviewed regarding their views on sustainable materials. In addition, the author consulted the websites of nine national and four international organ builders for information about sustainability, indicating that each organ builder defines the term somewhat differently. Decisions on the woods and metals to be used in building or refurbishing an existing organ are based more on the visual appearance, the sound desired, and the potential for reuse of existing materials. A number of sustainability practices are currently in use by organ builders in the United States and Europe. These include the reuse of transportation boxes, efforts towards recycled metal and wood pipework, and the use of high efficiency lighting.
The investigations into sustainable practice that are presented here document a variety of approaches to sustainability in organ building in the United States, Canada and Europe. This research should assist in the evaluation of further efforts to conserve valuable resources while ensuring the high quality of sound that has characterized the organ throughout its long history.
Five organ builders were interviewed regarding their views on sustainable materials. In addition, the author consulted the websites of nine national and four international organ builders for information about sustainability, indicating that each organ builder defines the term somewhat differently. Decisions on the woods and metals to be used in building or refurbishing an existing organ are based more on the visual appearance, the sound desired, and the potential for reuse of existing materials. A number of sustainability practices are currently in use by organ builders in the United States and Europe. These include the reuse of transportation boxes, efforts towards recycled metal and wood pipework, and the use of high efficiency lighting.
The investigations into sustainable practice that are presented here document a variety of approaches to sustainability in organ building in the United States, Canada and Europe. This research should assist in the evaluation of further efforts to conserve valuable resources while ensuring the high quality of sound that has characterized the organ throughout its long history.
ContributorsGregoire, Jonathan M (Author) / Marshall, Kimberly (Thesis advisor) / Feisst, Sabine (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
Description
By studying of a piece of music paired with specific artwork from the time and place of its composition, one can learn more about the character and artistic merits of both the art and music, as well as their relationship to the culture in which they were created. It is the purpose of this paper to examine one specific idea within this vein of interdisciplinary study. This study explores the presentation of American visual art from the 1920s alongside Dupré's Variations sur un Noël, Op. 20. This correlation provides a platform for deeper insight into the composition. The sights and sounds of America that Dupré observed while composing his variation set, captured in artwork from that period, illustrate some of the unique and distinguishing features of the musical work. This study also explores the history and culture around music and art in the 1920's, as well as some of the existing research on the relationship between music and visual art.
ContributorsSnavley, Ashley Nicole (Author) / Marshall, Kimberlt (Thesis advisor) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
Description
Following the Restoration of the English monarchy in 1660, musical culture gradually began to thrive under the support of royal patronage and the emerging middle class. The newly crowned Charles II brought with him a love of French music acquired during his time in exile at the court of his cousin, the young Louis XIV. Organ builders, most notably Bernard Smith and Renatus Harris, brought new life to the instrument, drawing from their experience on the Continent to build larger instruments with colorful solo stops, offering more possibilities for performers and composers. Although relatively few notated organ works survive from the Restoration period, composers generated a niche body of organ repertoire exploring compositional genres inspired by late 17th-century English instruments.
The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.
The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.
ContributorsWhitten, Emma (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2014
Description
Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since the Middle Ages, reflects the dramatic changes in Polish politics throughout the centuries. An understanding of this country's history helps to construct a comprehensive view of how politics influenced the developments in organ building and organ playing. This paper describes the dynamics of the Church, government and art institutions in Poland during the years 1945-2012. A brief summary of the history of Polish organ culture sets the stage for the changes occurring after WWII. The constant struggle between the Church and the communist regime affected music making and organ culture in Poland from 1945-1989. The political détente that occurred after 1989 led to a flowering of new instruments, restorations and performance opportunities for organists. By exploring the relationship between Polish organ culture and prevailing agendas in the 20th century, the author demonstrates how a centuries-old tradition adapted to survive political and economic hardships.
ContributorsKubiaczyk-Adler, Ilona (Author) / Marshall, Kimberly (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsZaleski, Kimberly (Contributor) / Kazarian, Trevor (Performer) / Ryan, Russell (Performer) / IN2ATIVE (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-28
ContributorsFitzPatrick, Carole (Performer) / Ryan, Russell (Performer) / ASU Library. Music Library (Publisher)
Created2017-10-15
ContributorsFitzPatrick, Carole (Performer) / Ryan, Russell (Performer) / McLin, Katherine (Performer) / ASU Library. Music Library (Publisher)
Created2016-10-16
ContributorsAnton, Ulrike (Performer) / Ryan, Russell (Performer) / ASU Library. Music Library (Publisher)
Created2015-03-22