Matching Items (655)
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- All Subjects: Songs (High voice) with piano
- Status: Published
ContributorsWasbotten, Leia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-30
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
ContributorsYi, Joyce (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-22
Description
Empirical and theoretical gaps exist on the subject matter of attendee experiential behavior at community festivals as this action occurs in real time. To acquire knowledge and begin to build theory, attendee behavior was investigated through an interpretive lens to give rise to a socially constructed understanding of this phenomenon in contrast to typical positivist inquiry designs found in the field of event studies used to test theory and determine universal explanations. This ontology was deemed appropriate as human experience at community festivals is multifaceted, relative to social interactions, highly variable with complex meanings, and has a wide variety of consequential implications; all views representative of social constructivism. A grounded theory approach was used in conjunction with a participant observation method to collect data on attendee behavior during fieldwork undertaken at community festivals. Prior to fieldwork, literature was not reviewed nor specific theory pre-selected to serve as a basis for research, with the researcher's only intent to record attendee's on-site actions with an open mind. Fieldwork notes were systematically expanded into descriptive narratives that were broken down into initial codes to establish robust analytic directions, which were synthesized into categories and subcategories through focused coding. Relationships between categories and subcategories were reassembled with axial coding bringing into view a strong emergent theme on social capital bonding and bridging at community festivals and a second theme that considers the aspirations of event management to program festive experiences. To strengthen the second theme event manager interviews and content analysis of event association newsletters were conducted as theoretical sampling to move data towards saturation. From emergent themes it was theorized, while social capital bonding is profusely exhibited at community festivals, social capital bridging is minimally displayed unless augmented with programmed festivity to increase physical, emotional, and social engagement of attendees. Literature reviewed in relation to this theory revealed that spirituality, dance, music, the arts, and wild abandonment were important elements of festivity. An implication arising from this study indicates that if community festivals consciously enhance programmed festivity then correspondingly increased social capital impacts within community development might also be achieved.
ContributorsBiaett, Vernon (Author) / Phillips, Rhonda (Thesis advisor) / Budruk, Megha (Committee member) / Hultsman, Wendy (Committee member) / De La Garza, Sarah (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsCummiskey, Hannah (Performer) / Kim, Olga (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-23
ContributorsEvans, Emily (Performer) / Sherrill, Amanda (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
ContributorsMartorana, Gabrielle (Performer) / Olarte, Aida (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-20
ContributorsBan, Banlingyu (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-10