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- Creators: Arizona State University
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ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
A central concept of combinatorics is partitioning structures with given constraints. Partitions of on-line posets and on-line graphs, which are dynamic versions of the more familiar static structures posets and graphs, are examined. In the on-line setting, vertices are continually added to a poset or graph while a chain partition or coloring (respectively) is maintained. %The optima of the static cases cannot be achieved in the on-line setting. Both upper and lower bounds for the optimum of the number of chains needed to partition a width $w$ on-line poset exist. Kierstead's upper bound of $\frac{5^w-1}{4}$ was improved to $w^{14 \lg w}$ by Bosek and Krawczyk. This is improved to $w^{3+6.5 \lg w}$ by employing the First-Fit algorithm on a family of restricted posets (expanding on the work of Bosek and Krawczyk) . Namely, the family of ladder-free posets where the $m$-ladder is the transitive closure of the union of two incomparable chains $x_1\le\dots\le x_m$, $y_1\le\dots\le y_m$ and the set of comparabilities $\{x_1\le y_1,\dots, x_m\le y_m\}$. No upper bound on the number of colors needed to color a general on-line graph exists. To lay this fact plain, the performance of on-line coloring of trees is shown to be particularly problematic. There are trees that require $n$ colors to color on-line for any positive integer $n$. Furthermore, there are trees that usually require many colors to color on-line even if they are presented without any particular strategy. For restricted families of graphs, upper and lower bounds for the optimum number of colors needed to maintain an on-line coloring exist. In particular, circular arc graphs can be colored on-line using less than 8 times the optimum number from the static case. This follows from the work of Pemmaraju, Raman, and Varadarajan in on-line coloring of interval graphs.
ContributorsSmith, Matthew Earl (Author) / Kierstead, Henry A (Thesis advisor) / Colbourn, Charles (Committee member) / Czygrinow, Andrzej (Committee member) / Fishel, Susanna (Committee member) / Hurlbert, Glenn (Committee member) / Arizona State University (Publisher)
Created2012
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
ContributorsZhang, Dongfang (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
Louis Hector Berlioz (1803-1869) was a pioneer of 19th century Romanticism in France. In the mid-19th century, he broke the traditional mold by connecting poetry and music through French song. This development transformed French song from the simple and structured Romance of the 18th century into the structural freedom of what he established as the a Mélodie. His song cycle Les nuits d’été, op 7 was composed first for voice and piano in 1841 and later arranged for voice and orchestra in 1856. After the 1856 orchestral version was completed, Les nuits d’été received greater recognition than it had from its original scoring for voice and piano.
This paper examines three major aspects to Les nuits d’été. First, it will discuss the reasons why Berlioz re-scored the work for orchestra and transposed the vocal part for various voice types in this later orchestral version. Second, it examines the difference between musical interactions in these two versions by comparing the existing scores of each version with its respective accompaniment based on Berlioz's use of word painting. Finally, this paper provides the author's original transcription of Les nuits d’été in a version for voice and piano that incorporates the later orchestral versions which were not included in the original version for voice and piano.
This paper examines three major aspects to Les nuits d’été. First, it will discuss the reasons why Berlioz re-scored the work for orchestra and transposed the vocal part for various voice types in this later orchestral version. Second, it examines the difference between musical interactions in these two versions by comparing the existing scores of each version with its respective accompaniment based on Berlioz's use of word painting. Finally, this paper provides the author's original transcription of Les nuits d’été in a version for voice and piano that incorporates the later orchestral versions which were not included in the original version for voice and piano.
ContributorsSeol, Yeojin (Author) / Campbell, Andrew (Thesis advisor) / Britton, David (Committee member) / Ryan, Russell (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
"Play less and listen more" is the prevailing wisdom whenever two musical
partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems.
However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry.
The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic.
partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems.
However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry.
The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic.
ContributorsSmith, Brad (Author) / Campbell, Andrew (Thesis advisor) / Kopta, Anne (Committee member) / Oldani, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsSidi, Or (Performer) / ASU Library. Music Library (Publisher)
Created2009-03-24
Description
The purpose of this research is to create a new piano reduction of Carl Nielsen’s Flute Concerto. Danish composer Carl Nielsen was born in 1865 and died in 1931. His compositional focus on orchestral writing made him renowned for his symphonies and concerti for flute and clarinet. Today his concerti are often performed by both professional musicians and students.
The first published piano reduction of the Flute Concerto was issued in 1952 by the composer’s son-in law, Emil Telmányi, who was a Hungarian violinist and conductor. This reduction was published by Samfundet til Udgivelse af Dansk Musik. In 2003, as part of The Carl Nielsen Edition, Edition Wilhelm Hansen published a new revised edition of the concerto. The piano reduction of this edition was written by Danish pianist Per Salo, and is the most frequently used by pianists today. This edition contains much information pertaining to the orchestration, but this often causes the piano part to become challenging or unplayable in many passages.
For collaborative pianists, playing concerti requires both the ability to imitate the orchestral sound, and to understand and show the main ideas of each passage. However, as this concerto is often performed in universities by flutists and pianists of different skill levels, creating a simplified version of the piano reduction will support many pianists by helping them to learn this music in a more approachable and easily performable context.
The first published piano reduction of the Flute Concerto was issued in 1952 by the composer’s son-in law, Emil Telmányi, who was a Hungarian violinist and conductor. This reduction was published by Samfundet til Udgivelse af Dansk Musik. In 2003, as part of The Carl Nielsen Edition, Edition Wilhelm Hansen published a new revised edition of the concerto. The piano reduction of this edition was written by Danish pianist Per Salo, and is the most frequently used by pianists today. This edition contains much information pertaining to the orchestration, but this often causes the piano part to become challenging or unplayable in many passages.
For collaborative pianists, playing concerti requires both the ability to imitate the orchestral sound, and to understand and show the main ideas of each passage. However, as this concerto is often performed in universities by flutists and pianists of different skill levels, creating a simplified version of the piano reduction will support many pianists by helping them to learn this music in a more approachable and easily performable context.
ContributorsLee, Juhyun (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell (Committee member) / Little, Bliss (Committee member) / Arizona State University (Publisher)
Created2019