Matching Items (21)
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- All Subjects: performing arts
- Creators: Gardner, Joshua
- Creators: Feisst, Sabine
- Member of: Theses and Dissertations
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
My approach to performing contemporary music, like many others, is centeredaround storytelling that merges the intention of the composer with my own interpretation. The balance between the two is unique for every work, as well as the sources of inspiration that shape each interpretation. In some cases, it works well to rely heavily on the historical context of the piece and the specific inspiration and process of the composer. In other cases, the composer desires more freedom and flexibility in the performance of their work, and the story of the piece is woven from the threads of personal stories, emotions, and imagery of the performer. For this project, I made audio recordings of three pieces including Seare Farhat’s Three Children’s Songs for Singing Percussionist, Keiko Abe’s Marimba d’Amore, and Thomas Kotcheffs Obbligato Snare Drum Music No. 1: The Power of Love. I then used these recordings to make music videos that blend elements of pop music videos and classical performance videos, using performance footage as well as narrative and abstract visuals to experiment with video making as a creative outlet while building a performance portfolio that represents me as an artist. In addition to a reflection of my process, this document is also designed as a resource for performers who are interested in learning how to make their own audio and video recordings, covering topics including project planning and preparation, working with collaborators, selecting gear, practicing for studio recordings, and designing and producing videos.
ContributorsSutherland, Morgan Brooke (Author) / Compitello, Michael (Thesis advisor) / Feisst, Sabine (Committee member) / Bolanos, Gabriel (Committee member) / Arizona State University (Publisher)
Created2024
Description
This paper explores the representations of suicide among three titular heroines in Giacomo Puccini’s operas: Tosca, Suor Angelica, and Cio-Cio-San. As women in highly rigid patriarchal societies, these characters are relegated to lives dictated by oppressive outside forces of anti-feminine culture. I argue that the suicides of these characters are not a representation of intrinsic weakness but are an exhibition of independence and agency to control their own fates. This research combines the specific disciplines of suicidology, feminism, opera criticism and the soprano voice. While there are plentiful resources covering Puccini’s biographical information and theoretical analyses of each opera, this paper fills an existing gap in its performance-centered research approach. Interviews with celebrated interpreters of these heroines present a personal perspective behind the vocal, physical, and emotional demands of performing these roles. A detailed look at the words of the libretti and letters from Puccini himself provide insight into his desire to infuse these characters with strength and intelligence. The significance behind the composer’s preference for large, powerful voices known as the lirico-spinto soprano is also explored. The operatic suicides of Tosca, Suor Angelica, and Cio-Cio-San each exhibit autonomy and strength, debunking the stereotype of the “tragic soprano.” A holistic and detailed survey of these heroines reveals that their suicides transform them into women who are no longer passive—the acted upon become the actor.
ContributorsSabrowsky, Kaitlyn Elizabeth (Author) / Hawkins, Gordon (Thesis advisor) / Feisst, Sabine (Committee member) / Weiss, Stephanie (Committee member) / Arizona State University (Publisher)
Created2023
Description
For this project, I commissioned and recorded five new works for contrabassclarinet from five different composers. Composition parameters were given to each
composer before they started writing which detailed what needed to be included in each
work. Four of the composers were asked to utilize a single, difficult aspect of playing the
instrument, which included intonation, low note technique and response, phrasing, and
articulation. For the fifth work, the composer was asked to incorporate all parameters of
the project. Because of the differences between contrabass clarinet designs, I recorded
each work three times using the Leblanc Vito, Leblanc “Paperclip”, and Selmer Model 41
contrabass clarinets to demonstrate that the works were adaptable and playable. In this
paper, I will outline the parameters of the project, describe the instruments used for
recording and provide a performance guide for each work. It is my hope that these works
will provide an enjoyable way for future contrabass clarinetists to become more
proficient performers of the instrument.
ContributorsFullerton, Kimberly Irene (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Micklich, Albie (Committee member) / Wells, Christi Jay (Committee member) / Watts, Sarah (Committee member) / Arizona State University (Publisher)
Created2023
Description
Ben Moore’s So Free Am I is a fascinating, yet little known song cycle addressing feminist concerns. This work consists of seven settings of poems by women, namely Amy Lowell, Katherine Philips, Anna Wickham, Dorothy Parker, and Muriel Rukeyser. It also features settings of texts by two anonymous 6th-century Buddhist nuns, which are translated into English by Uma Chakravarti and Kumkum Roy. The texts are diverse and all speak to the courage and dignity of women in the face of oppression. In this case study and performance guide, one of the primary purposes is to show how the poets’ lives and adversities inform their texts, and thus offers engagement for musical interpretation.
After a brief introduction of composer Ben Moore and his song cycle, each poet and text is discussed, providing biographical summaries and general interpretations of each poet’s text. What follows is a detailed reading of the text, illuminated by the poet’s particular life experiences. In the case of every text setting, the compositional interpretation was decidedly enhanced by the perspective of the poet, which could not be ascertained without the research into that particular poet’s life. I also offer a performance guide for selected songs, numbers I, III, and VII, which Moore recommends as an effective small set for performance. Finally, I hope that this study of Moore’s song cycle and the biographical sketches of each poet will be of help in the advancement women’s rights and to combat the oppression of women. It is further hoped that this study will encourage the performance of these songs and therefore lend these otherwise marginalized women a voice.
ContributorsHatch, Michelle Broadbent (Author) / Hawkins, Gordon (Thesis advisor) / Feisst, Sabine (Committee member) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2024
Description
The main objective of this research project is to expand the bassoon repertoire with the addition of three pieces. The first composition, Rust for bassoon and piano, was written by Christopher Marchant and is six minutes in duration; august, for woodwind quartet (flute, oboe, B-flat clarinet, and bassoon) was composed by Matthew Triplett and is four minutes in duration; the third composition, Rhapsody for woodwind quartet, was written by Conor Anderson and is six minutes in duration. The present document includes background information and a performance guide for each of the commissioned works. The performance guide provides recommendations and tips to aid musicians in preparing these works. This document also contains transcripts of interviews with each composer and performer. Finally, this document is accompanied by a recording of each piece.
ContributorsStrickland, Kiefer Philip (Author) / Micklich, Albie (Thesis advisor) / Gardner, Joshua (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2019
Description
This project’s goal is to expand the repertoire for soprano saxophone featuring improvisation. Each work detailed in this document features improvisation as an integral component. The first piece, Impetus, was written by Grant Jahn for soprano saxophone and piano. The second piece, Sonata, was written for the same instrumentation by Brett Wery. Ethan Cypress wrote the third work for solo soprano saxophone, Noir et Bleu. The final composition on the project, Counterpunch by Gregory Wanamaker, was written for saxophone sextet. This paper also includes composer biographies, program notes, performance guides, and composer questionnaires. The central component of this project is a recording of all these works which features the author.
ContributorsDetweiler, Samuel (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2018
Description
This project uses fourteen transcriptions of Pete Fountain’s solos as examples to
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
ContributorsWu, Shengwen (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Carpenter, Ellon (Committee member) / Kocour, Michael (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2019
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
Description
Technological advancements in computers and audio software and hardware devices in the twenty-first century have led to the expansion of possibilities for music composition, including works for acoustic instruments and live electronics. Electroacoustic composition is rapidly and continually evolving, and much that has been written about compositional techniques for percussion and live electronics is becoming outdated. Live electronics include performer-triggered events, audio processing, electronic responses to various inputs, and electronic decision-making during live performances. These techniques can be employed in a variety of ways. This project sheds light on how modern composers of different musical and cultural backgrounds reimagine the use of percussion through the lens of new technologies.
Through the commission, examination, and recording of three new works for solo percussion and live electronics, the author seeks to further explore and highlight electroacoustic compositional techniques for solo percussion. A specific compositional element to be included in these commissioned works is the activation or manipulation of the acoustic properties of percussion instruments by electronic components. The three artists who contributed works are percussionist-composer Jeremy Muller, composer and multimedia artist Jordan Munson, and composer, sound artist, and performer Garth Paine. The creativity demonstrated in their previous works made them desirable candidates for this project. Each of them approached their composition in different ways. In Hysteresis, Muller utilizes a loudspeaker underneath a vibraphone to expand the sound palette of the instrument with microtonal electronic sounds that match the instrument’s timbre. In Where Light Escapes You, Jordan Munson layers various electronic sounds with the vibraphone to create a slowly evolving texture that also incorporates a bass drum and the buzzing of snare drums. In Resonant Textures, Paine spatializes vibraphone, cymbal, and electronic sounds to create a meditative and immersive listening experience. Ultimately, each of the three composers implemented distinctive compositional and performance tools to create new works that provide a glimpse into the future of percussion music.
Through the commission, examination, and recording of three new works for solo percussion and live electronics, the author seeks to further explore and highlight electroacoustic compositional techniques for solo percussion. A specific compositional element to be included in these commissioned works is the activation or manipulation of the acoustic properties of percussion instruments by electronic components. The three artists who contributed works are percussionist-composer Jeremy Muller, composer and multimedia artist Jordan Munson, and composer, sound artist, and performer Garth Paine. The creativity demonstrated in their previous works made them desirable candidates for this project. Each of them approached their composition in different ways. In Hysteresis, Muller utilizes a loudspeaker underneath a vibraphone to expand the sound palette of the instrument with microtonal electronic sounds that match the instrument’s timbre. In Where Light Escapes You, Jordan Munson layers various electronic sounds with the vibraphone to create a slowly evolving texture that also incorporates a bass drum and the buzzing of snare drums. In Resonant Textures, Paine spatializes vibraphone, cymbal, and electronic sounds to create a meditative and immersive listening experience. Ultimately, each of the three composers implemented distinctive compositional and performance tools to create new works that provide a glimpse into the future of percussion music.
ContributorsWier, Alexander Carl (Author) / Smith, Jeffrey (Thesis advisor) / Feisst, Sabine (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2015