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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
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
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
ContributorsStrange, Richard E. (Richard Eugene) (Conductor) / Hoerber, Michael (Conductor) / Brown, Lorrie Berkshire (Performer) / Schuring, Martin (Performer) / Symphonic Band (Performer) / ASU Library. Music Library (Publisher)
Created1997-04-10
Description
Henri Constant Gabriel Pierné (1863-1937) was a French composer and conductor. Given his position of importance during his life alongside César Franck, Claude Debussy, and Camille Saint-Säens, Pierné’s musical oeuvre has largely gone unrecognized in the modern musical canon. Scholarly literature on Pierné is severely limited; currently, there is only one identified biography about Pierné, written in French by author Georges Masson ain 1987. To date, no formal analysis exists of Pierné’s Sonata for Violin and Piano, Opus 36 (1900). This document provides an account of Pierné’s life and style, gleaned in particular from this author’s original English translation of Masson’s definitive text. It also delivers the first known scholarly musical analysis of the sonata. Each chapter discusses a particular movement in depth, considering the elements of Structure, Harmony, Melody, Rhythm, and Texture, while illustrating contextual trends and potential influences across all three movements. The document concludes with the author’s original score analysis charts as well as a comprehensive bibliography. The discussion herein illuminates aspects of Pierné, and specifically his sonata for violin and piano, to promote greater awareness of a composer whose work merits elevated recognition beyond his current reputation of semi-obscurity.
ContributorsQuiring, Andrew Marshall (Author) / Campbell, Andrew M (Thesis advisor) / Rodgers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2021
ContributorsSchuring, Martin (Performer) / McLin, Katherine (Performer) / Rosato, Peter (Performer) / Bock, Richard (Performer) / ASU Library. Music Library (Publisher)
Created1999-04-18
ContributorsHill, Gary W. (Conductor) (Conductor) / Rands, Bernard (Performer) / Schuring, Martin (Performer) / Chamber Winds (Performer) / ASU Library. Music Library (Publisher)
Created2000-10-08
ContributorsRussell, Timothy Wells (Conductor) / Hill, Gary W. (Conductor) (Conductor) / Luca, Sergiu (Performer) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Hickman, David, 1950- (Performer) / Metz, John (Performer) / Cosand, Walter, 1950- (Performer) / Chamber Orchestra (Performer) / Chamber Winds (Performer) / ASU Library. Music Library (Publisher)
Created2003-02-06
ContributorsStrange, Richard E. (Richard Eugene) (Conductor) / Watts, Michael (Conductor) / Madden, Edward (Conductor) / Schuring, Martin (Performer) / Pilafian, Sam (Performer) / Symphonic Band (Performer) / ASU Library. Music Library (Publisher)
Created1998-02-24