Matching Items (1,149)
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- All Subjects: Violin and piano music
ContributorsRosenfeld, Albor (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-03
ContributorsCao, Yuchen (Performer) / Chen, Sicong (Performer) / Soberano, Chino (Performer) / Nam, Michelle (Performer) / Collins, Clarice (Performer) / Witt, Juliana (Performer) / Liu, Jingting (Performer) / Chen, Neilson (Performer) / Zhang, Aihua (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-25
ContributorsZaleski, Kimberly (Contributor) / Kazarian, Trevor (Performer) / Ryan, Russell (Performer) / IN2ATIVE (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-28
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / McLin/Campbell Duo (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-23
ContributorsDelaney, Erin (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
Description
Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his popularity among high-ranking political figures during the time of the Mexican Revolution as well as his status in the Mexican music scene.
Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.
In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.
This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.
In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.
This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
ContributorsEkenes, Spencer Arvin (Author) / McLin, Katherine (Thesis advisor) / Feisst, Sabine (Committee member) / Jiang, Danwen (Committee member) / Arizona State University (Publisher)
Created2016
Description
This study frames research on board games within a body of anthropological theory and method to examine the long-term social changes that effect play and mechanisms through which play may influence societal change. Drawing from ethnographic literature focusing on the performative nature of games and their effectiveness at providing a method for strengthening social bonds through grounding, I examine changes in the places in which people engaged in play over the course of the Bronze Age on Cyprus (circa 2500¬–1050 BCE), a period of increasing social complexity. The purpose of this research is to examine how the changes in social boundaries concomitant with emergent complexity were counteracted or strengthened through the use of games as tools of interaction.
Bronze Age sites on Cyprus have produced the largest dataset of game boards belonging to any ancient culture. Weight and morphological data were gathered from these artifacts to determine the likelihood of their portability and to identify what type of game was present. The presence of fixed and likely immobile games, as well as the presence of clusters of portable games, was used to identify spaces in which games were played. Counts of other types of artifacts found in the same spaces as games were tabulated, and Correspondence Analysis (CA) was performed in order to determine differences in the types of activities present in the same spaces as play.
The results of the CA showed that during the Prehistoric Bronze Age, which has fewer indicators of social complexity, gaming spaces were associated with artifacts related to consumption or specialty, heirloom and imported ceramics, and rarely played in public spaces. During the Protohistoric Bronze Age, when Cyprus was more socially complex, games were more commonly played in public spaces and associated with
artifacts related to consumption. These changes suggest a changing emphasis through time, where the initiation and strengthening of social bonds through the grounding process afforded by play is more highly valued in small-scale society, whereas the social mobility that is enabled by performance during play is exploited more commonly during periods of complexity.
Bronze Age sites on Cyprus have produced the largest dataset of game boards belonging to any ancient culture. Weight and morphological data were gathered from these artifacts to determine the likelihood of their portability and to identify what type of game was present. The presence of fixed and likely immobile games, as well as the presence of clusters of portable games, was used to identify spaces in which games were played. Counts of other types of artifacts found in the same spaces as games were tabulated, and Correspondence Analysis (CA) was performed in order to determine differences in the types of activities present in the same spaces as play.
The results of the CA showed that during the Prehistoric Bronze Age, which has fewer indicators of social complexity, gaming spaces were associated with artifacts related to consumption or specialty, heirloom and imported ceramics, and rarely played in public spaces. During the Protohistoric Bronze Age, when Cyprus was more socially complex, games were more commonly played in public spaces and associated with
artifacts related to consumption. These changes suggest a changing emphasis through time, where the initiation and strengthening of social bonds through the grounding process afforded by play is more highly valued in small-scale society, whereas the social mobility that is enabled by performance during play is exploited more commonly during periods of complexity.
ContributorsCrist, Walter (Author) / Hjorleifur Jonsson (Thesis advisor) / Serwint, Nancy (Thesis advisor) / Michelaki, Konstantina-Eleni (Committee member) / de Voogt, Alex (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsKarsheva, Inna (Performer) / Shraibman, Dani (Performer) / Chen, Neilson (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-19
Description
ABSTRACT Many musicians, both amateur and professional alike, are continuously seeking to expand and explore their performance literature and repertory. Introducing new works into the standard repertory is an exciting endeavor for any active musician. Establishing connections, commissioning new works, and collaborating on performances can all work together toward the acceptance and success of a composer's music within an instrument community. For the flute, one such composer is Daniel Dorff (b. 1956). Dorff, a Philadelphia-based composer, has written for symphony orchestra, clarinet, contrabassoon, and others; however, his award-winning works for flute and piccolo are earning him much recognition. He has written works for such illustrious flutists as Mimi Stillman, Walfrid Kujala, and Gary Schocker; his flute works have been recorded by Laurel Zucker, Pamela Youngblood and Lois Bliss Herbine; and his pieces have been performed and premiered at each of the National Flute Association Conventions from 2004 to 2009. Despite this success, little has been written about Dorff's life, compositional style, and contributions to the flute repertory. In order to further promote the flute works of Daniel Dorff, the primary focus of this study is the creation of a compact disc recording of Dorff's most prominent works for flute: April Whirlwind, 9 Walks Down 7th Avenue, both for flute and piano, and Nocturne Caprice for solo flute. In support of this recording, the study also provides biographical information regarding Daniel Dorff, discusses his compositional methods and ideology, and presents background information, description, and performance notes for each piece. Interviews with Daniel Dorff regarding biographical and compositional details serve as the primary source for this document. Suggestions for the performance of the three flute works were gathered through interviews with prominent flutists who have studied and performed Dorff's pieces. Additional performance suggestions for Nocturne Caprice were gathered through a coaching session between the author and the composer. This project is meant to promote the flute works of Daniel Dorff and to help establish their role in the standard flute repertory.
ContributorsRich, Angela Marie (Contributor) / Novak, Gail (Pianist) (Performer) / Buck, Elizabeth Y (Thesis advisor) / Hill, Gary W. (Committee member) / Holbrook, Amy (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2010