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ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
From the time it was written, the aria "Largo al factotum" from Rossini's Il barbiere di Siviglia has been performed and ornamented in many different ways. The present study is an inventory and analysis of ornaments sung in 33 recordings from 1900 to 2011 and the major differences that they exhibit one from another. The singers in this study are baritones with international careers, who have performed the role of Figaro either at the Metropolitan Opera (New York) or at La Scala (Milan). The study identifies and tracks some of the changes in the ornamentation of the aria by noting common traits and new approaches across the one hundred eleven years of practice illustrated by the recordings.
ContributorsBriggs, Andrew Nathan (Author) / Mills, Robert (Committee member) / Oldani, Robert (Committee member) / Dreyfoos, Dale (Committee member) / FitzPatrick, Carole (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
Description
The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included.
ContributorsMinov, Jana (Author) / Russell, Timothy (Thesis advisor) / Levy, Benjamin (Committee member) / Schildkret, David (Committee member) / Rogers, Rodney (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2011
Description
ABSTRACT The purpose of this research project is to provide participants with a personal experience in opera, to change their perceptions and provoke further interest in the art form. By introducing community opera into a society, we can educate and perhaps expand the acceptance of opera in a population. This document uses The Survey of Public Participation of the Arts by the National Endowment for the Arts in order to provide an accurate account of the declining attendance of opera. Only through education and exposure can we improve opera attendance. In order to create opera appreciation the researcher introduced an applicable opera performance situation in a small community. The process in which the opera was implemented has been evaluated and separated into the following eight components: preparation, rehearsal, set construction and props, pamphlets, budget, advertising, dress rehearsal, and performance. Each will be considered separately. The benefits of that community program and the process in which the opera took place are included in this research.
ContributorsYekel, Amy Louise (Author) / Doan, Jerry (Thesis advisor) / Mills, Robert (Committee member) / Dreyfoos, Dale (Committee member) / Rogers, Rodney (Committee member) / Kopta, Anne (Committee member) / Arizona State University (Publisher)
Created2012
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsWhite, Aaron (Performer) / Kim, Olga (Performer) / Hammond, Marinne (Performer) / Shaner, Hayden (Performer) / Yoo, Katie (Performer) / Shoemake, Crista (Performer) / Gebe, Vladimir, 1987- (Performer) / Wills, Grace (Performer) / McKinch, Riley (Performer) / Freshmen Four (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-27
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