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- Genre: Academic theses
- Creators: Ryan, Russell
- Member of: Theses and Dissertations
- Status: Published
Description
The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the process of learning a concerto. The Concerto was inspired by internationally known saxophonist, Sigurd Rascher, who demonstrated for Brant the extent of his abilities on the saxophone. These abilities included use of four-octave range and two types of extended techniques: slap-tonguing and flutter-tonguing. Brant incorporated all three elements in his Concerto, and believed that only Rascher had the command over the saxophone needed to perform the piece. To prevent the possibility of an unsuccessful performance, Brant chose to make the piece unavailable to saxophonists by leaving the Concerto without a reduction. Subsequently, there were no performances of this piece between 1953 and 2001. In 2011, the two directors of Brant's Estate decided to allow for a reduction to be written for the piece so that it would become more widely available to saxophonists.
ContributorsAmes, Elizabeth (Pianist) (Author) / Ryan, Russell (Thesis advisor) / Levy, Benjamin (Committee member) / Hill, Gary (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study compares the Hummel Concertos in A Minor, Op. 85 and B Minor, Op. 89 and the Chopin Concertos in E Minor, Op. 11 and F Minor, Op. 21. On initial hearing of Hummel's rarely played concertos, one immediately detects similarities with Chopin's concerto style. Upon closer examination, one discovers a substantial number of interesting and significant parallels with Chopin's concertos, many of which are highlighted in this research project. Hummel belongs to a generation of composers who made a shift away from the Classical style, and Chopin, as an early Romantic, absorbed much from his immediate predecessors in establishing his highly unique style. I have chosen to focus on Chopin's concertos to demonstrate this association. The essay begins with a discussion of the historical background of Chopin's formative years as it pertains to the formation of his compositional style, Hummel's role and influence in the contemporary musical arena, as well as interactions between the two composers. It then provides the historical background of the aforementioned concertos leading to a comparative analysis, which includes structural, melodic, harmonic, and motivic parallels. With a better understanding of his stylistic influences, and of how Chopin assimilated them in the creation of his masterful works, the performer can adopt a more informed approach to the interpretation of these two concertos, which are among the most beloved masterpieces in piano literature.
ContributorsYam, Jessica (Author) / Hamilton, Robert (Thesis advisor) / Levy, Benjamin (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Integrated photonics requires high gain optical materials in the telecom wavelength range for optical amplifiers and coherent light sources. Erbium (Er) containing materials are ideal candidates due to the 1.5 μm emission from Er3+ ions. However, the Er density in typical Er-doped materials is less than 1 x 1020 cm-3, thus limiting the maximum optical gain to a few dB/cm, too small to be useful for integrated photonics applications. Er compounds could potentially solve this problem since they contain much higher Er density. So far the existing Er compounds suffer from short lifetime and strong upconversion effects, mainly due to poor quality of crystals produced by various methods of thin film growth and deposition. This dissertation explores a new Er compound: erbium chloride silicate (ECS, Er3(SiO4)2Cl ) in the nanowire form, which facilitates the growth of high quality single crystals. Growth methods for such single crystal ECS nanowires have been established. Various structural and optical characterizations have been carried out. The high crystal quality of ECS material leads to a long lifetime of the first excited state of Er3+ ions up to 1 ms at Er density higher than 1022 cm-3. This Er lifetime-density product was found to be the largest among all Er containing materials. A unique integrating sphere method was developed to measure the absorption cross section of ECS nanowires from 440 to 1580 nm. Pump-probe experiments demonstrated a 644 dB/cm signal enhancement from a single ECS wire. It was estimated that such large signal enhancement can overcome the absorption to result in a net material gain, but not sufficient to compensate waveguide propagation loss. In order to suppress the upconversion process in ECS, Ytterbium (Yb) and Yttrium (Y) ions are introduced as substituent ions of Er in the ECS crystal structure to reduce Er density. While the addition of Yb ions only partially succeeded, erbium yttrium chloride silicate (EYCS) with controllable Er density was synthesized successfully. EYCS with 30 at. % Er was found to be the best. It shows the strongest PL emission at 1.5 μm, and thus can be potentially used as a high gain material.
ContributorsYin, Leijun (Author) / Ning, Cun-Zheng (Thesis advisor) / Chamberlin, Ralph (Committee member) / Yu, Hongbin (Committee member) / Menéndez, Jose (Committee member) / Ponce, Fernando (Committee member) / Arizona State University (Publisher)
Created2013
Description
Arnold Schoenberg's 1908-09 song cycle, Das Buch der hängenden Gärten [The Book of the Hanging Gardens], opus 15, represents one of his most decisive early steps into the realm of musical modernism. In the midst of personal and artistic crises, Schoenberg set texts by Stefan George in a style he called "pantonality," and described his composition as radically new. Though stylistically progressive, however, Schoenberg's musical achievement had certain ideologically conservative roots: the composer numbered among turn-of-the-century Viennese artists and thinkers whose opposition to the conventional and the popular--in favor of artistic autonomy and creativity--concealed a reactionary misogyny. A critical reading of Hanging Gardens through the lens of gender reveals that Schoenberg, like many of his contemporaries, incorporated strong frauenfeindlich [anti-women] elements into his work, through his modernist account of artistic creativity, his choice of texts, and his musical settings. Although elements of Hanging Gardens' atonal music suggest that Schoenberg valued gendered-feminine principles in his compositional style, a closer analysis of the work's musical language shows an intact masculinist hegemony. Through his deployment of uncanny tonal reminiscences, underlying tonal gestures, and closed forms in Hanging Gardens, Schoenberg ensures that the feminine-associated "excesses" of atonality remain under masculine control. This study draws upon the critical musicology of Susan McClary while arguing that Schoenberg's music is socially contingent, affected by the gender biases of his social and literary milieux. It addresses likely influences on Schoenberg's worldview including the philosophy of Otto Weininger, Freudian psychoanalysis, and a complex web of personal relationships. Finally, this analysis highlights the relevance of Schoenberg's world and its constructions of gender to modern performance practice, and argues that performers must consider interrelated historical, textual, and musical factors when interpreting Hanging Gardens in new contexts.
ContributorsGinger, Kerry Anne (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mook, Richard (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
This paper investigates the origins of the piano recital as invented by Franz Liszt, presents varying strategies for program design, and compares Liszt's application of the format with current trends. In addition it examines the concepts of program music, musical ekphrasis, and Gesamtkunstwerk and proposes a new multimedia piano concert format in which music combines with the mediums of literature and the visual arts; Picturing Rachmaninoff, and Picturing Ravel provide two recent examples of this format.
ContributorsCook, Stephen Barry (Author) / Hamilton, Robert (Thesis advisor) / DeMars, James (Committee member) / Ryan, Russell (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Arizona State University (Publisher)
Created2012
Description
Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since the Middle Ages, reflects the dramatic changes in Polish politics throughout the centuries. An understanding of this country's history helps to construct a comprehensive view of how politics influenced the developments in organ building and organ playing. This paper describes the dynamics of the Church, government and art institutions in Poland during the years 1945-2012. A brief summary of the history of Polish organ culture sets the stage for the changes occurring after WWII. The constant struggle between the Church and the communist regime affected music making and organ culture in Poland from 1945-1989. The political détente that occurred after 1989 led to a flowering of new instruments, restorations and performance opportunities for organists. By exploring the relationship between Polish organ culture and prevailing agendas in the 20th century, the author demonstrates how a centuries-old tradition adapted to survive political and economic hardships.
ContributorsKubiaczyk-Adler, Ilona (Author) / Marshall, Kimberly (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this research paper is to discuss John Carter's Cantata, the musical development of this composition, and provide a brief history of this African American musician and composer. Presently, there exists very little research regarding Carter's life and compositions. From a musician's perspective, this paper discusses the challenges of singing and performing the Cantata for future performers and provides a reference for their preparation. This project also examines John Carter's musical style and analyzes the structure of the Cantata. African-American folk songs were an inspiration to Carter's compositions, especially this particular work. As an African-American, his life and background played a role in his inspiration of composition. With borrowed music, he reveals a basic truth about this period of American history; how the lives of slaves influenced in the development of this particular genre. Additionally, John Carter's style of composition is examined, including the application of jazz and modal scales in his Cantata. Performance practice is examined for both the singer and pianist in a way that best represents the composer's original and unique intent. From vocal safety to breath control, a singer may find several challenges when performing this eclectic piece. This paper provides a guide for singers. A brief overview of the pianist's role in the Cantata is also included. Characteristic words of the African-American vernacular found in Carter's Cantata are briefly discussed and identified (i.e. "them" vs. "dem"). It is essential that any performer, both beginning and advanced, should have a proper understanding of the concepts that Carter had so carefully crafted. This paper endeavors to provide a deeper sense of understanding to what Carter had intended for both the performer and the listener.
ContributorsNa, Bora (Author) / Britton, David (Thesis advisor) / Bush, Jeffrey (Committee member) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
Recently a new materials platform consisting of semiconductors grown on GaSb and InAs substrates with lattice constants close to 6.1 A was proposed by our group for various electronic and optoelectronic applications. This materials platform consists of both II-VI (MgZnCdHg)(SeTe) and III-V (InGaAl)(AsSb) compound semiconductors, which have direct bandgaps spanning the entire energy spectrum from far-IR (~0 eV) up to UV (~3.4 eV). The broad range of bandgaps and material properties make it very attractive for a wide range of applications in optoelectronics, such as solar cells, laser diodes, light emitting diodes, and photodetectors. Moreover, this novel materials system potentially offers unlimited degrees of freedom for integration of electronic and optoelectronic devices onto a single substrate while keeping the best possible materials quality with very low densities of misfit dislocations. This capability is not achievable with any other known lattice-matched semiconductors on any available substrate. In the 6.1-A materials system, the semiconductors ZnTe and GaSb are almost perfectly lattice-matched with a lattice mismatch of only 0.13%. Correspondingly, it is expected that high quality ZnTe/GaSb and GaSb/ZnTe heterostructures can be achieved with very few dislocations generated during growth. To fulfill the task, their MBE growth and material properties are carefully investigated. High quality ZnTe layers grown on various III-V substrates and GaSb grown on ZnTe are successfully achieved using MBE. It is also noticed that ZnTe and GaSb have a type-I band-edge alignment with large band offsets (delta_Ec=0.934 eV, delta_Ev=0.6 eV), which provides strong confinement for both electrons and holes. Furthermore, a large difference in refractive index is found between ZnTe and GaSb (2.7 and 3.9, respectively, at 0.7 eV), leading to excellent optical confinement of the guided optical modes in planar semiconductor lasers or distributed Bragg reflectors (DBR) for vertical-cavity surface-emitting lasers. Therefore, GaSb/ZnTe double-heterostructure and ZnTe/GaSb DBR structure are suitable for use in light emitting devices. In this thesis work, experimental demonstration of these structures with excellent structural and optical properties is reported. During the exploration on the properties of various ZnTe heterostructures, it is found that residual tensile strains exist in the thick ZnTe epilayers when they are grown on GaAs, InP, InAs and GaSb substrates. The presence of tensile strains is due to the difference in thermal expansion coefficients between the epilayers and the substrates. The defect densities in these ZnTe layers become lower as the ZnTe layer thickness increases. Growth of high quality GaSb on ZnTe can be achieved using a temperature ramp during growth. The influence of temperature ramps with different ramping rates in the optical properties of GaSb layer is studied, and the samples grown with a temperature ramp from 360 to 470 C at a rate of 33 C/min show the narrowest bound exciton emission peak with a full width at half maximum of 15 meV. ZnTe/GaSb DBR structures show excellent reflectivity properties in the mid-infrared range. A peak reflectance of 99% with a wide stopband of 480 nm centered at 2.5 um is measured from a ZnTe/GaSb DBR sample of only 7 quarter-wavelength pairs.
ContributorsFan, Jin (Author) / Zhang, Yong-Hang (Thesis advisor) / Smith, David (Committee member) / Yu, Hongbin (Committee member) / Menéndez, Jose (Committee member) / Johnson, Shane (Committee member) / Arizona State University (Publisher)
Created2012
Description
Hans Gál is arguably one of the most underrated, underperformed and forgotten composers of the twentieth century. Once a prolific composer in the 1920s and 1930s, Gál’s career was cut short by the Nazi regime in 1933 when he was fired, and his works banned due to his Jewish heritage. Following the Second World War, his music was relegated as obsolete, belonging to a bygone era. Hans Gál is a perfect example of the intransigence, superficiality, and discrimination of the evolving musical fashion, and his life-story speaks to the misfortunes and persecution of the Jewish people in the mid-twentieth century.
Consequently, Hans Gál is known today mainly as an educator, scholar, and editor of Brahms’s works, rather than as a composer, despite an impressive compositional output spanning over 70 years covering every major musical genre. Within his impressive oeuvre are several little-known gems of the violin repertoire, including the Sonata in D for Violin and Piano and Violin Concerto op. 39 among others. Scholarly writings on Gál and his music are unfortunately scarce, particularly such works exploring his violin music.
However, recent years have seen an increased interest in resurrecting the music of Gál. Recordings of his major works as well as research of his music have furthered the awareness and understating of this forgotten composer’s music. In my document, I will continue the path of recent rediscovery and celebration of this unsung hero of twentieth-century post-Romanticism with an in-depth look at his Sonata in D for Violin and Piano (1933). A light-hearted, accessible and unpretentious work, the Sonata in D distinguishes itself in the violin-piano sonata repertoire of the interwar period by its witty, clear use of form and motivic/thematic unity in the vein of the great Viennese masters. Gál’s take on traditional idioms such as tonality, coupled with masterful use of the implication/realization process, create a highly original and noteworthy style, that renders the Sonata in D an immediately appealing work for performers and listeners alike.
Consequently, Hans Gál is known today mainly as an educator, scholar, and editor of Brahms’s works, rather than as a composer, despite an impressive compositional output spanning over 70 years covering every major musical genre. Within his impressive oeuvre are several little-known gems of the violin repertoire, including the Sonata in D for Violin and Piano and Violin Concerto op. 39 among others. Scholarly writings on Gál and his music are unfortunately scarce, particularly such works exploring his violin music.
However, recent years have seen an increased interest in resurrecting the music of Gál. Recordings of his major works as well as research of his music have furthered the awareness and understating of this forgotten composer’s music. In my document, I will continue the path of recent rediscovery and celebration of this unsung hero of twentieth-century post-Romanticism with an in-depth look at his Sonata in D for Violin and Piano (1933). A light-hearted, accessible and unpretentious work, the Sonata in D distinguishes itself in the violin-piano sonata repertoire of the interwar period by its witty, clear use of form and motivic/thematic unity in the vein of the great Viennese masters. Gál’s take on traditional idioms such as tonality, coupled with masterful use of the implication/realization process, create a highly original and noteworthy style, that renders the Sonata in D an immediately appealing work for performers and listeners alike.
ContributorsGebe, Vladimir, 1987- (Author) / McLin, Katherine (Thesis advisor) / Carpenter, Ellon (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2019
Description
Every collaborative pianist encounters unrealistic and unsuccessful piano reductions of orchestral and operatic compositions on a regular basis. In some cases, the reductions were realized by the composers themselves, and therefore may contain all the notes from the full score, but might not be realistic piano reductions. Other times, the reductions may have been made by an editor who might arrange the piano part according to their own physical abilities, experience, or taste, but might ignore essential elements of the original orchestration. Alexander Glazunov’s Concerto for Violin and Orchestra, Op. 82 is frequently performed by students and professional violinists alike. The existing piano reduction of the concerto was written by the composer himself. However, the reduction has various issues that make performing this composition challenging for pianists. The main purpose of this paper is not the simplification of the existing reduction, but the creation of a new reduction that is more pianistic and approachable, yet more true to Glazunov’s dynamic and expressive orchestration. The first chapter of this project is an introduction to and comparison of currently available editions. An overview of the composer’s biography and the historical background of the composition comprise the second chapter. Chapters three, four and five are dedicated to each respective movement of the concerto, with explanations and details about certain editorial decisions. The appendix features a new piano reduction of Glazunov’s Violin Concerto in its entirety.
ContributorsKim, Olga (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell (Committee member) / Schmelz, Peter (Committee member) / Arizona State University (Publisher)
Created2019