Matching Items (12)
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- All Subjects: performing arts
- Creators: Holbrook, Amy
Description
The number of compositions that use electronics alongside the wind ensemble has gradually increased in the 21st century, yet these compositions are infrequently programmed past their premieres. Explanations include lack of access to necessary resources, unfamiliarity with the repertoire, and inexperience with the technology they require. While there are other barriers to performance, this document focuses on familiarizing the repertoire and providing foundational knowledge necessary to overcome inexperience.
As the number of technology-native composers, audience members, and performers continues to increase, electronics in the ensemble are likely to become more standard. Without knowledge of the technology electronics require, these works will remain inaccessible. Composers attempt to bridge the technological knowledge gap by providing technical instructions for individual pieces, but this does not help people recognize the broader concepts that make all of these works more accessible. This document guides ensemble directors and performers to an understanding of these base concepts by developing a grading system for technology difficulty, assessing pedagogical and performance issues, and providing an annotated list of works currently available for electronics and winds.
As the number of technology-native composers, audience members, and performers continues to increase, electronics in the ensemble are likely to become more standard. Without knowledge of the technology electronics require, these works will remain inaccessible. Composers attempt to bridge the technological knowledge gap by providing technical instructions for individual pieces, but this does not help people recognize the broader concepts that make all of these works more accessible. This document guides ensemble directors and performers to an understanding of these base concepts by developing a grading system for technology difficulty, assessing pedagogical and performance issues, and providing an annotated list of works currently available for electronics and winds.
ContributorsHubbard, Justin (Author) / Caslor, Jason (Thesis advisor) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2020
Description
Pursuit of an informed approach to interpreting Frédéric Chopin’s music has been increasingly challenging in the twenty-first century. In the process of forming their unique voices, pianists turn to the sound recordings of some of the most notable pianistic figures in history. This document offers a detailed inspection of three revered recordings and, with the help of syntactic analysis, seeks an understanding of the extraordinary interpretational decisions of Alfred Cortot, Arthur Rubinstein and Dinu Lipatti. The examined works are Chopin’s Prelude in C Major, Op. 28, No. 1, and the Largo of the Sonata in B Minor, Op. 58. The analysis of the Prelude compares recorded performances of Alfred Cortot (ca. 1933-1934) and Arthur Rubinstein (ca. 1946) and explains how their vastly different interpretational choices can, through an analytical process, be traced to the harmonic and melodic implications of the score. Likewise, inspection of the Largo focuses on Dinu Lipatti’s performance (ca. 1947) and draws connections between his phrasing and critical characteristics of the movement. All three performances present exquisite examples of a style of expressive playing that seems to have fallen into disuse in the twenty-first century. This study contributes to a deeper understanding of the performing style of Cortot, Rubinstein, and Lipatti, and also seeks to show connections between score analysis and interpretational decisions.
ContributorsJovanovic, Isidora (Author) / Pagano, Caio (Thesis advisor) / Holbrook, Amy (Thesis advisor) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2020