Matching Items (11)
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- All Subjects: performing arts
- Creators: Gardner, Joshua
Description
This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
ContributorsChenoweth, Woodrow (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Gardner, Joshua (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2019
Description
This project uses fourteen transcriptions of Pete Fountain’s solos as examples to
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
ContributorsWu, Shengwen (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Carpenter, Ellon (Committee member) / Kocour, Michael (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2019
Description
This project’s goal is to expand the repertoire for soprano saxophone featuring improvisation. Each work detailed in this document features improvisation as an integral component. The first piece, Impetus, was written by Grant Jahn for soprano saxophone and piano. The second piece, Sonata, was written for the same instrumentation by Brett Wery. Ethan Cypress wrote the third work for solo soprano saxophone, Noir et Bleu. The final composition on the project, Counterpunch by Gregory Wanamaker, was written for saxophone sextet. This paper also includes composer biographies, program notes, performance guides, and composer questionnaires. The central component of this project is a recording of all these works which features the author.
ContributorsDetweiler, Samuel (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2018
Description
The main objective of this research project is to expand the bassoon repertoire with the addition of three pieces. The first composition, Rust for bassoon and piano, was written by Christopher Marchant and is six minutes in duration; august, for woodwind quartet (flute, oboe, B-flat clarinet, and bassoon) was composed by Matthew Triplett and is four minutes in duration; the third composition, Rhapsody for woodwind quartet, was written by Conor Anderson and is six minutes in duration. The present document includes background information and a performance guide for each of the commissioned works. The performance guide provides recommendations and tips to aid musicians in preparing these works. This document also contains transcripts of interviews with each composer and performer. Finally, this document is accompanied by a recording of each piece.
ContributorsStrickland, Kiefer Philip (Author) / Micklich, Albie (Thesis advisor) / Gardner, Joshua (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2019
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
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT The participatory and interactive nature of the "Hearing in Color" project unites people from different walks of life. My interest lies in creating a space for people to explore their creativity, think critically, and hone their own voice in a safe and collaborative environment. I have discovered that all art forms: movement, voice, visual or digital, stimulate possibilities for expression and enable people to move forward in new directions. To this end, my project fused multiple avenues of engagement, innovative dance technology, and alternative or site-specific locations to create a community-based project aimed at promoting dialogue and enhancing ties between several groups in the Phoenix area. In this paper, I argue that a multi-layered approach to community-arts and the use of advanced technology builds bridges for diverse populations to come together to participate and learn from one another. I also maintain that community exists among all communities involved in a process of community arts, not just the participants and facilitator. When community engagement and awareness are prioritized, a multi-layered approach creates the possibilities of growth, honesty, and understanding for all people involved.
ContributorsBritt, Melissa (Author) / Fitzgerald, Mary (Thesis advisor) / Vissicaro, Pegge (Committee member) / Mitchell, John (Committee member) / Woodson, Stephani (Committee member) / Arizona State University (Publisher)
Created2010
Description
For this project, I commissioned and recorded five new works for contrabassclarinet from five different composers. Composition parameters were given to each
composer before they started writing which detailed what needed to be included in each
work. Four of the composers were asked to utilize a single, difficult aspect of playing the
instrument, which included intonation, low note technique and response, phrasing, and
articulation. For the fifth work, the composer was asked to incorporate all parameters of
the project. Because of the differences between contrabass clarinet designs, I recorded
each work three times using the Leblanc Vito, Leblanc “Paperclip”, and Selmer Model 41
contrabass clarinets to demonstrate that the works were adaptable and playable. In this
paper, I will outline the parameters of the project, describe the instruments used for
recording and provide a performance guide for each work. It is my hope that these works
will provide an enjoyable way for future contrabass clarinetists to become more
proficient performers of the instrument.
ContributorsFullerton, Kimberly Irene (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Micklich, Albie (Committee member) / Wells, Christi Jay (Committee member) / Watts, Sarah (Committee member) / Arizona State University (Publisher)
Created2023
Description
In an effort to provide greater representation to Latin American musicians, this recording and performance guide provides commentary on three works for clarinet by composers of Mexican ethnicity, commissioned and recorded by the author. The works presented are scored for solo clarinet, clarinet & piano, and clarinet, cello, & piano.
Each piece seeks to communicate and explore current sociopolitical issues related to Mexico, and, like this project as a whole, derive their inspiration from La Onda, a multidisciplinary artistic movement in Mexico, translating as the “wave,” “sound wave,” or “the force” that emerged as part of the 1960s and 1970s North American counterculture. La Onda music emerged as a reflection and consequence of marginalized experiences living in the United States, and is representative of ways the broader public and Latinos have claimed music as their own. As music has historically provided an arena for exploring gender, class, sexuality, and race politics for minority communities, specifically Mexicans in the United States and abroad, music continues to afford a mechanism for communicating the counterfactual in the present day. In this context, this guide synthesizes a broader collaboration with composers to create new, narrative-based repertoire that provides accessibility, greater awareness, and lasting representation to a demographic that has historically been underserved within the classical canon.
Each piece seeks to communicate and explore current sociopolitical issues related to Mexico, and, like this project as a whole, derive their inspiration from La Onda, a multidisciplinary artistic movement in Mexico, translating as the “wave,” “sound wave,” or “the force” that emerged as part of the 1960s and 1970s North American counterculture. La Onda music emerged as a reflection and consequence of marginalized experiences living in the United States, and is representative of ways the broader public and Latinos have claimed music as their own. As music has historically provided an arena for exploring gender, class, sexuality, and race politics for minority communities, specifically Mexicans in the United States and abroad, music continues to afford a mechanism for communicating the counterfactual in the present day. In this context, this guide synthesizes a broader collaboration with composers to create new, narrative-based repertoire that provides accessibility, greater awareness, and lasting representation to a demographic that has historically been underserved within the classical canon.
ContributorsDominguez, Vincent Robert (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Schuring, Martin (Committee member) / Bolaños, Gabriel J. (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2020
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