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- Genre: Art--Study and teaching (Secondary)--Arizona.
- Genre: Music--Bibliography.
- Creators: Arizona State University
Description
The use of instrumental vibrato in certain periods of classical music performances has become a highly debated and often fiery topic. The scholars of yesterday had only a few sources with which to gain a better understanding of the definition, mechanics, employment, and prevalent attitudes of those coming before them. This project aims to develop the foundation to a better understanding of instrumental vibrato by compiling primary source material written before 1940 and secondary source material relevant to that period into an annotated bibliography. The source materials in this study were mainly comprised of treatises, tutors, method books, newspaper articles, and dictionaries. The instruments covered in this study included the violin family and relatives (viols, etc...), woodwinds (including recorder), members of the brass family, organ, other keyboard instruments, guitar/banjo/lute, theremin, and prototype
iche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable.
iche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable.
ContributorsVerville, Timothy David (Author) / Russell, Timothy (Thesis advisor) / Humphreys, Jere T (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2012
Description
Many alternative schools for at-risk students do not offer art classes to their students. Phoenix Job Corps is one of those schools. I conducted a qualitative study about a voluntary summer art course at Phoenix Job Corps, a vocational school for at-risk students. I had thirteen student volunteers, eight of them refugees from other countries. All the participants created a narrative painting about something in their lives. The purpose of this study was to examine this voluntary summer art course and to determine its usefulness as a beneficial tool to the lives of the students. This included looking at participants' narrative paintings to determine common themes or subjects, finding out their opinions on whether or not their school should offer an art course, their willingness to share their stories, determining whether they think it's important for others to see their work, and lastly concluding what artwork they like best and why. I found that the majority of students do want an art class offered at their schools, and all but one participant was more than willing to share their story about their narrative painting. Common themes amongst their paintings were family, a specific memory or event, or their present and future lives. I found similar subject matter in their paintings such as animals, houses or huts, and people. My research also unveiled a large difference in the refugee students' paintings as opposed to the other United States participants. The findings also suggest that participants judged other work based on meaning more so than aesthetics. This study explores, in detail, the narrative art and experiences of a very diverse group of students.
ContributorsSchaller, Kimberly (Author) / Young, Bernard (Thesis advisor) / Erickson, Mary (Committee member) / Stokrocki, Mary (Committee member) / Arizona State University (Publisher)
Created2012