Matching Items (5)
Filtering by
- Genre: Scores
- Creators: Oldani, Robert
Description
This thesis presents a new arrangement of Richard Peaslee's trombone solo "Arrows of Time" for brass band. This arrangement adapts Peaslee's orchestration - and subsequent arrangement by Dr. Joshua Hauser for wind ensemble - for the modern brass band instrumentation and includes a full score. A brief biography of Richard Peaslee and his work accompanies this new arrangement, along with commentary on the orchestration of "Arrows of Time", and discussion of the evolution and adaptation of the work for wind ensemble by Dr. Hauser. The methodology used to adapt these versions for the brass band completes the background information.
ContributorsMalloy, Jason Patrick (Author) / Ericson, John (Thesis advisor) / Oldani, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
Numerous orchestral reductions for piano are plagued by cumbersome passages that impede pianists from delivering phrases with flow and elegance. The vocal works of George Frideric Handel (1685–1759) and Richard Wagner (1813–1883) are among the more unwieldy of these. While arrangers of the piano vocal scores by these two composers admirably include as much orchestration as possible, their efforts often result in writing that is not idiomatic for the piano. The frustrating difficulties in the orchestral reductions of Handel’s “Empio, dirò, tu sei” (Giulio Cesare), his Messiah chorus “For unto us a child is born” as well as Wagner’s aria “Du bist der Lenz” (Die Walküre) all plead for a new, fresh arrangement for the working pianist. Concerning itself with the formation of one’s hands, stamina preservation, and the need to give proper support to the singers, this paper makes examples of these three pieces to document and justify the steps and techniques one may take to customize both these and any variety of orchestral reductions. With great emphasis on the methodology of rewriting operatic and choral orchestral reductions, this document presents newly arranged note–for–note piano vocal scores of the above arias and chorus. By customizing and rewriting complex scores, our partners benefit by singing above the identical accompaniment every time. It is the intent that the collaborative pianist can apply these methods to future rewrites, with the result of producing scores that are conducive to proper technique and flow.
ContributorsPeterman, Jeremy Patrick (Author) / Campbell, Andrew (Thesis advisor) / FitzPatrick, Carole (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
Everyday Arias for soprano and orchestra was composed largely in Arizona and completed in February 2011. The text was taken from a small collection of the composer's own poetry referencing her memories of life in rural Mississippi. Everyday Arias endeavors to elevate these prosaic experiences and settings to art, expressing the everyday as beautiful and worthy of artistic treatment. The primary compositional model for this work was Samuel Barber's Knoxville: Summer of 1915, but other influences included Charles Ives, Aaron Copland, Benjamin Britten, and Dominick Argento. Barber's and Argento's musical treatment of prose style seemed particularly appropriate to the goals of Everyday Arias. Ives and Copland used hymn tunes both to evoke certain associations of worship and as sources of interesting material. The vocal writing of all five composers was influential, but the orchestration techniques for winds are largely a product of studying Ives and Argento, while many string gestures are more obviously tied to Britten and - more historically - Debussy.The primary motive that weaves through the work features an ascending major second followed by a descending perfect fourth, in a long-short-long rhythmic pattern. As a melodic fragment, the motive is often inverted to a descending-ascending pattern, or distorted slightly by expanding the second interval to a perfect fifth, or used in retrograde. The motive was derived from the first measure of the melody "Toplady" (1830) by Thomas Hastings, better known as the hymn "Rock of Ages." In the first movement, the motive is used most frequently in sequences. The second movement treats the motive as a melodic element and as a unit in ostinati. The final movement humorously transforms it into a syncopated gesture to evoke ragtime.
ContributorsPage, Carrie Leigh (Composer) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end.
ContributorsBell, Jeremy, 1986- (Composer) / Rogers, Rodney (Thesis advisor) / Oldani, Robert (Committee member) / Levy, Benjamin (Committee member) / Arizona State University (Publisher)
Created2011
Description
Nikolay Andreyevich Rimsky-Korsakov’s Concerto for Trombone and Military Band and Georg Philipp Telemann’s Sonata in F minor TWV 41:f1 are two works from contrasting periods written by well-known composers. International Music Company first published the Sonata in 1968 for trombone, edited by Allen Ostrander. Rimsky-Korsakov’s Concerto for Trombone was first published in the United States by Leeds Music Corporation in 1952, edited by Davis Shuman. Both of these compositions contain editorial concerns that detract from each composer’s original music.
In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov.
This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions.
In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov.
This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions.
ContributorsHutchens, Timothy (Author) / Yeo, Douglas (Thesis advisor) / Swoboda, Deanna (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2016