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- Genre: Doctoral Dissertation
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
About piano students who display disruptive behavior and perform far below reasonable expectations, teachers first conclude that they are lazy, rude, disinterested, and/or lacking intelligence or ability. Most dismiss such students from studios and advise parents to discontinue lessons. In truth, many of these students are both highly gifted and also have a learning disability. Examined literature shows that the incidence of dyslexia and other learning disabilities in the gifted learner population is several times that of the regular learner population. Although large volumes of research have been devoted to dyslexia, and more recently to dyslexia and music (in the classroom and some in individual instrumental instruction), there is no evidence of the same investigation in relation to the specific needs of highly gifted dyslexic students in learning to play the piano. This project examines characteristics of giftedness and dyslexia, gifted learners with learning disabilities, and the difficulties they encounter in learning to read music and play keyboard instruments. It includes historical summaries of author's experience with such students and description of their progress and success. They reveal some of practical strategies that evolved through several decades of teaching regular and gifted dyslexic students that helped them overcome the challenges and learn to play the piano. Informal conversations and experience exchanges with colleagues, as well as a recently completed pilot study also showed that most piano pedagogues had no formal opportunity to learn about this issue and to be empowered to teach these very special students. The author's hope is to offer personal insights, survey of current knowledge, and practical suggestions that will not only assist piano instructors to successfully teach highly gifted learners with dyslexia, but also inspire them to learn more about the topic.
ContributorsVladikovic, Jelena (Author) / Humphreys, Jere T. (Thesis advisor) / Meir, Baruch (Thesis advisor) / Norton, Kay (Committee member) / Hamilton, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Geirr Tveitt (1908-1981) was a central figure of the national movement in Norwegian cultural life during the 1930s. He studied composition with masters such as Arthur Honegger, Heitor Villa-Lobos, and Nadia Boulanger, achieving international acclaim for many of his works. However, his native Norway was slow to follow this praise, as post-World War II intellectuals disregarded anything that resembled nationalism. Tveitt's music was considered obsolete. He became isolated and withdrawn and died in 1981 after a house fire destroyed the manuscripts of nearly three hundred opuses, leaving only a handful of works, some of which were not yet published. Tveitt was raised in a remote part of Norway where the folk tradition was strong. Because of his close ties with the Hardanger community, he was able to bring to light many undiscovered folk tunes and exceptional practices. Tveitt utilizes this first-hand knowledge in his works for solo piano, and successfully combines them with his roots in both Germanic and Nordic traditions, eventually becoming a well-known and respected composer to the Norwegian people. However, he remains virtually unknown to the rest of the world. All of his music was deeply influenced by folk traditions and instruments. Techniques such as planing, drones, modal scales and passages, ornamentation, and simple melodies are pervasive in each piece, and are often the building blocks of main themes and motives. Because of the ambiguity of the status of many works, this paper examines only his published works for solo piano. Discussions of each piece will focus on folk influences within each work, including basic form, texture, and pianistic concerns.
ContributorsHunter, Karali (Author) / Meir, Baruch (Thesis advisor) / Carpenter, Ellon (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study treats in some depth a contemporary solo piano work, "Arirang Variations" (2006) by Edward "Teddy" Niedermaier (b. 1983). Though Niedermaier is an American composer and pianist, he derives his inspiration for that work from four types of Korean arirang: "Arirang," "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang." The analysis of "Arirang Variations" focuses primarily on how the composer adapts arirang in each variation and develops them into his own musical language. A salient feature of Niedermaier's composition is his combination of certain contradictions: traditional and contemporary styles, and Western and Eastern musical styles. In order to discuss in detail the musical elements of arirang used in "Arirang Variations," scores of all the arirang Niedermaier references are included with the discussion of each. Unfortunately, sources concerning three of these were limited to a single book by Yon-gap Kim, Pukhan Arirang Yongu (A Study of North Korean Arirang), because "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang"are North Korean versions of arirang. Since arirang are the most important Korean folk song genre, basic information concerning such features of Korean traditional musical elements as scales, vocal techniques, rhythms and types of folk songs are provided along with an overview of the history and origins of arirang. Given that each arirang has distinctive characteristics that vary by region, the four best-known types of arirang are introduced to demonstrate these differences.
ContributorsPark, Hyunjin (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Levy, Benjamin (Committee member) / Thompson, Janice (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
Much has been written regarding the dire educational state of most schools in rural America. This case study profiles two elementary school principals (preK-6) in rural New Mexico whose schools achieved adequate yearly progress (AYP) for the 2009-10 school year. The focus of this study centered on specific characteristics of the school cultures addressed by the principals, and instructional best practices routinely incorporated by teachers into the daily curricular program that have produced successful student outcomes and earned each of their schools AYP standing for the 2009-10 academic year. The methodology used to determine research findings was performed in three parts: Principals of AYP rural New Mexico schools were asked to complete an online survey on educational leadership according to the standards and functions of the Interstate School Leadership Licensure Consortium (ISLLC). The respondents chose either Almost always, To a considerable degree, Occasionally, Seldom, or Never according to the degree they deemed the leadership function necessary to the successful operations of their schools. The survey results were arranged into tables preceded with explanations and statistical analysis. Interviews were conducted with the two rural elementary school principals along with selected teachers and parents from each school. The researcher made on-site visitations and kept notes of the observations and interactions with staffs from each school. The main findings of the study arose from the results of the surveys and interviews conducted with individuals from the two focus schools. The researcher arranged data according to the leadership categories that emerged from the interviews. The survey results were divided into two categories: favorable (Almost always and To a considerable degree) and unfavorable (Occasionally, Seldom, and Never categories). The results for each leadership standard and related function were reported in terms of statistical significance according to frequency counts in the two categories. Finally, there is a review of current literature focused on principles of educational leadership and rural education, demographic information about the profiled schools, and conclusions with further recommendations for future studies.
ContributorsTom, Deborah F (Author) / Humphreys, Jere T. (Thesis advisor) / Spencer, Dee A. (Committee member) / Appleton, Nicholas A. (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT The present study was designed to examine factors that led to the academic success of two rural secondary schools in New Mexico. The primary focus was on the characteristics and behaviors of leaders in two high-achieving rural schools and how these factors might have contributed to achievement of Adequate Yearly Progress (AYP) in school year 2009-10. The secondary focus of the study concentrated on the characteristics of the rural environment of the schools and what role, if any, school location might have contributed to AYP. Of the approximately 820 public schools in New Mexico, 42 (30%) of secondary schools designated as "rural" achieved AYP in 2009-10. 2 of the 42 secondary schools, were selected for the study. Tara High School and Twelve Oaks Middle School, located in separate New Mexico villages, were identified as achieving the AYP in the 2009-10 school year through demographic and statistical data collected primarily from the New Mexico Public Education Department. The location of the two rural secondary schools along with the willingness of their principals to participate met the research criteria for being a descriptive case study to define any causal relationships between leadership practices and rural settings that resulted in achieving the AYP for student achievement. The researcher conducted interviews regarding leadership with two rural school principals, twelve secondary teachers, and seven parents. There was no direct contact with students in the study. Additionally, the researcher conducted on-site observations of both schools and conducted an on-line leadership survey for principals of the two rural schools and an additional 8 principals for data purposes only. Among the 3 data sets, the researcher found that there was complete unanimity as to the common characteristics of high-achieving schools located in rural communities influencing student achievement: culture, motivation, instructional leadership, empowerment, school leadership, trust, and community involvement. The twelve teachers and seven parents were unanimous that the two principals maintained a positive demeanor, visibly demonstrated care, supported and openly dialogued with the teachers to make their own classroom decisions, maintained an open-door policy, and modeled professional behavior.
ContributorsIron Moccasin, Shawl D (Author) / Humphreys, Jere T. (Thesis advisor) / Appleton, Nicholas A. (Committee member) / Spencer, Dee A. (Committee member) / Arizona State University (Publisher)
Created2012
Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018
Description
Charles-Valentin Alkan’s Grande Sonate Op. 33 ‘Les quatre âges’ is a unique four-movement work for piano solo that programmatically represents a man’s life through four decades, passing from age 20 to 50, with each movement being progressively slower than the previous. Published in 1847, it was destined for obscurity until it was rediscovered and premiered in 1973 by English pianist Ronald Smith. Its absence from the public’s reach can be attributed to multiple reasons including the reclusive nature of the composer during the time of composition and the societal issues surrounding the French Revolution of 1848.
Much of Alkan’s music has a reputation for being nearly unplayable because of its complexity and the extremely high level of technical facility a pianist must possess in order to perform it convincingly. Aside from its performance length of nearly an hour, there are many technical issues that prevent Alkan’s Grande Sonate from being performed more frequently. This paper is an exploration of some of these performance and technical issues for consideration by pianists interested in solving the riddle of performing Alkan’s Grande Sonate.
The findings explored are based in part on the author’s experience in performing the complete Grande Sonate in recital, as well as on extant research into Alkan’s life and the interpretation and performance of his works. The paper concludes with an appendix and link to the author’s live performance of the work, another appendix renotating the fugato from Quasi-Faust, and a third appendix providing extensive fingering and voice redistribution for Les enfans [sic] from 40 ans.
Much of Alkan’s music has a reputation for being nearly unplayable because of its complexity and the extremely high level of technical facility a pianist must possess in order to perform it convincingly. Aside from its performance length of nearly an hour, there are many technical issues that prevent Alkan’s Grande Sonate from being performed more frequently. This paper is an exploration of some of these performance and technical issues for consideration by pianists interested in solving the riddle of performing Alkan’s Grande Sonate.
The findings explored are based in part on the author’s experience in performing the complete Grande Sonate in recital, as well as on extant research into Alkan’s life and the interpretation and performance of his works. The paper concludes with an appendix and link to the author’s live performance of the work, another appendix renotating the fugato from Quasi-Faust, and a third appendix providing extensive fingering and voice redistribution for Les enfans [sic] from 40 ans.
ContributorsHillmann, Joshua Lester (Author) / Meir, Baruch (Thesis advisor) / Pagano, Caio (Committee member) / Hamilton, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2018