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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

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
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Description
Social media offers a powerful platform for the independent digital content producer community to develop, disperse, and maintain their brands. In terms of information systems research, the broad majority of the work has not examined hedonic consumption on Social Media Sites (SMS). The focus has mostly been on the organizational

Social media offers a powerful platform for the independent digital content producer community to develop, disperse, and maintain their brands. In terms of information systems research, the broad majority of the work has not examined hedonic consumption on Social Media Sites (SMS). The focus has mostly been on the organizational perspectives and utilitarian gains from these services. Unlike through traditional commerce channels, including e-commerce retailers, consumption enhancing hedonic utility is experienced differently in the context of a social media site; consequently, the dynamic of the decision-making process shifts when it is made in a social context. Previous research assumed a limited influence of a small, immediate group of peers. But the rules change when the network of peers expands exponentially. The assertion is that, while there are individual differences in the level of susceptibility to influence coming from others, these are not the most important pieces of the analysis--unlike research centered completely on influence. Rather, the context of the consumption can play an important role in the way social influence factors affect consumer behavior on Social Media Sites. Over the course of three studies, this dissertation will examine factors that influence consumer decision-making and the brand personalities created and interpreted in these SMS. Study one examines the role of different types of peer influence on consumer decision-making on Facebook. Study two observes the impact of different types of producer message posts with the different types of influence on decision-making on Twitter. Study three will conclude this work with an exploratory empirical investigation of actual twitter postings of a set of musicians. These studies contribute to the body of IS literature by evaluating the specific behavioral changes related to consumption in the context of digital social media: (a) the power of social influencers in contrast to personal preferences on SMS, (b) the effect on consumers of producer message types and content on SMS at both the profile level and the individual message level.
ContributorsSopha, Matthew (Author) / Santanam, Raghu T (Thesis advisor) / Goul, Kenneth M (Committee member) / Gu, Bin (Committee member) / Arizona State University (Publisher)
Created2013
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Description
ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists.

ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
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Description
The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the

The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the process of learning a concerto. The Concerto was inspired by internationally known saxophonist, Sigurd Rascher, who demonstrated for Brant the extent of his abilities on the saxophone. These abilities included use of four-octave range and two types of extended techniques: slap-tonguing and flutter-tonguing. Brant incorporated all three elements in his Concerto, and believed that only Rascher had the command over the saxophone needed to perform the piece. To prevent the possibility of an unsuccessful performance, Brant chose to make the piece unavailable to saxophonists by leaving the Concerto without a reduction. Subsequently, there were no performances of this piece between 1953 and 2001. In 2011, the two directors of Brant's Estate decided to allow for a reduction to be written for the piece so that it would become more widely available to saxophonists.
ContributorsAmes, Elizabeth (Pianist) (Author) / Ryan, Russell (Thesis advisor) / Levy, Benjamin (Committee member) / Hill, Gary (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2013
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Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility

Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
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Description
Artistic trends of the mid-nineteenth century demonstrate the popularity of incorporating Asian elements into various artistic media. This paper discusses why the stereotypical Asian female provided an attractive character for operatic librettists, composers and audiences. To support the discussion, six operas from 1885 to 2010 are examined, and the dramatic

Artistic trends of the mid-nineteenth century demonstrate the popularity of incorporating Asian elements into various artistic media. This paper discusses why the stereotypical Asian female provided an attractive character for operatic librettists, composers and audiences. To support the discussion, six operas from 1885 to 2010 are examined, and the dramatic and musical portrayal of representative female characters is discussed. The familiar character of Cio-cio-san from Giocamo Puccini's Madama Butterfly (1904) provides a foundation to discuss these stereotypical Asian female characteristics, specifically one archetype, that of the naïve, yet sexually desirable female. Prior to Cio-cio-san, Sir W. S. Gilbert and Sir Arthur Sullivan's Yum-Yum from The Mikado (1885), Iris of Pietro Mascagni's Iris (1898) exemplify this archetype, as does Liù from Puccini's Turandot (1924). At the other extreme is the icy, cold and bloodthirsty archetype found in the title role of Puccini's Turandot and Katisha from The Mikado. Chiang Ch'ing (also known as Madame Mao) from John Adams's Nixon in China (1987), and Madame White Snake from Chinese-American composer Zhou Long's Madame White Snake (2010) feature leading characters that demonstrate elements of both of these archetypes, and this combination of the two archetypes yields more complex and richer characters. These two extremes of the female Asian stereotype and the evolution of these characteristics provide an interesting outlook on the incorporation of non-Western musical styles into these operas, and the understanding of a Western perception of foreign peoples, especially foreign females.
ContributorsLo, Wan-Yi (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Committee member) / Kopta, Anne (Committee member) / Mills, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
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Description
The teaching of singing remained remarkably stable until, at the end of the twentieth century, advances in the understanding of voice science stimulated dramatic changes in approach to vocal pedagogy. Previously, the technology needed to accurately measure physiologic change within the larynx and breath-support musculature during the process of singing

The teaching of singing remained remarkably stable until, at the end of the twentieth century, advances in the understanding of voice science stimulated dramatic changes in approach to vocal pedagogy. Previously, the technology needed to accurately measure physiologic change within the larynx and breath-support musculature during the process of singing simply did not exist. Any prior application of scientific study to the voice was based primarily upon auditory evaluation, rather than objective data accumulation and assessment. After a centuries-long history, within a span of twenty years, vocal pedagogy evolved from an approach solely derived from subjective, auditory evidence to an application grounded in scientific data. By means of analysis of significant publications by Richard Miller, Robert Sataloff, and Ingo Titze, as well as articles from The Journal of Singing and The Journal of Voice, I establish a baseline of scientific knowledge and pedagogic practice ca. 1980. Analysis and comparison of a timeline of advancement in scientific insight and the discussion of science in pedagogical texts, 1980-2000, reveal the extent to which voice teachers have dramatically changed their method of instruction. I posit that voice pedagogy has undergone a fundamental change, from telling the student only what to do, via auditory demonstration and visual imagery, to validating with scientific data how and why students should change their vocal approach. The consequence of this dramatic pedagogic evolution has produced singers who comprehend more fully the science of their art.
ContributorsVelarde, Rachel (Author) / Doan, Jerry (Thesis advisor) / Campbell, Andrew (Committee member) / Solis, Theodore (Committee member) / Elgar Kopta, Anne (Committee member) / Britton, David (Committee member) / Arizona State University (Publisher)
Created2013
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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

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
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Description
The Sonata for Violin and Piano in E-flat Major, Op. 18 (1888), was the last major work of chamber music by Richard Strauss (1864-1949). Although for only two instruments, the Sonata reflects Strauss's growing interest in symphonic writing both in his tone poems and orchestral songs, anticipating his style of

The Sonata for Violin and Piano in E-flat Major, Op. 18 (1888), was the last major work of chamber music by Richard Strauss (1864-1949). Although for only two instruments, the Sonata reflects Strauss's growing interest in symphonic writing both in his tone poems and orchestral songs, anticipating his style of orchestration and his expressive use of tone colors. This study examines instances of orchestral writing in the piano and makes suggestions for their performance. An overview of Strauss's compositions, from his early chamber music to the `heroic' symphonic works, places the Sonata in context. An analytical description of each of the Sonata's three movements shows the structure and content of this large work and provides the framework for examination of the orchestral effects in the piano. Comparison of excerpts from the Sonata with passages from Strauss's orchestral writing in Don Juan (1889), "Cäcilie," "Morgen!," and "Lied der Frauen" leads to suggestions for the collaborative pianist of ways to re-create the various orchestral effects.
ContributorsNixon, Thomas (Pianist) (Author) / Ryan, Russell R (Thesis advisor) / Campbell, Andrew (Committee member) / FitzPatrick, Carole (Committee member) / Hamilton, Robert (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2014
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Description
Mobile applications (Apps) markets with App stores have introduced a new approach to define and sell software applications with access to a large body of heterogeneous consumer population. Several distinctive features of mobile App store markets including – (a) highly heterogeneous consumer preferences and values, (b) high consumer cognitive burden

Mobile applications (Apps) markets with App stores have introduced a new approach to define and sell software applications with access to a large body of heterogeneous consumer population. Several distinctive features of mobile App store markets including – (a) highly heterogeneous consumer preferences and values, (b) high consumer cognitive burden of searching a large selection of similar Apps, and (c) continuously updateable product features and price – present a unique opportunity for IS researchers to investigate theoretically motivated research questions in this area. The aim of this dissertation research is to investigate the key determinants of mobile Apps success in App store markets. The dissertation is organized into three distinct and related studies. First, using the key tenets of product portfolio management theory and theory of economies of scope, this study empirically investigates how sellers’ App portfolio strategies are associated with sales performance over time. Second, the sale performance impacts of App product cues, generated from App product descriptions and offered from market formats, are examined using the theories of market signaling and cue utilization. Third, the role of App updates in stimulating consumer demands in the presence of strong ranking effects is appraised. The findings of this dissertation work highlight the impacts of sellers’ App assortment, strategic product description formulation, and long-term App management with price/feature updates on success in App market. The dissertation studies make key contributions to the IS literature by highlighting three key managerially and theoretically important findings related to mobile Apps: (1) diversification across selling categories is a key driver of high survival probability in the top charts, (2) product cues strategically presented in the descriptions have complementary relationships with market cues in influencing App sales, and (3) continuous quality improvements have long-term effects on App success in the presence of strong ranking effects.
ContributorsLee, Gun Woong (Author) / Santanam, Raghu (Thesis advisor) / Gu, Bin (Committee member) / Park, Sungho (Committee member) / Arizona State University (Publisher)
Created2015