Matching Items (61)

Filtering by

Clear all filters

149826-Thumbnail Image.png

The ensemble étude for violins: an examination with an annotated survey of violin trios and quartets and an original étude for four violins

Description

ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly

ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble &eacutetudes; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble &eacutetude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying &eacutetudes; in a group, this document introduces creative ways that works for violin ensemble can be used as both &eacutetudes; and performance pieces. The first two chapters explore the history and philosophy of the violin &eacutetude; and multiple-violin works, the practice of arranging of solo &eacutetudes; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble &eacutetude; study from solo &eacutetude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: &eacutetude; for Four Violins, with an explanation of the process and techniques used to create this ensemble &eacutetude.; This work is an example of the musical and technical integration essential to &eacutetude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble &eacutetudes; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble &eacutetudes; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.

Contributors

Agent

Created

Date Created
2011

A performer's perspective on double clarinet music: pieces by William O. Smith, Eric Mandat, and Jody Rockmaker with interviews and a recording

Description

This final research paper provides both a performer's perspective and a recording of double clarinet literature by William O. Smith (b. 1926), Eric Mandat (b. 1957), and Jody Rockmaker (b. 1961). The document includes musical examples, references to the recording,

This final research paper provides both a performer's perspective and a recording of double clarinet literature by William O. Smith (b. 1926), Eric Mandat (b. 1957), and Jody Rockmaker (b. 1961). The document includes musical examples, references to the recording, and interviews with the composers. The first chapter contains a brief literature review of sources on world double clarinets, biographies of the above-mentioned composers, and other pertinent information. Chapters 2-4 include the performer's perspective on the following works: Epitaphs for Double Clarinet by William O. Smith, Double Life for Solo Clarinet by Eric Mandat, and two compositions by Jody Rockmaker, Half and Half for demi-clarinet in A, and Double Dip. The final chapter examines how double clarinet music has evolved, the challenges and limitations of the repertoire, and the future of the double clarinet genre.

Contributors

Agent

Created

Date Created
2013

151855-Thumbnail Image.png

Biographical sketch and selected works of Armando Guevara Ochoa

Description

Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have

Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have become increasingly popular. Consequently, Latin American performers and composers are receiving more attention and recognition than ever before. The contemporary repertoire for clarinet increasingly includes works highlighted at the ClarinetFest international festivals, and many clarinetists express interest in finding new Latin American compositions. In order to supplement this growing Latin American repertoire and to introduce the life and works of Peruvian composer Armando Guevara Ochoa (1926-2013), this project presents a brief biography of the composer, a discussion of his musical style, and new editions of his popular works transcribed for clarinet. A recording of these works is included in an appendix to this document. Prior to this research, much of the scholarship written about Guevara Ochoa was in Spanish. While most sources and scholars relate that Guevara Ochoa composed over 400 works, the whereabouts of fewer than 200 are currently known. This project will supplement Guevara Ochoa's clarinet literature and raise awareness of his compositions in English-speaking countries.

Contributors

Agent

Created

Date Created
2013

151098-Thumbnail Image.png

Organ Improvisation in Context: Historical and Practical Influences on the Craft of Improvisation at the Organ

Description

The craft of improvisation at the organ has survived a long period of dormancy and is experiencing a strong resurgence in the twenty-first century. This project seeks to establish a precedence for the value of notated music as a resource

The craft of improvisation at the organ has survived a long period of dormancy and is experiencing a strong resurgence in the twenty-first century. This project seeks to establish a precedence for the value of notated music as a resource in learning improvisation, and then, through music analysis, provide examples of how that process can develop. The result of the ideas presented here is a pathway whereby any disciplined organist can learn to imitate composed music, assimilate the musical ideas, and innovate through the act of spontaneous improvisation.

Contributors

Agent

Created

Date Created
2012

151961-Thumbnail Image.png

Gifted learners, dyslexia, music, and the piano: rude, inattentive, uncooperative, or something else?

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

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.

Contributors

Agent

Created

Date Created
2013

151646-Thumbnail Image.png

William Bolcom's 3 ghost rags: an orchestration for chamber ensemble with commentary on the history and propagation of ragtime

Description

The purpose of this project is twofold: to contribute to the literature of chamber ensembles comprising mixed wind, string, and percussion instruments by producing arrangements of three piano rags by William Bolcom; and to highlight Bolcom's pivotal role in the

The purpose of this project is twofold: to contribute to the literature of chamber ensembles comprising mixed wind, string, and percussion instruments by producing arrangements of three piano rags by William Bolcom; and to highlight Bolcom's pivotal role in the ragtime revival of the 1960's and 1970's. Through his influence as a scholar, composer, and performer, Bolcom (b. 1938), one of the most prominent American composers of his generation, helped garner respect for ragtime as art music and as one of America's great popular music genres. Bolcom's 3 Ghost Rags were written in the tradition of classic piano rags, but with a compositional sensibility that is influenced by the fifty years that separate them from the close of the original ragtime era. The basis for the present orchestrations of 3 Ghost Rags is the collection of instrumental arrangements of piano rags published by Stark Publishing Co., entitled Standard High-Class Rags. More familiarly known as the "Red Back Book," this publication was representative of the exchange of repertoire between piano and ensembles and served as a repertory for the various ragtime revivals that occurred later in the twentieth century. In creating these orchestrations of Bolcom's piano rags, the author strove to provide another medium in which Bolcom's music could be performed, while orchestrating the music for an historically appropriate ensemble.

Contributors

Agent

Created

Date Created
2013

149808-Thumbnail Image.png

An investigation of finger motion and hand posture during clarinet performance

Description

Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous

Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous Computing Laboratory. Performance tasks included performing a slurred three-octave chromatic scale in sixteenth notes, at sixty quarter-note beats per minute, three times, with a metronome and a short pause between repetitions, and forming three pedagogical hand postures. Following the CyberGloves® tasks, each subject completed a questionnaire about equipment, playing history, practice routines, health practices, and hand usage during computer and sports activities. CyberGlove® data were analyzed to find average hand/finger postures and differences for each pitch across subjects, subject variance in the performance task and differences in ascending and descending postures of the chromatic scale. The data were also analyzed to describe generalized finger posture characteristics based on hand size, whether right hand thumb position affects finger flexion, and whether professional clarinetists use similar finger/hand postures when performing on clarinet, holding a tennis ball, allowing hands to hang freely by the sides, or form a "C" shape. The findings of this study suggest an individual approach based on hand size is necessary for teaching clarinet hand posture.

Contributors

Agent

Created

Date Created
2011

150456-Thumbnail Image.png

Beyond Debussy and Ravel: impressionism in the early advanced short piano works of selected European and American composers

Description

Musical Impressionism has been most significantly reflected through the works of Claude Debussy (1862-1918) and Maurice Ravel (1875-1937). These two key figures exhibit the essence of this art and their piano music remains substantial, influential, and frequently assigned and played

Musical Impressionism has been most significantly reflected through the works of Claude Debussy (1862-1918) and Maurice Ravel (1875-1937). These two key figures exhibit the essence of this art and their piano music remains substantial, influential, and frequently assigned and played today. Nevertheless, from a pedagogical perspective, important factors required in achieving a successful performance of Debussy and Ravel's piano music--delicate tone production, independent voicing, complicated rhythm, sensitive pedaling, and a knowledgeable view of Impressionism--are musically and technically beyond the limit of early advanced students. This study provides a collection of short piano pieces by nine lesser-known European and American composers--Edward MacDowell (1861-1908), Charles Griffes (1884-1920), Marion Bauer (1887-1955), Cyril Scott (1879-1970), Arnold Bax (1883-1953), Selim Palmgren (1878-1951), Ottorino Respighi (1879-1936), Jacques Ibert (1890-1962) and Federico Mompou (1893-1987). They were influenced by impressionistic aesthetics or composed at one time in an impressionistic manner over a span of their lifetimes and their music provides a bridge to the more advanced impressionistic pieces of Debussy and Ravel for early advanced students. These composers' selected short piano pieces display richly colored sonority through the use of impressionistic techniques such as non-functional harmony (parallel chords and free modulation), exotic setting (e.g. modality, pentatonic and whole-tone scales), ostinato figures, bell-sound imitation, and extended texture. Moreover, personal interpretive elements, such as poetic and folklore references, were incorporated in some piano works of MacDowell, Griffes, Bauer, Scott, and Bax; among them MacDowell and Bax were particularly inspired by Celtic and Nordic materials. Mompou infused Spanish folklores in his individual naïve style. Most importantly, these selected short piano pieces are approachable and attractive to early advanced pianists. These works, as well as other largely undiscovered impressionistic piano character pieces, ought to be a great source of preliminary repertoire as preparation for the music of Debussy and Ravel.

Contributors

Agent

Created

Date Created
2011

150292-Thumbnail Image.png

An overview of Bohuslav Martinù's piano style with a guide to analysis and interpretation of the Fantasie et Toccata, H. 281

Description

Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the

Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an "organism." This study examines Martinù's piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinù's overall style through several piano miniatures written throughout his career. It takes into consideration the composer's personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinù's first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinù was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. The discussion and analysis of the Fantasie et Toccata intends to serve as a guide to interpretation for the performer or listener and also seeks to promote the piano music of Bohuslav Martinù to a wider audience.

Contributors

Agent

Created

Date Created
2011

A transcription of four viola works by York Bowen for clarinet and piano

Description

Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet

Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.

Contributors

Agent

Created

Date Created
2011