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- Genre: Doctoral Dissertation
- Creators: Rockmaker, Jody
Description
Among various kinds of piano repertoire in history, the piano repertoire for the left hand alone is a very special category. Though left-hand piano works have the same high artistic value as other piano repertoires, they have been largely ignored and are rarely performed or even played by pianists. Since the 19th century, more and more composers have written music for the left hand, and there are over one thousand pieces composed for the left hand alone, including original solo works, transcriptions, chamber music, and concertos. I had never studied any left-hand repertoires and had minimal knowledge about these pieces before I sustained an injury to my right hand. After intentionally learning, practicing, and performing some left-hand works, I felt like I had been opened up to an entirely new world. I strongly believe that studying those works is essential and provides many benefits for pianists to develop left-hand technique. This research document will be divided into four chapters. Chapter 1 will be an introduction, with brief background information on piano music for the left hand, and an explanation of why composers wrote such works. The history of the development of left-hand compositions, a list of important left-hand pieces, and composers, as well as pianists who influenced the development of left-hand piano composition, will be discussed. In Chapter 2, I will explore five selected left-hand works that are rarely played, including Wanghua Chu’s Prelude for the Left Hand (Man Jiang Hong), Frank Bridge’s Three Improvisations for the Left Hand, H. 134, Max Reger’s 4 Spezialstudien, WoO III/13, Paul Wittgenstein’s “Meditation” and “Du bist die Ruh” from his School for the Left Hand, vol. 3. Providing background information on each composer and composition and identifying the difficulty level of each piece. Using examples from the score, I will focus on the musical and technical challenges involved in learning these works and provide my suggestions for their performance. Chapter 3 will offer advice about how to start learning and playing left-hand works, drawing from my own experience. Chapter 4 will conclude by summarizing information from previous chapters.
ContributorsHuang, Anruo (Author) / Meir, Baruch (Thesis advisor) / Pagano, Caio (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2023
Description
Piano education in China is a complex phenomenon shaped over the past century by many factors: China’s rich history of musical traditions, the influence of missionary piano teachers, the establishment of government-formed music conservatories, rapid changes in a political top-down approach, and the contributions of Russian piano teachers. Globalization and China’s rising economic status in the last four and a half decades have led to more Chinese pianists studying abroad and bringing their education back home. Once a foreign import, the piano is now played by more children in China than anywhere else in the world, and young Chinese pianists are frequently recognized on the world’s most competitive stages. As musicians compete on a global scale and international exchanges grow, understanding piano education in China becomes increasingly important.Three renowned teachers shape today’s piano education in China: Dr. Zhe Tang (唐哲) at Shanghai Conservatory, Dr. Ling Zhao (赵聆) at Central Conservatory, and Dr. Vivian Li (李穗荣) at Xinghai Conservatory. After studying in both China and the West, they train some of China’s best young pianists who are recognized on the world’s most competitive stages. This paper shares the teaching methods and philosophies of Tang, Zhao, and Li through comprehensive interviews and lesson observations. It aims to enhance the teaching and performance of pianists, while offering valuable insights into piano education in China.
The document explores Tang’s methods to inspire characters in the music and achieve balance in timing and sound, Zhao’s techniques to position and move the hands and fingers for effortless control, and Li’s approaches to manipulate natural arm weight to create a variety of tones and sounds. Their teaching presents useful ideas for how to effectively communicate music and guide students to become passionate and independent musicians. Techniques taught by Zhao and Li—such as the finger standing stably on the key, grabbing with the hand, and differing approaches to the high finger technique—encourage pianists to investigate the function of different body parts, the interconnectedness of tension and relaxation, where strength should come from, and how to best support weight with ease. Additionally, Tang, Zhao, and Li describe the unique aspects of piano education in China.
ContributorsBurton, Natalie (Author) / Creviston, Hannah (Thesis advisor) / Meir, Baruch (Thesis advisor) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2023
Description
The relationship between sleep and physical activity is an area of growing scientific interest, particularly in the context of older adults. The importance of examining long sleep duration and its influence on physical activity in this demographic becomes increasingly relevant given rising healthcare costs. This dissertation aims to investigate this intricate relationship via secondary analysis by examining the effects of moderate time-in-bed (TIB) restriction (60 minutes per night)) on various intensities of physical activity (sedentary, light, moderate, vigorous, moderate-vigorous physical activity) in older adults classified as long sleepers and average duration sleepers. It was hypothesized that moderate TIB restriction would result in differential changes in physical activity levels across various intensities, with long sleepers exhibiting increased physical activity and average sleepers displaying decreased activity, potentially influenced by alterations in TST (total sleep time) and SE (sleep efficiency). Utilizing a randomized controlled trial design, this study examined the effect of treatment changes in objectively measures activity (waist actigraphy) and subjects physical activity levels as measured by the Godin Leisure-Time Exercise Questionnaire . Eligible participants were long sleepers (sleeping > 9 hours per night) and average sleepers (sleeping 7-9 hours per night). Both types of sleepers were either randomized to TIB restriction or asked to maintain their average sleep patterns. Mean TIB restriction compared with baseline was 39.5 minutes in average sleepers and 52.9 minutes in long sleepers randomized to TIB restriction . Contrary to the original hypothesis, no significant effect of TIB restriction was observed across all physical activity levels in either long sleepers or average sleepers. However, a notable association was found between increased sleep efficiency (+0.09% [SD = ± 4.64%]) and light physical activity (±31 minutes [SD = ± 104.81, R=0.445, P < 0.007]) in long sleepers undergoing TIB restriction. While this study presents several methodological limitations, including its nature as a secondary analysis and the less-than-intended achievement of TIB restriction, it adds a valuable layer to the existing body of research on sleep and physical activity in older adults. The findings suggest that moderate TIB restriction may not be sufficiently impactful to change behavior in physical activity levels, thus highlighting the need for more nuanced, targeted research in this domain.
ContributorsPerry, Christopher (Author) / Youngstedt, Shawn D (Thesis advisor) / Petrov, Megan (Committee member) / Swan, Pamela (Committee member) / Buman, Matthew (Committee member) / Ringenbach, Shannon (Committee member) / Arizona State University (Publisher)
Created2023
Description
This paper is an in-depth analysis of the symphonic piece titled Subconsciousness for symphony orchestra that was composed during the summer of 2021. This document will explain the conceptual ideas and compositional processes involved in its creation. This document was written as a resource for musicians, music theorist, composers, and public interested in the creative process used to compose the piece. Much of this work was inspired by the writings of Carl Gustav Jung that explore dreams and how the unconscious mind plays an important role in developing these dreams. In addition, this paper shows how Jung’s ideas are manifested in the music, providing arguments that demonstrate how both psychology and music are correlated in the development of the piece.
ContributorsTaborda Higuita, Daniel Felipe (Author) / Rockmaker, Jody (Thesis advisor) / Bolanos, Gabriel (Committee member) / Temple, Alex (Committee member) / Arizona State University (Publisher)
Created2022
Description
A Soldier’s Symphony is a three-movement work for symphony orchestra. The three movements are as follows: I – Sonata Allegro; II – Passacaglia; III – Rondo. A performance at the given metronome markings in the score will last approximately 30 minutes. Instrumentation is piccolo, 2 flutes, 2 oboes, English horn, 2 B-flat clarinets, B-flat bass clarinet, 2 bassoons, contrabassoon, 4 French horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani and strings.In this paper, following introductory material, I write about my combat deployments to Iraq as a U.S. Army soldier and my struggles with psychological war wounds after I returned to the United States, then describe how these experiences and wounds shaped A Soldier’s Symphony. I also write about four composers, Sergei Prokofiev, George Antheil, Daphne Oram and Dennis Smalley, whose music and ideas influenced my approach to composing A Soldier’s Symphony. After presenting an overview analysis of each of my work’s three movements, I conclude by discussing my public and private purposes for composing this work. My public purpose for the work is to raise peoples’ awareness of the true scope of war’s human cost, while my private purpose is to help me bear the personal cost of my own war experiences. The full score of A Soldier’s Symphony is found in Appendix A.
ContributorsPhillips, Jason (Author) / Rockmaker, Jody (Thesis advisor) / Bolanos, Gabriel (Committee member) / Temple, Alex (Committee member) / Arizona State University (Publisher)
Created2024
Description
This research paper explores the works of two contemporary Chinese composers: Shuai Zhang's "Three Preludes" and "The Joys and Sorrows of Love and Life," and Wanghua Chu's "Jasmine Flower Fantasia" and "Man Jiang Hong – Prelude for Left Hand." It introduces the composers with their personal and academic background, as well as the sources of influence to their compositions. A descriptive analysis of the composers’ selected works is provided and discussed in detail, examining formal structure, harmonic language, rhythmic and melodic characteristics, and other compositional elements of highlighted sections of the pieces. Finally, a performance guide for pianists is offered on noteworthy segments of each piece and provides detailed interpretations and suggestions of techniques and challenges.
ContributorsGong, Yuerong (Author) / Hamilton, Robert (Thesis advisor) / Meir, Baruch (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2023
Description
The word “nocturne” was first used to describe a piano work by the Irish composer John Field, who also established its basic framework. The genre was expanded and brought to its maturity by Chopin, who wrote twenty-one nocturnes for solo piano over his entire creative life. Among Chopin’s works, it is the nocturnes with their lyrical melodies and improvisational nature that especially provide flexibility and freedom for performers to express inner feelings and individual interpretations. The marked contrast between Chopin’s early and late nocturnes naturally leads to different interpretive results. Accordingly, this project investigates how the stylistic changes in Chopin’s early and late nocturnes are related to their performances. Taking Op. 9, No. 1 and Op. 62, No. 1 as examples of Chopin’s early and late nocturnes respectively, the project compares the recordings of Artur Rubinstein (1965) and Vladimir Ashkenazy (1981) through the lens of descriptive analyses. The introductory chapter covers the influences on Chopin’s nocturnes, Rubinstein’s and Ashkenazy’s playing styles of Chopin’s works, various editions of Chopin’s nocturnes, and the relation of analysis to performance. The main body of the paper alternates descriptive analysis of each section of Nocturnes Op. 9, No. 1 and Op. 62, No. 1 with comparisons between the two pianists’ recordings. The final chapter outlines how the two nocturnes from Chopin’s early and late creative periods differ from one another and how the changes in style affect the two pianists’ interpretations. The goal of this project is to aid in a better understanding of the interpretive choices made by Rubinstein and Ashkenazy in these two nocturnes.
ContributorsTang, Yun Ms. (Author) / Hamilton, Robert (Thesis advisor) / Rockmaker, Jody (Committee member) / Creviston, Hannah (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2023
A Pedagogical Study of Selected Piano Compositions by the "Godfather of Piano Education", Zhaoyi Dan
Description
The purpose of this project is to research the pedagogical, philosophical and compositional ideals of the renowned Chinese pedagogue Zhaoyi Dan and to provide performance and pedagogical suggestions for selected piano works. Zhaoyi Dan (b. 1940) is one of the leading piano educators of the twentieth and twenty-first centuries in China. Over his sixty years of teaching, he has been given the nickname “Godfather of piano education”. He has taught many renowned concert pianists, including Yundi Li, Sa Chen, and Haochen Zhang. Twenty-nine of Dan’s students have collectively won sixty-three prizes at major international competitions. This paper will detail Zhaoyi Dan’s comprehensive teaching philosophy and methods by studying his published academic theses, piano compositions, and online master classes and seminars. The selected piano works composed by Zhaoyi Dan are presented with an introduction of each piece, brief musical description, and pedagogical suggestions. Through the study of Zhaoyi Dan’s pedagogical philosophies and selected piano works, I hope this paper will show his helpful teaching methods and add to the pedagogical piano repertoire for teachers and students.
ContributorsGuan, Ning (Author) / Creviston, Hannah (Thesis advisor) / Hamilton, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2024
Description
Lowell Liebermann (b.1961) is one of America’s most frequently performed contemporary composers. He has written a large number of piano pieces and his works are often featured in major competitions and doctoral dissertations. Liebermann’s relationship with the piano began early in life and he considers it to be his principal instrument. His understanding of the strengths and limitations of the piano makes his keyboard creations powerful, expressive, and virtuosic. Although many of his pieces have been performed, his Piano Sonata No. 3, Op. 82 has not yet found a large audience or used as the subject of in-depth discussion. It is the author’s hope to stimulate performances of this work through a descriptive analysis and performance guide. This research document begins with a concise biography of the composer, including the composer’s early musical experiences, his education in academia, and his composition career. The second chapter provides a review of the composer’s major works. The third chapter provides a descriptive analysis and performer’s guide, with insights into Liebermann’s expectations of the performer. The present study includes a lecture recital, found online at https://youtu.be/Uf-SpK8cIr0?si=usxy5_AaWu7VoKP4
ContributorsWei, Jialin (Author) / Meir, Baruch (Thesis advisor) / Hamilton, Robert (Thesis advisor) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2024
Description
Servant leadership is a philosophy founded by Robert K. Greenleaf. It emphasizes the leader's responsibility to serve and empower their followers rather than the leader's authority or control over them. While this approach has been widely studied in various organizational settings, its application to the area of music, specifically large ensemble conducting, remains relatively underexplored.As part of this case study, I interviewed six conductors of large ensembles whose groups perform at a high level, but who also place a premium on the needs, happiness, and empowerment of the musicians in their groups. At the same time, I surveyed published literature on the topics of conductor leadership philosophy in North America and servant-leadership principles, specifically the work of Robert K. Greenleaf.
This study has brought to light many positive aspects of servant leadership. We also identify some challenges institutions/structures in general create that make servant leadership challenging. Based on the responses participants gave, we can begin to see there is the possibility of serving our ensemble members, giving them agency in rehearsals to be artists, achieve high standards, and help everyone grow as people beyond their musical development.
ContributorsMaddix, Dylan Rook (Author) / Caslor, Jason (Thesis advisor) / Duncan, Jamal (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2023