Matching Items (4)
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- Genre: Sonatas
- Genre: Interactive multimedia--Philosophy.
- Genre: Music--Performance.
- Creators: Arizona State University
Description
The purpose of this study was to investigate the attitudes of high band directors in the United States toward solo and ensemble activities. Independent variables such as teaching experience, level of education, MENC region in which directors taught, personal solo and ensemble activity experience, teaching assignment, and director-centered external factors (supplemental contracts, teaching evaluations, program awards) were used to investigate potential differences in attitudinal responses. Subjects were high school band directors (N = 557) chosen through a stratified random sample by state. Participation in the study included completing an online researcher-designed questionnaire that gathered demographic information as well as information regarding directors' attitudes towards benefits from student participation in solo and ensemble activities, the importance of such activities to directors, and attitudes towards student participation in local, regional, and state solo and ensemble festivals and contests. One-way analyses of variance and two-way multivariate analyses of variance were conducted to investigate potential differences in responses according to various independent variables. Significant differences were found in responses to statements of the importance of solo and ensemble to directors and of solo and ensemble festivals and contests according to region, solo and ensemble experience, and director-centered external factors. No significant differences were found for statements of director's attitudes toward benefits of student participation in solo and ensemble activities according to any independent variables. Results indicate that directors understand and believe strongly in the benefits of solo and ensemble activities to students, but factors such as time, job demands, band program expectations, and festival and contest adjudication, format, and timing may hinder directors' inclusion of solo and ensemble activities as an integral part of their program. Further research is suggested to investigate directors' attitudes within individual states as well as ways to integrate solo and ensemble activities into daily band rehearsals.
ContributorsMeyers, Brian D (Author) / Sullivan, Jill (Thesis advisor) / Busg, Jeffrey (Committee member) / Schmidt, Margaret (Committee member) / Stauffer, Sandra (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2011
Description
Wittgenstein’s claim: anytime something is seen, it is necessarily seen as something, forms the philosophical foundation of this research. I synthesize theories and philosophies from Simondon, Maturana, Varela, Wittgenstein, Pye, Sennett, and Reddy in a research process I identify as a paradigm construction project. My personal studio practice of inventing experiential media systems is a key part of this research and illustrates, with practical examples, my philosophical arguments from a range of points of observation. I see media systems as technical objects, and see technical objects as structurally determined systems, in which the structure of the system determines its organization. I identify making, the process of determining structure, as a form of structural coupling and see structural coupling as a means of knowing material. I introduce my theory of conceptual plurifunctionality as an extension to Simondon’s theory. Aspects of materiality are presented as a means of seeing material and immaterial systems, including cultural systems. I seek to answer the questions: How is structure seen as determining the organization of systems, and making seen as a process in which the resulting structures of technical objects and the maker are co-determined? How might an understanding of structure and organization be applied to the invention of contemporary experiential media systems?
ContributorsLahey, Byron (Author) / Burleson, Winslow (Thesis advisor) / Xin Wei, Sha (Committee member) / Collins, Daniel (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2015
Description
Arrangements of music from other instruments have always played a key role in expanding the guitar repertoire. This project investigates the life and work of eighteenth-century composer Antonio Soler (1729-1783), specifically his sonatas for solo keyboard. This study carries out a formal inquiry on Soler's influences, including a background of Soler's life and training, his connection with Domenico Scarlatti (1685-1757), and an overview of the eighteenth-century sonata in Spain. Timbres, articulations, tessitura, and other aspects of Spanish folk music are discussed as related to Soler's composition style. Five sonatas are analyzed in connection to Spanish folk music, and part of this study's focus was arranging the sonatas for two guitars: R. 48, 50, 60, 106 and 114. An overview of the current arrangements of Soler's sonatas for guitar is included in Appendix A.
ContributorsCrissman, Jonathan (Author) / Koonce, Frank (Thesis advisor) / Swartz, Jonathan (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014
Description
This is a solo guitar transcription of the first five movements, known as the "Joyous Mysteries," of the Mystery Sonatas by Heinrich Ignaz Franz von Biber, accompanied by a history of the sonata collection, an analysis of the process of translating a Baroque solo sonata to the guitar, and a guide for performance. The work was chosen because of its significance and popularity within violin repertoire, and the suitability of the solo sonata genre for performance on a guitar. The first section of this project addresses the history and appeal of Biber and the Mystery Sonatas. It is supplemented by a brief survey of guitar transcriptions of Biber's compositions, and the value of the present edition in modern guitar literature. The second section explores the process and challenges of arranging the Mystery Sonatas for solo guitar, followed by a summation of the general allowances and limitations the genre offers to arrangers. The third section focuses on performance practice issues encountered in adapting this series and other Baroque solo sonatas to the guitar. The project concludes with the arrangement, complemented with the original violin and continuo parts for comparison.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
ContributorsLake, Brendan (Author) / Koonce, Frank (Thesis advisor) / Oldani, Robert W. (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2014