Matching Items (8)
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- Genre: Music--Instruction and study.
- Genre: Interviews
- Creators: Arizona State University
- Status: Published
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this project was to create a beginner-level oboe method book that provides equal attention to both the instrumental and musical concepts necessary for a beginner oboist. The existing literature for beginning oboe students focuses on two specific settings: full band classrooms, where students are playing and learning the instruments together, and private lesson settings, where one or a group of oboe students are focused on learning to play the oboe. Books written for band settings typically focus on teaching the students how to function as a part of the band, with extensive coverage of musical concepts; conversely, books for private lessons often assume a basic level of musical knowledge by the student, and focus heavily on how to play the instrument. This project provides the basis for a new book that combines these elements into a document that both band and private instructors would be able to use.
I began my project by collecting all of the extant beginner-level method books for the oboe, dividing them into those for band settings and those for lesson settings. I then created a detailed survey to analyze each book's contents so that in the new book I might address any and all shortcomings in the existing literature. I then distilled the results of this survey into charts, so that any teacher could look at the contents of each book and see how said book fits within the results. Once this was finished, I created an outline for the new method book, listing the contents of the front material, lessons, and back material. My outline sequences the musical and instrumental material together, providing students with all of information necessary to become a successful beginning oboist. I stopped short of selecting music or creating the book's layout, but my goal is to publish the completed book within the next year.
I began my project by collecting all of the extant beginner-level method books for the oboe, dividing them into those for band settings and those for lesson settings. I then created a detailed survey to analyze each book's contents so that in the new book I might address any and all shortcomings in the existing literature. I then distilled the results of this survey into charts, so that any teacher could look at the contents of each book and see how said book fits within the results. Once this was finished, I created an outline for the new method book, listing the contents of the front material, lessons, and back material. My outline sequences the musical and instrumental material together, providing students with all of information necessary to become a successful beginning oboist. I stopped short of selecting music or creating the book's layout, but my goal is to publish the completed book within the next year.
ContributorsAikens, William (Author) / Schuring, Martin (Thesis advisor) / Gardner, Joshua (Committee member) / Carpenter, Ellon (Committee member) / Arizona State University (Publisher)
Created2014
Description
Music training is associated with measurable physiologic changes in the auditory pathway. Benefits of music training have also been demonstrated in the areas of working memory, auditory attention, and speech perception in noise. The purpose of this study was to determine whether long-term auditory experience secondary to music training enhances the ability to detect, learn, and recall new words.
Participants consisted of 20 young adult musicians and 20 age-matched non-musicians. In addition to completing word recognition and non-word detection tasks, each participant learned 10 nonsense words in a rapid word-learning task. All tasks were completed in quiet and in multi-talker babble. Next-day retention of the learned words was examined in isolation and in context. Cortical auditory evoked responses to vowel stimuli were recorded to obtain latencies and amplitudes for the N1, P2, and P3a components. Performance was compared across groups and listening conditions. Correlations between the behavioral tasks and the cortical auditory evoked responses were also examined.
No differences were found between groups (musicians vs. non-musicians) on any of the behavioral tasks. Nor did the groups differ in cortical auditory evoked response latencies or amplitudes, with the exception of P2 latencies, which were significantly longer in musicians than in non-musicians. Performance was significantly poorer in babble than in quiet on word recognition and non-word detection, but not on word learning, learned-word retention, or learned-word detection. CAEP latencies collapsed across group were significantly longer and amplitudes were significantly smaller in babble than in quiet. P2 latencies in quiet were positively correlated with word recognition in quiet, while P3a latencies in babble were positively correlated with word recognition and learned-word detection in babble. No other significant correlations were observed between CAEPs and performance on behavioral tasks.
These results indicated that, for young normal-hearing adults, auditory experience resulting from long-term music training did not provide an advantage for learning new information in either favorable (quiet) or unfavorable (babble) listening conditions. Results of the present study suggest that the relationship between music training and the strength of cortical auditory evoked responses may be more complex or too weak to be observed in this population.
Participants consisted of 20 young adult musicians and 20 age-matched non-musicians. In addition to completing word recognition and non-word detection tasks, each participant learned 10 nonsense words in a rapid word-learning task. All tasks were completed in quiet and in multi-talker babble. Next-day retention of the learned words was examined in isolation and in context. Cortical auditory evoked responses to vowel stimuli were recorded to obtain latencies and amplitudes for the N1, P2, and P3a components. Performance was compared across groups and listening conditions. Correlations between the behavioral tasks and the cortical auditory evoked responses were also examined.
No differences were found between groups (musicians vs. non-musicians) on any of the behavioral tasks. Nor did the groups differ in cortical auditory evoked response latencies or amplitudes, with the exception of P2 latencies, which were significantly longer in musicians than in non-musicians. Performance was significantly poorer in babble than in quiet on word recognition and non-word detection, but not on word learning, learned-word retention, or learned-word detection. CAEP latencies collapsed across group were significantly longer and amplitudes were significantly smaller in babble than in quiet. P2 latencies in quiet were positively correlated with word recognition in quiet, while P3a latencies in babble were positively correlated with word recognition and learned-word detection in babble. No other significant correlations were observed between CAEPs and performance on behavioral tasks.
These results indicated that, for young normal-hearing adults, auditory experience resulting from long-term music training did not provide an advantage for learning new information in either favorable (quiet) or unfavorable (babble) listening conditions. Results of the present study suggest that the relationship between music training and the strength of cortical auditory evoked responses may be more complex or too weak to be observed in this population.
ContributorsStewart, Elizabeth (Author) / Pittman, Andrea (Thesis advisor) / Cone, Barbara (Committee member) / Zhou, Yi (Committee member) / Arizona State University (Publisher)
Created2017
Description
Our world has become smaller due to globalization and frequent cultural exchange between different countries. As a result, classical music is becoming increasingly global. There are a significant number of Chinese composers, including Tan Dun, Chen Yi, Zhou Long, and Bright Sheng, who have gained international attention. For a modern performer, familiarity with music outside of the Western canon is increasingly important.
Bright Sheng is an internationally renowned Chinese-American composer who blends the heritage of traditional Chinese musical elements, traditional instruments, Chinese Opera and folk melodies with Western musical techniques. He infuses Chinese character into his works and introduces Chinese music to the Western classical music world.
In this paper, I discuss two of Bright Sheng’s pieces: A Night at the Chinese Opera and Three Fantasies. Both works were composed in 2005 and are the only two compositions he wrote for violin and piano. Most pianists are not familiar with how to transfer or imitate the sounds of traditional Chinese instruments on Western musical instruments. The paper examines traditional Chinese techniques for Western instruments from A Night in Chinese Opera. Three Fantasies contains three distinct musical characters related to different musical elements from different regions of China. I explore the traditional musical forms from Three Fantasies and offer practical suggestions for performance practice.
This document provides Bright Sheng’s biography, educational background, influences, and compositional style. It also features the inspirations for both pieces, a detailed analysis of both scores including a structural outline, discussion of compositional style, usage of rhythm and timbre and explanation of special techniques. This document also serves as an interpretative guide to each composition, including story outlines, suggestions for practice strategies, aesthetic considerations, rehearsal techniques and performance considerations.
The research for this paper is based on personal interview and coaching with Bright Sheng and analysis from the published scores for A Night at the Chinese Opera and Three Fantasies by G. Schirmer, Inc. I hope that this document will be a comprehensive performers’ guide to both works and serve as an explanation and promotion of Chinese classical music to a larger audience.
Bright Sheng is an internationally renowned Chinese-American composer who blends the heritage of traditional Chinese musical elements, traditional instruments, Chinese Opera and folk melodies with Western musical techniques. He infuses Chinese character into his works and introduces Chinese music to the Western classical music world.
In this paper, I discuss two of Bright Sheng’s pieces: A Night at the Chinese Opera and Three Fantasies. Both works were composed in 2005 and are the only two compositions he wrote for violin and piano. Most pianists are not familiar with how to transfer or imitate the sounds of traditional Chinese instruments on Western musical instruments. The paper examines traditional Chinese techniques for Western instruments from A Night in Chinese Opera. Three Fantasies contains three distinct musical characters related to different musical elements from different regions of China. I explore the traditional musical forms from Three Fantasies and offer practical suggestions for performance practice.
This document provides Bright Sheng’s biography, educational background, influences, and compositional style. It also features the inspirations for both pieces, a detailed analysis of both scores including a structural outline, discussion of compositional style, usage of rhythm and timbre and explanation of special techniques. This document also serves as an interpretative guide to each composition, including story outlines, suggestions for practice strategies, aesthetic considerations, rehearsal techniques and performance considerations.
The research for this paper is based on personal interview and coaching with Bright Sheng and analysis from the published scores for A Night at the Chinese Opera and Three Fantasies by G. Schirmer, Inc. I hope that this document will be a comprehensive performers’ guide to both works and serve as an explanation and promotion of Chinese classical music to a larger audience.
ContributorsJiang, Zhou (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Carpenter, Ellon (Committee member) / Arizona State University (Publisher)
Created2018
Description
Although music is regarded as a universal language, it is rare to find musicians of different ages, ability levels, and backgrounds interacting with each other in collaborative performances. There is a dearth of mixed-ability-level wind band and string orchestra repertoire, and the few pieces that exist fail to celebrate the talents of the youngest and least-experienced performers. Composers writing music for school-age ensembles have also been excluded from the collaborative process, rarely communicating with the young musicians for whom they are writing.
This project introduced twenty-nine compositions into the wind band and string orchestra repertoire via a collaboration that engaged multiple constituencies. Students of wind and string instruments from Phoenix’s El Sistema-inspired Harmony Project and the Tijuana-based Niños de La Guadalupana Villa Del Campo worked together with students at Arizona State University and composers from Canada, Finland, and across the United States to learn and record concertos for novice-level soloists with intermediate-level accompaniment ensembles.
This project was influenced by the intergenerational ensembles common in Finnish music institutes. The author provides a document which includes a survey of the existing concerto repertoire for wind bands and previous intergenerational and multicultural studies in the field of music. The author then presents each of the mixed-ability concertos created and recorded in this project and offers biographical information on the composers. Finally, the author reflects upon qualitative surveys completed by the project’s participants.
Most the new concertos are available to the public. This music can be useful in the development and implementation of similar collaborations of musicians of all ages and abilities.
This project introduced twenty-nine compositions into the wind band and string orchestra repertoire via a collaboration that engaged multiple constituencies. Students of wind and string instruments from Phoenix’s El Sistema-inspired Harmony Project and the Tijuana-based Niños de La Guadalupana Villa Del Campo worked together with students at Arizona State University and composers from Canada, Finland, and across the United States to learn and record concertos for novice-level soloists with intermediate-level accompaniment ensembles.
This project was influenced by the intergenerational ensembles common in Finnish music institutes. The author provides a document which includes a survey of the existing concerto repertoire for wind bands and previous intergenerational and multicultural studies in the field of music. The author then presents each of the mixed-ability concertos created and recorded in this project and offers biographical information on the composers. Finally, the author reflects upon qualitative surveys completed by the project’s participants.
Most the new concertos are available to the public. This music can be useful in the development and implementation of similar collaborations of musicians of all ages and abilities.
ContributorsBrooks, Melanie Jane (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason K (Thesis advisor) / Belgrave, Melita (Committee member) / Holbrook, Amy (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2018
Description
The purpose of this study was to trouble existing conceptions of disability that ground music education literature and practice. I sought plausible insights into how disability is experienced in, through, and/or around music by participants who are disabled persons/persons with disabilities (DP/PwD). Insights gained might allow readers to complexify and trouble taken-for-granted assumptions about disability. Questions included: (a) How do participants experience disability in, through, and around music? (b) What plausible insights related to disability can be gained by attending to participants’ experiences of disability in, through, and around music? (c) What plausible insights related to inclusion can be gained by attending to participants’ experiences of disability in, through, and around music? The inquiry approach was grounded in Buberian relational ontology, phenomenology, interactional theories of disability, and narrative.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
ContributorsRathgeber, Jesse (Author) / Stauffer, Sandra L (Thesis advisor) / Mantie, Roger (Committee member) / Schmidt, Margaret (Committee member) / Solís, Ted (Committee member) / Tobias, Evan S (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT:
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.
ContributorsTsai, Shao-Chun (Author) / Hickman, David R. (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
Disasters represent disruptions to stability and offer lessons about how climate adaptation is negotiated and acted on. Viewing adaptation as a negotiation helps understand recovery not just as actions taken to minimize harm, but a reflection of values and motivations surrounding adaptation. This research elicits these perspectives and considers them as part of an ongoing agreement for disaster recovery and adaptation in Puerto Rico. Previous research has characterized recovery as an opportunity for rethinking societal arrangements for climate adaptation and highlights the importance of how adaptation is conceptualized across actors. This study builds on past research by using distinct perspectives to understand recovery as an adaptation process and a co-production of a new ‘social contract’ after Hurricane Maria. Community interviews and government documents are analyzed to understand who is involved, where change is happening, and what resources are necessary for success. The purpose of this is to consider distinct framings of recovery and adaptation, and what these contribute to long-term change. Community interviews give a perspective of local stability and show capacities for immediate and long-term recovery. Similarly, government documents discuss managing foundational vulnerabilities like infrastructure, while navigating recovery given geographical and economic obstacles. Findings show that self-organization and harnessing social capital are crucial components of recovery in the Corcovada community after Maria. They rely on bonding and bridging social capital to mobilize resources and reduce vulnerabilities for future threats. This transformative approach was also present in official recovery documents, though political and economic change were stressed as necessary for stability, along with modernizing infrastructure. While recovery documents suggest connecting physical and social resilience, community residents have cultivated this connection long before Maria. Unlike in Corcovada, the government of Puerto Rico is only starting to view disruptions as windows of opportunity and therefore mention plans for transformation but don’t present actions taken. Further, the reality of vulnerable infrastructural, political and economic systems greatly affects recovery both in Corcovada and across the island. Both perspectives will likely affect actions taken in Puerto Rico and recognizing these unique framings of stability can help design transformative, adaptive social contracts for facing future threats.
ContributorsOrtiz, Jessica (Author) / Manuel-Navarrete, David (Thesis advisor) / Klinsky, Sonja (Thesis advisor) / Muñoz-Erickson, Tischa (Committee member) / Brundiers, Katja (Committee member) / Arizona State University (Publisher)
Created2019