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- Genre: Music--19th century--History and criticism.
- Genre: Music--History and criticism--Web-based instruction--Arizona--Case studies.
- Genre: Music--Latin America--History and criticism.
- Creators: Arizona State University
Description
During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America.
ContributorsOcampo Cardona, Javier Andrés (Author) / McAllister, Timothy (Thesis advisor) / Spring, Robert (Committee member) / Hill, Gary (Committee member) / Pilafian, Sam (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study examines the experiences of participants enrolled in an online community college jazz history course. I surveyed the participants before the course began and observed them in the online space through the duration of the course. Six students also participated in interviews during and after the course. Coded data from the interviews, surveys, and recorded discussion posts and journal entries provided evidence about the nature of interaction and engagement in learning in an online environment. I looked for evidence either supporting or detracting from a democratic online learning environment, concentrating on the categories of student engagement, freedom of expression, and accessibility. The data suggested that the participants' behaviors in and abilities to navigate the online class were influenced by their pre-existing native media habits. Participants' reasons for enrolling in the online course, which included convenience and schedule flexibility, informed their actions and behaviors in the class. Analysis revealed that perceived positive student engagement did not contribute to a democratic learning environment but rather to an easy, convenient experience in the online class. Finally, the data indicated that participants' behaviors in their future lives would not be affected by the online class in that their learning experiences were not potent enough to alter or inform their behavior in society. As online classes gain popularity, the ability of these classes to provide meaningful learning experiences must be questioned. Students in this online jazz history class presented, at times, a façade of participation and community building but demonstrated a lack of sincerity and interest in the course. The learning environment supported accessibility and freedom of expression to an extent, but students' engagement with their peers was limited. Overall, this study found a need for more research into the quality of online classes as learning platforms that support democracy, student-to-student interaction, and community building.
ContributorsHunter, Robert W. (Author) / Stauffer, Sandra L (Thesis advisor) / Tobias, Evan (Thesis advisor) / Bush, Jeffrey (Committee member) / Kocour, Michael (Committee member) / Pilafian, Sam (Committee member) / Arizona State University (Publisher)
Created2011
Description
This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.
ContributorsZhang, Dongfang (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
Charles-Valentin Alkan’s Grande Sonate Op. 33 ‘Les quatre âges’ is a unique four-movement work for piano solo that programmatically represents a man’s life through four decades, passing from age 20 to 50, with each movement being progressively slower than the previous. Published in 1847, it was destined for obscurity until it was rediscovered and premiered in 1973 by English pianist Ronald Smith. Its absence from the public’s reach can be attributed to multiple reasons including the reclusive nature of the composer during the time of composition and the societal issues surrounding the French Revolution of 1848.
Much of Alkan’s music has a reputation for being nearly unplayable because of its complexity and the extremely high level of technical facility a pianist must possess in order to perform it convincingly. Aside from its performance length of nearly an hour, there are many technical issues that prevent Alkan’s Grande Sonate from being performed more frequently. This paper is an exploration of some of these performance and technical issues for consideration by pianists interested in solving the riddle of performing Alkan’s Grande Sonate.
The findings explored are based in part on the author’s experience in performing the complete Grande Sonate in recital, as well as on extant research into Alkan’s life and the interpretation and performance of his works. The paper concludes with an appendix and link to the author’s live performance of the work, another appendix renotating the fugato from Quasi-Faust, and a third appendix providing extensive fingering and voice redistribution for Les enfans [sic] from 40 ans.
Much of Alkan’s music has a reputation for being nearly unplayable because of its complexity and the extremely high level of technical facility a pianist must possess in order to perform it convincingly. Aside from its performance length of nearly an hour, there are many technical issues that prevent Alkan’s Grande Sonate from being performed more frequently. This paper is an exploration of some of these performance and technical issues for consideration by pianists interested in solving the riddle of performing Alkan’s Grande Sonate.
The findings explored are based in part on the author’s experience in performing the complete Grande Sonate in recital, as well as on extant research into Alkan’s life and the interpretation and performance of his works. The paper concludes with an appendix and link to the author’s live performance of the work, another appendix renotating the fugato from Quasi-Faust, and a third appendix providing extensive fingering and voice redistribution for Les enfans [sic] from 40 ans.
ContributorsHillmann, Joshua Lester (Author) / Meir, Baruch (Thesis advisor) / Pagano, Caio (Committee member) / Hamilton, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2018