Matching Items (4)
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- Genre: Parts (Music)
- Genre: Music--Bibliography.
- Creators: Arizona State University
Description
The use of instrumental vibrato in certain periods of classical music performances has become a highly debated and often fiery topic. The scholars of yesterday had only a few sources with which to gain a better understanding of the definition, mechanics, employment, and prevalent attitudes of those coming before them. This project aims to develop the foundation to a better understanding of instrumental vibrato by compiling primary source material written before 1940 and secondary source material relevant to that period into an annotated bibliography. The source materials in this study were mainly comprised of treatises, tutors, method books, newspaper articles, and dictionaries. The instruments covered in this study included the violin family and relatives (viols, etc...), woodwinds (including recorder), members of the brass family, organ, other keyboard instruments, guitar/banjo/lute, theremin, and prototype
iche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable.
iche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable.
ContributorsVerville, Timothy David (Author) / Russell, Timothy (Thesis advisor) / Humphreys, Jere T (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2012
Description
A new arrangement of the Concerto for Two Horns in E-flat Major, Hob. VIId/6, attributed by some to Franz Joseph Haydn, is presented here. The arrangement reduces the orchestral portion to ten wind instruments, specifically a double wind quintet, to facilitate performance of the work. A full score and a complete set of parts are included. In support of this new arrangement, a discussion of the early treatment of horns in pairs and the subsequent development of the double horn concerto in the eighteenth century provides historical context for the Concerto for Two Horns in E-flat major. A summary of the controversy concerning the identity of the composer of this concerto is followed by a description of the content and structure of each of its three movements. Some comments on the procedures of the arrangement complete the background information.
ContributorsYeh, Guan-Lin (Author) / Ericson, John (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Pilafian, J. Samuel (Committee member) / Arizona State University (Publisher)
Created2011
Description
The solo repertoire from the Light Music Era serves as an important link between the Classical and Jazz soloist traditions. These characteristics are best highlighted through an analysis of three solo transcriptions: Felix Arndt's Nola as performed by Al Gallodoro, Rudy Wiedoeft's Valse Vanité, as performed by Freddy Gardener, and Jimmy Dorsey's Oodles of Noodles, as performed by Al Gallodoro. The transcriptions, done by the author, are taken from primary source recordings, and the ensuing analysis serves to show the saxophone soloists of the Light Music Era as an amalgamation of classical and jazz saxophone. Many of the works performed during the Light Music Era are extant only in recorded form. Even so, these performances possess great historical significance within the context of the state of the saxophone as an important solo instrument in the wider musical landscape. The saxophone solos from the Light Music Era distinguish themselves through the use of formal development and embellishment of standard "song forms" (such as ABA, and AABA), and the use of improvisational techniques that are common to early Jazz; however, the analysis shows that the improvisational techniques were distinctly different than a Jazz solo improvisation in nature. Although it has many characteristics in common with both "Classical Music" (this is used as a generic term to refer to the music of the Western European common practice period that is not Pop music or Jazz) and Jazz, the original research shows that the saxophone solo music from the Light Music Era is a distinctly original genre due to the amalgamation of seemingly disparate elements.
ContributorsPuccio, Dan (Author) / Mcallister, Timothy P (Thesis advisor) / Feisst, Sabine (Committee member) / Kocour, Michael (Committee member) / Pilafian, J. Samuel (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2012
Description
Provided here is a new transcription for viola and piano of Charles V. Stanford's Sonata for Cello and Piano, No. 2, Op. 39. This transcription preserves the original music, but provides new tone color and register possibilities using the viola. In general, there is a lack of solo viola repertoire in the early nineteenth century. Stanford, a romantic composer, writes music using structural forms and harmonic techniques derived from the classical period. In order to introduce violists to the music of Charles Stanford and increase the amount of nineteenth century repertoire for the viola, this transcription of Stanford's Cello Sonata No. 2, Op. 39 is done by making artistic and educated decisions regarding fingerings and bowings, while discussing the choices for register changes. The transcription here can be employed by viola students as an example of repertoire from the early romantic period.
ContributorsPark, Sungjin, D,M.A (Author) / Nancy, Buck (Thesis advisor) / DeMars, James (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2016