Matching Items (3)
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- Genre: Sonatas
- Genre: Music--Instruction and study--Social aspects.
- Creators: Arizona State University
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
Description
In this study, I uncover the coded meanings of "urban" within the music education profession through an exploration and analysis of the discourse present in two prominent music education journals, Music Educators Journal (MEJ) and The Journal of Research in Music Education (JRME). Using critical discourse analysis (CDA), I investigate how the term "urban" is used in statements within a twenty-year time span (1991-2010), and how the words "inner-city," "at-risk," "race," and "diversity" are used in similar ways throughout the corpus. An in-depth examination of these five terms across twenty years of two major publications of the profession reveals attitudes and biases within the music education structure, uncovering pejorative themes in the urban music education discourse. The phrase "urban music education" is rarely defined or explained in the corpus examined in this study. Rather, the word "urban" is at times a euphemism. Based on a CDA conducted in this study, I suggest that "urban" is code for poor, minority, and unable to succeed. Relying on the philosophical ideas of Michel Foucault, I uncover ways in which the profession labels urban music programs, students, and teachers and how the "urban music education" discourse privileges the White, suburban, middle class ideal of music education. I call for an evaluation of the perceptions of "success" in the field, and advocate for a paradigm shift, or different methods of knowing, in order to provide a more just teaching and learning space for all music education actors.
ContributorsFarmer, Dawn Marie (Author) / Stauffer, Sandra L. (Thesis advisor) / Schmidt, Margaret (Committee member) / Solis, Theodore (Committee member) / Sullivan, Jill M. (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2015