Matching Items (8)
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- Genre: Scores
- Creators: Spring, Robert
Description
The repertoire of the saxophone has advanced significantly since its invention circa 1840. Performers are required to adapt to the demands of composers - many of whom are exploring new and unconventional sounds and techniques. Numerous texts exist to identify and explain these so-called "extended" techniques, but there are very few resources for the initial stages of performance. In order to offer performers a resource, the author of this text composed forty original etudes (or studies) that incorporate extended techniques in a variety of ways. After identifying common extended techniques that a performer might face, the author focused on four different ways each individual technique might appear in actual repertoire. The resulting work is entitled Pushing Boundaries: Forty Etudes on Extended Techniques. Each etude offers a practical approach to what is generally a single extended technique. Although this text is not pedagogical in the sense of identifying the mechanics and anatomical requirements of each technique, it does contain a performance analysis of each etude. This analysis identifies areas where performers might struggle and offers helpful suggestions. To this end, the etudes accompanied by performance analysis provide a paced, systematic approach to the mastery of each technique.
ContributorsMurphy, Patrick Joseph (Author) / Hill, Gary (Thesis advisor) / Spring, Robert (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project features three new pieces for clarinet commissioned from three different composers. Two are for unaccompanied clarinet and one is for clarinet, bass clarinet, and laptop. These pieces are Storm's a Comin' by Chris Burton, Light and Shadows by Theresa Martin, and My Own Agenda by Robbie McCarthy. These three solos challenge the performer in various ways including complex rhythm, use of extended techniques such as growling, glissando, and multiphonics, and the incorporation of technology into a live performance. In addition to background information, a performance practice guide has also been included for each of the pieces. This guide provides recommendations and suggestions for future performers wishing to study and perform these works. Also included are transcripts of interviews done with each of the composers as well as full scores for each of the pieces. Accompanying this document are recordings of each of the three pieces, performed by the author.
ContributorsVaughan, Melissa Lynn (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2013
Description
Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have become increasingly popular. Consequently, Latin American performers and composers are receiving more attention and recognition than ever before. The contemporary repertoire for clarinet increasingly includes works highlighted at the ClarinetFest international festivals, and many clarinetists express interest in finding new Latin American compositions. In order to supplement this growing Latin American repertoire and to introduce the life and works of Peruvian composer Armando Guevara Ochoa (1926-2013), this project presents a brief biography of the composer, a discussion of his musical style, and new editions of his popular works transcribed for clarinet. A recording of these works is included in an appendix to this document. Prior to this research, much of the scholarship written about Guevara Ochoa was in Spanish. While most sources and scholars relate that Guevara Ochoa composed over 400 works, the whereabouts of fewer than 200 are currently known. This project will supplement Guevara Ochoa's clarinet literature and raise awareness of his compositions in English-speaking countries.
ContributorsPalmer, Katherine H (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2013
Description
The commissioning and recording of music from living composers is a very important tradition in the art of music. The ability to work with living composers gives the performer insight into the music that is far beyond reading the notes on the page. For my research paper, I commissioned two new works for the cello by the composers Joseph Hallman and Christian Asplund, in an effort to continue adding great pieces to the cello repertoire. This paper documents my experiences in finding and working with selected composers. It includes detailed descriptions of the pieces with practice and performance suggestions as well as recordings of the pieces. Commissioning new works often creates many first-hand artistic decisions for the performer as well as many new technical difficulties on the instrument. The two pieces commissioned offer insight into two different instrumentations: the sonata for cello and piano, and a solo cello suite. In this paper I describe various important aspects of these compositions and point out ways to make informed artistic decisions when approaching form, harmony, motive, and extended techniques on the cello. Providing this information on commissioning and collaborating with living composers will help continue this tradition into the future for classical music.
ContributorsKesler, Michelle (Contributor) / Landschoot, Thomas (Committee member) / Carpenter, Ellon (Committee member) / McLin, Katherine (Committee member) / Spring, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
Description
Four new duets by different composers were commissioned for this project that utilize the clarinet and bass clarinet with tenor saxophone and bassoon. The pieces are Three Southwest Landscapes by Dan Caputo, Gestures by Michael Lanci, Connotations and Denotations by Jeffery Brooks, and Lyddimy by Thomas Breadon, Jr. The present document includes background information and a performance guide for each of the pieces. The guide gives recommendations to aid musicians wishing to perform these works. Also included are transcripts of interviews conducted with each composer and performer, as well as full scores of each piece. In addition to the document there are recordings of all four pieces.
ContributorsMiller, Audrey Jakub (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua T (Thesis advisor) / Creviston, Christopher (Committee member) / Hill, Gary (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2014
Description
New works for the bass clarinet as a solo instrument are uncommon. In the interest of expanding the repertoire of the bass clarinet, three new works for bass clarinet were commissioned from three different composers, all with different instrumentations. The resulting works are Industrial Strength for bass clarinet and piano by Kenji Bunch; Dark Embers for two bass clarinets by Theresa Martin; and Shovelhead for bass clarinet and interactive electronics by Steven Snowden. Although all three works feature the bass clarinet, they are all very different and pose unique challenges to the performer. To accompany these pieces, and as an aid to future performers, a performance practice guide has been included with recommendations for individuals who wish to perform these works. Included in the guide are recommended fingerings, practice techniques, and possible adjustments to the bass clarinet parts designed in collaboration with the composers that make the works more technically accessible. Accompanying this guide are full scores of all three works, a recording of them performed by the author, and a chart that contains recommended altissimo fingerings.
ContributorsMiracle, Matthew (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
Research in fulfillment of the degree of Doctor of Musical Arts in performance has included CD recording projects, commissions of new pieces, as well as papers on existing pieces that push the performer beyond traditional playing by incorporating extended techniques, multimedia, technology, or movement. This study attempts to synthesize these ideas by commissioning a new work for clarinet and electronics that can be performed alone, combined with movement, or with an interactive video accompaniment. Primary work for this project has been the audio recording, music video, and live dance performance of the new work, entitled Agents of Espionage, which can be viewed at: http://www.youtube.com/watch?v=SAZ20kCb0Qg or http://www.youtube.com/watch?v=94- C7wWTeKs&context;=C4063fdcADvjVQa1PpcFPv1fBtuWcqgV638q_BRacH7 XWR-xy1B7A=. The entirety of the project, including creating the music, video, audio recordings, and dance was completed on a limited budget of under $500USD, using all student performers and creators. The accompanying written document outlines the various steps for completing each portion of the project, interviews with the artists involved, including Zachary Bramble, composer; Jason Mills, videographer; and Jacquelyn Achord, choreographer; and an analysis of the music from the performer's perspective. This paper should convey ideas about how future undertakings of this sort are possible. This work has been greatly inspired by Martin Fröst and his collaboration with Fredrik Hogberg on the piece The Invisible Duet.
ContributorsViliunas, Brian Bodo (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Marshall, Kimberly (Committee member) / Schuring, Martin (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this project was to commission, perform, and discuss a new work for an instrument pairing not often utilized, oboe and percussion. The composer, Alyssa Morris, was selected in June 2009. Her work, titled Forecast, was completed in October of 2009 and premiered in February of 2010, as part of a program showcasing music for oboe and percussion. Included in this document is a detailed biography of the composer, a description of the four movements of Forecast, performance notes for each movement, a diagram for stage set-up, the full score, the program from the premiere performance with biographies of all the performers involved, and both a live recording and MIDI sound file. The performance notes discuss issues that arose during preparation for the premiere and should help avoid potential pitfalls. TrevCo Music, publisher of the work, graciously allowed inclusion of the full score. This score is solely for use in this document; please visit the publisher's website for purchasing information. The commission and documentation of this composition are intended to add to the repertoire for oboe in an unusual instrument pairing and to encourage further exploration of such combinations.
ContributorsCreamer, Caryn (Author) / Schuring, Martin (Thesis advisor) / Hill, Gary (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2011