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ContributorsRaschko, Hannah (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26
Description
Students afflicted with music performance anxiety (MPA) can greatly benefit from guidance and mentorship from a music teacher with whom they have established trust, however there exists a knowledge gap between the development and manifestations of MPA, and how it can be overcome in order to prepare the student for success as a performer. It is my purpose with this guide to inform musicians, including students and teachers, about MPA, common coping methods, and outside resources where pedagogues, students, and even professionals can find further guidance. This document is designed to aid music students and teachers in their individual research on the topic. The first section provides necessary background information on MPA and concepts of gender, identity, and personality. A discussion of the results of an experimental protocol that surveyed double reed musicians about their experiences with performance anxiety comprises the second section. An annotated bibliography, listing other resources including self-help books, personal accounts, and scientific studies, is contained in the final section of this guide. Because of the relative absence of research done on the correlation between MPA and specific identity traits including personality, self-image, and gender, it was necessary to incorporate more generalized sources relating to the topic. The annotations offer a more comprehensive approach to understanding and overcoming MPA. This work is not meant to be all-inclusive; rather, its purpose is to act as a basic guide.
ContributorsMacKenzie, Kate, D.M.A (Author) / Micklich, Albie (Thesis advisor) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014
Description
Since 1999, a small group of groundbreaking orchestral works for turntables and orchestra has surfaced on the concert stage. These compositions explore the possibilities of the turntables and invite an intriguing fusion of musical cultures of the classically trained musician and the hip-hop DJ. Since DJ turntablists typically follow an improvised tradition and do not read music, the composer must find an effective means of notating the turntables and collaborate with the turntablist in the execution of the work. As interest in turntables composition grows, there is a need for discussion and a compositional guide with advice based on present day works. In effort to contribute a guide for turntablism composition, my research includes a historical and composer perspective that discusses turntables techniques, operation of the equipment, digital technology, hip-hop background, history of the instrument, and works of the past and present with musical excerpts pertaining to the notation and use of the turntables. Specific sources include: RPM by Nicole Lizée, Concerto for Trumpet, Turntables, and Orchestra by Paul Leary, Concerto for Turntables and Orchestra by Gabriel Prokofiev, and Stephen Webber's turntable method book The Art of the DJ Turntable Technique. Interviews with composers Prokofiev, Lizée, and Leary have provided important primary source information regarding their experience with turntablism composition and performance. Unrelated to the above research and attached as an appendix, my composition Andrew's Ritual for Bedtime for chamber orchestra is a single movement for choreographed dance that depicts a mother preparing her energetic young son for bed. The title references the nightly rituals parents undertake in order to prepare their children for bedtime.
ContributorsOuper, Jeffrey Thomas (Author) / Hackbarth, Glenn (Thesis advisor) / Standley, Eileen (Committee member) / Feisst, Sabine (Committee member) / DeMars, James (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsSalazar, Nathan (Performer) / Creviston, Hannah (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-24
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
The thrill of a live performance can enhance endorphin, serotonin, dopamine, and adrenaline levels in the body. This mixture of heightened chemical levels is a result of "performance adrenaline." This phenomenon can positively and/or negatively affect a performing singer. A singer's body is her instrument, and therefore, any bodily change can alter the singing voice. The uptake of these chemicals can especially influence a central aspect of singing: breath. "Performance adrenaline" can induce shallow or clavicular breathing, alter phonation, and affect vibrato. To optimize the positive effects and counteract the negative, diaphragmatic breathing, yoga, and beta-blockers are explored as viable management tools. When managed properly, the boost offered by "performance adrenaline" can aid the singer in performing and singing. After a review of medical and psychological studies that reveal the physiological and emotional effects of endorphins, serotonin, dopamine, and adrenaline, this paper will explore the biological changes specific to vocalists and methods to optimize these effects in performance.
ContributorsPaige, Belinda Roseann (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
"Recontextualizing Music for Social Change" proposes alternative ways through which the traditional setup of a vocal recital may be transformed into a multidisciplinary performance with a specific social purpose. This task might be achieved by the conscious use and merging of elements such as innovation, ritualistic significance of music, and hopes for social change.
Rather than exclusively analyzing the nature of these three elements, this document seeks to exemplify the artistic use of these tools through the description of two doctoral recitals. These performances focus on the portrayal of two specific social issues concerning gender identity: the femme fatale, and sexual identity.
The first performance, "Defatalizing the Femme Fatale: The Voice behind a Stereotype," reflects on the negative connotations of the French femme fatale stereotype. This dangerous image has been perpetuated through popular and mass media since the nineteenth century. The femme fatale has achieved an iconic status thanks to her appealing, damaging, unrealistic, and hypersexualized traits. Nevertheless, this male-constructed stereotype was actually conceived as a parody of female emancipation. "Defatalizing the Femme Fatale" seeks to create awareness of this image through a staged approach of Shostakovich's Michelangelo Suite, feminist poetry and prose, and euphonium music.
The second performance, "Un-Labelling Love: A Scientific Study of Romantic Attachment in Four Seasons," analyses the biological nature of love. According to this perspective, "Un-Labelling Love" transforms a vocal recital into a scientific lecture. This lecture examines four developmental stages of romantic love through the performance of art songs and the inclusion of a narrator, who describes the biological and psychological changes experienced by two research subjects--the performers--during these love stages. Through a plot-twist at the end of the performance, "Un-Labelling Love" also questions the patriarchal assumption that heterosexual kinship represents, by default, the unmarked category of adult pair-bonding. In summary, and based on scientific facts, this vocal performance seeks to encourage social assimilation of non-heterosexual kinship systems.
Rather than exclusively analyzing the nature of these three elements, this document seeks to exemplify the artistic use of these tools through the description of two doctoral recitals. These performances focus on the portrayal of two specific social issues concerning gender identity: the femme fatale, and sexual identity.
The first performance, "Defatalizing the Femme Fatale: The Voice behind a Stereotype," reflects on the negative connotations of the French femme fatale stereotype. This dangerous image has been perpetuated through popular and mass media since the nineteenth century. The femme fatale has achieved an iconic status thanks to her appealing, damaging, unrealistic, and hypersexualized traits. Nevertheless, this male-constructed stereotype was actually conceived as a parody of female emancipation. "Defatalizing the Femme Fatale" seeks to create awareness of this image through a staged approach of Shostakovich's Michelangelo Suite, feminist poetry and prose, and euphonium music.
The second performance, "Un-Labelling Love: A Scientific Study of Romantic Attachment in Four Seasons," analyses the biological nature of love. According to this perspective, "Un-Labelling Love" transforms a vocal recital into a scientific lecture. This lecture examines four developmental stages of romantic love through the performance of art songs and the inclusion of a narrator, who describes the biological and psychological changes experienced by two research subjects--the performers--during these love stages. Through a plot-twist at the end of the performance, "Un-Labelling Love" also questions the patriarchal assumption that heterosexual kinship represents, by default, the unmarked category of adult pair-bonding. In summary, and based on scientific facts, this vocal performance seeks to encourage social assimilation of non-heterosexual kinship systems.
ContributorsVázquez Morillas, Mario (Author) / Norton, Kay (Thesis advisor) / Reber, William F. (Thesis advisor) / Kopta, Anne (Committee member) / Bowditch, Rachel (Committee member) / Arizona State University (Publisher)
Created2014
Description
Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an "organism." This study examines Martinù's piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinù's overall style through several piano miniatures written throughout his career. It takes into consideration the composer's personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinù's first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinù was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. The discussion and analysis of the Fantasie et Toccata intends to serve as a guide to interpretation for the performer or listener and also seeks to promote the piano music of Bohuslav Martinù to a wider audience.
ContributorsCrane-Waleczek, Jennifer (Author) / Hamilton, Robert (Thesis advisor) / Hackbarth, Glenn (Committee member) / Meyer Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2011
Description
Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango songs are presented here: "Elegante Papirusa" by Tito Roccatagliata, "A La Gran Muñeca" by Jesús Ventura, and "La Cotorrita" by Samuel Castriota. The arrangements follow the style of three early recordings produced by The Victor Talking Machine in 1920 and 1922, as performed by two authentic Argentine orquesta típicas: Orquesta Típica Select and Orquesta Típica Fresedo. A brief history of the style and instrumental evolution of tango music from its influences and origins up until 1920 is discussed, followed by a detailed account of the musicians and circumstances involved in the three early recordings. An explanation of the issues encountered by the author in adapting the early tango style to the brass quintet setting is discussed, along with the solutions realized in order to make the project successful and practical for a moderately advanced brass quintet. The full brass quintet scores are provided as part of the Appendix.
ContributorsCamacho, Gustavo (Musician) (Author) / Ericson, John Q (Thesis advisor) / Pilafian, Samuel (Committee member) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2011
Description
Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.
ContributorsDeBoer, Andrew Caleb (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Norton, Kay (Committee member) / McAllister, Timothy (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011