Matching Items (226)
ContributorsGambhir, Rittika (Performer) / Olarte, Aida (Performer) / Gambhir, Ruchika (Performer) / Chen, Neilson (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-24
Description
This study examines the effectiveness of various types of alternative resources in organ building in order to determine whether a change to more sustainable materials would benefit or hinder the overall sound production of the instrument. The qualities of the metals and woods currently used in organ production (e.g. lead, walnut, etc.) have been prized for centuries, so the substitution of different, more sustainable materials must be considered with regards to the sonic alterations, as well as the financial implications, of using alternatives to make the organ more “green.”
Five organ builders were interviewed regarding their views on sustainable materials. In addition, the author consulted the websites of nine national and four international organ builders for information about sustainability, indicating that each organ builder defines the term somewhat differently. Decisions on the woods and metals to be used in building or refurbishing an existing organ are based more on the visual appearance, the sound desired, and the potential for reuse of existing materials. A number of sustainability practices are currently in use by organ builders in the United States and Europe. These include the reuse of transportation boxes, efforts towards recycled metal and wood pipework, and the use of high efficiency lighting.
The investigations into sustainable practice that are presented here document a variety of approaches to sustainability in organ building in the United States, Canada and Europe. This research should assist in the evaluation of further efforts to conserve valuable resources while ensuring the high quality of sound that has characterized the organ throughout its long history.
Five organ builders were interviewed regarding their views on sustainable materials. In addition, the author consulted the websites of nine national and four international organ builders for information about sustainability, indicating that each organ builder defines the term somewhat differently. Decisions on the woods and metals to be used in building or refurbishing an existing organ are based more on the visual appearance, the sound desired, and the potential for reuse of existing materials. A number of sustainability practices are currently in use by organ builders in the United States and Europe. These include the reuse of transportation boxes, efforts towards recycled metal and wood pipework, and the use of high efficiency lighting.
The investigations into sustainable practice that are presented here document a variety of approaches to sustainability in organ building in the United States, Canada and Europe. This research should assist in the evaluation of further efforts to conserve valuable resources while ensuring the high quality of sound that has characterized the organ throughout its long history.
ContributorsGregoire, Jonathan M (Author) / Marshall, Kimberly (Thesis advisor) / Feisst, Sabine (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
Description
Following the Restoration of the English monarchy in 1660, musical culture gradually began to thrive under the support of royal patronage and the emerging middle class. The newly crowned Charles II brought with him a love of French music acquired during his time in exile at the court of his cousin, the young Louis XIV. Organ builders, most notably Bernard Smith and Renatus Harris, brought new life to the instrument, drawing from their experience on the Continent to build larger instruments with colorful solo stops, offering more possibilities for performers and composers. Although relatively few notated organ works survive from the Restoration period, composers generated a niche body of organ repertoire exploring compositional genres inspired by late 17th-century English instruments.
The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.
The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.
ContributorsWhitten, Emma (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsHan, Sarah (Performer) / Kim, Hyewon Rina (Performer) / Chen, Neilson (Performer) / ASU Library. Music Library (Contributor)
Created2018-04-07
Description
Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since the Middle Ages, reflects the dramatic changes in Polish politics throughout the centuries. An understanding of this country's history helps to construct a comprehensive view of how politics influenced the developments in organ building and organ playing. This paper describes the dynamics of the Church, government and art institutions in Poland during the years 1945-2012. A brief summary of the history of Polish organ culture sets the stage for the changes occurring after WWII. The constant struggle between the Church and the communist regime affected music making and organ culture in Poland from 1945-1989. The political détente that occurred after 1989 led to a flowering of new instruments, restorations and performance opportunities for organists. By exploring the relationship between Polish organ culture and prevailing agendas in the 20th century, the author demonstrates how a centuries-old tradition adapted to survive political and economic hardships.
ContributorsKubiaczyk-Adler, Ilona (Author) / Marshall, Kimberly (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
The organ is in a continued state of evolution, tonally and mechanically, designed by the builder to meet certain expectations related to the musical aesthetics of the time. Organ building in the United States has been influenced by both European organ building traditions and American innovations. During the early twentieth century, Ernest M. Skinner emerged as one of the greatest organ builders in America. Throughout his life, Skinner's quest was to create an "ideal organ," capable of playing a variety of music. Skinner's vision was rooted in the Romantic Movement and influenced by the dynamic gradations and rich, colorful sonorities of orchestral and operatic music of the era. A number of technological developments were applied to the design of the organ which made the romantic organ possible. The prominent European organ builders of the nineteenth century created organs that defined the romantic-style instrument in their respective countries. By the end of the century, American organ builders were creating their own versions. Skinner traveled to Europe to learn what he could from the foreign builders. Skinner built organs that synthesized European and American elements, along with his own innovations, as continuation of nineteenth-century trends that brought the romantic-symphonic organ to its fullest realization. Additionally, Skinner developed many new organ timbres, including a number of stops that imitate various orchestral instruments. The result of Skinner's creative work is the the American symphonic organ. This paper attempts to illustrate how the tonal designs of organs built by Walcker, Cavaillé-Coll, and Willis influenced the work of Skinner and the American symphonic organ. The work of each builder is discussed with descriptions of their designs. The designs and innovations of Skinner are examined as related to these European builders. A number of organ specifications are provided to supplement the information presented here. Today, American symphonic organs, particularly those built by Skinner, are revered for their warmth and charm and are inspiring the work of present day organ builders who are incorporating elements of this style into their own designs.
ContributorsGerber, James Theodore (Author) / Marshall, Kimberly (Thesis advisor) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Rogers, Rodney (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2012
Description
The craft of improvisation at the organ has survived a long period of dormancy and is experiencing a strong resurgence in the twenty-first century. This project seeks to establish a precedence for the value of notated music as a resource in learning improvisation, and then, through music analysis, provide examples of how that process can develop. The result of the ideas presented here is a pathway whereby any disciplined organist can learn to imitate composed music, assimilate the musical ideas, and innovate through the act of spontaneous improvisation.
ContributorsHoward, Devon (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Rockmaker, Jody (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 fundamental photophysics of fluorescent probes must be understood when the probes are used in biological applications. The photophysics of BODIPY dyes inside polymeric micelles and rhodamine dyes covalently linked to proteins were studied. Hydrophobic boron-dipyrromethene (BODIPY) dyes were noncovalently encapsulated inside polymeric micelles. Absorbance and fluorescence measurements were employed to study the photophysics of these BODIPY dyes in the micellar environments. Amphiphilic polymers with a hydrophobic character and low Critical Micelle Concentration (CMC) protected BODIPYS from the aqueous environment. Moderate dye loading conditions did not result in ground-state dimerization, and only fluorescence lifetimes and brightnesses were affected. However, amphiphilic polymers with a hydrophilic character and high CMC did not protect the BODIPYS from the aqueous environment with concomitant ground-state dimerization and quenching of the fluorescence intensity, lifetime, and brightnesses even at low dye loading conditions. At the doubly-labeled interfaces of Escherichia coli (E. coli) DNA processivity β clamps, the interchromophric interactions of four rhodamine dyes were studied: tetramethylrhodamine (TMR), TMR C6, Alexa Fluor 488, and Alexa Fluor 546. Absorbance and fluorescence measurements were performed on doubly-labeled β clamps with singly-labeled β clamps and free dyes as controls. The absorbance measurements revealed that both TMR and TMR C6 readily formed H-dimers (static quenching) at the doubly-labeled interfaces of the β clamps. However, the TMR with a longer linker (TMR C6) also displayed a degree of dynamic quenching. For Alexa Fluor 546 and Alexa Fluor 488, there were no clear signs of dimerization in the absorbance scans. However, the fluorescence properties (fluorescence intensity, lifetime, and anisotropy) of the Alexa Fluor dyes significantly changed when three methodologies were employed to disrupt the doubly-labeled interfaces: 1) the addition of sodium dodecyl sulfate (SDS) detergent to denature the proteins, 2) the addition of clamp loader (γ complex) to open one of the two interfaces, and 3) the use of subunit exchange to decrease the number of dyes per interface. These fluorescence measurements indicated that for the Alexa Fluor dyes, other interchromophoric interactions were present such as dynamic quenching and homo-Förster Resonance Energy Transfer (homo-FRET).
ContributorsDonaphon, Bryan Matthew (Author) / Levitus, Marcia (Thesis advisor) / Van Horn, Wade (Committee member) / Woodbury, Neal (Committee member) / Arizona State University (Publisher)
Created2018
Description
Exposure of blood plasma/serum (P/S) to thawed conditions, greater than -30°C, can produce biomolecular changes that misleadingly impact measurements of clinical markers within archived samples. Reported here is a low sample-volume, dilute-and-shoot, intact protein mass spectrometric assay of albumin proteoforms called “ΔS-Cys-Albumin” that quantifies cumulative exposure of archived P/S samples to thawed conditions. The assay uses the fact that S-cysteinylation (oxidation) of albumin in P/S increases to a maximum value when exposed to temperatures greater than -30°C. The multi-reaction rate law that governs this albumin S-cysteinylation formation in P/S was determined and was shown to predict the rate of formation of S-cysteinylated albumin in P/S samples—a step that enables back-calculation of the time at which unknown P/S specimens have been exposed to room temperature. To emphasize the capability of this assay, a blind challenge demonstrated the ability of ΔS-Cys-Albumin to detect exposure of individual and grouped P/S samples to unfavorable storage conditions. The assay was also capable of detecting an anomaly in a case study of nominally pristine serum samples collected under NIH-sponsorship, demonstrating that empirical evidence is required to guarantee accurate knowledge of archived P/S biospecimen storage history.
The ex vivo glycation of human serum albumin was also investigated showing that P/S samples stored above their freezing point leads to significant increases in glycated albumin. These increases were found to occur within hours at room temperature, and within days at -20 °C. These increases continued over a period of 1-2 weeks at room temperature and over 200 days at -20 °C, ultimately resulting in a doubling of glycated albumin in both healthy and diabetic patients. It was also shown that samples stored at lower surface area-to-volume ratios or incubated under a nitrogen atmosphere experienced less rapid glucose adduction of albumin—suggesting a role for oxidative glycation in the ex vivo glycation of albumin.
The ex vivo glycation of human serum albumin was also investigated showing that P/S samples stored above their freezing point leads to significant increases in glycated albumin. These increases were found to occur within hours at room temperature, and within days at -20 °C. These increases continued over a period of 1-2 weeks at room temperature and over 200 days at -20 °C, ultimately resulting in a doubling of glycated albumin in both healthy and diabetic patients. It was also shown that samples stored at lower surface area-to-volume ratios or incubated under a nitrogen atmosphere experienced less rapid glucose adduction of albumin—suggesting a role for oxidative glycation in the ex vivo glycation of albumin.
ContributorsJeffs, Joshua W (Author) / Borges, Chad R (Thesis advisor) / Van Horn, Wade (Committee member) / Williams, Peter (Committee member) / Arizona State University (Publisher)
Created2018