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Member of: Barrett, The Honors College Thesis/Creative Project Collection

Cross-Disciplinary Arts Collaboration on a Virtual Platform

Description

https://www.youtube.com/watch?v=5osMYze5138

In January 2020, the World Health Organization (WHO) declared the outbreak of the novel SARS-CoV-2, otherwise referred to as COVID-19, to be an international pandemic. Ensuing health regulations around the world forced the cease of international traveling, reduced domestic travel, implemented mandatory stay-at-home orders and asked many to wear face masks in public areas. Students, workers, and many in the public sphere switched from in-person interactions to online platforms, operating remotely from their respective homes. The shift to virtual platforms has since greatly impacted arts programs and professions. Whereas the nature of music and art production rely upon the collaboration between people, often in the same room, the forced shift to virtual platforms created an upheaval for artists to re-imagine their work.

Though the transition from in-person to virtual collaboration seemed abrupt and unwanted, it opened up opportunities to create new projects that otherwise may not have happened. “Cross-Disciplinary Arts Collaboration on a Virtual Platform” took advantage of the ubiquitous shift to virtual collaboration of art disciplines. This project combined poetry, music, dance and visual art to create a unique piece that might not have been possible through strictly in-person collaboration. The goal of this project was to amplify the meaning and impact of music through the addition of words (poetry), movement (dance), and visuals (artwork).

ContributorsBuringrud, Deanna (Author) / Buck, Elizabeth (Thesis director) / Swoboda, Deanna (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)

Created2021-05

Québécois Flute Repertoire: Unearthing Three Little-Known Gems

Description

This paper is the culmination of my creative project for graduation from Barrett, the Honors College at Arizona State University. The creative portion of the project consisted of researching Québécois (or French-Canadian) composers and specifically finding music for flute and piano. I wished to find pieces that could prove valuable in expanding the standard flute repertoire. My goal with this project was to shed light on some fairly unknown and certainly under-played pieces for flute and piano by French-Canadian composers and learn those pieces for my senior recital on March 2, 2020. This summary of the research experience and the process of recital preparation is intended to be a guide for flutists who may work on these pieces in the future and musicians on any instrument who take on a similar project of introducing new pieces to their instrument’s existing repertory.

ContributorsRule, Renee Rejane (Author) / Buck, Elizabeth (Thesis director) / Feisst, Sabine (Committee member) / Dean, W.P. Carey School of Business (Contributor) / School of Music (Contributor) / Department of English (Contributor, Contributor) / Barrett, The Honors College (Contributor)

Created2020-05

The Rise of the 20th Century Female Orchestral Flutist

Description

The first women who performed in orchestral settings were harpists who were substitute or extra players specifically hired for works requiring harp, such as Gustav Mahler’s symphonies or Maurice Ravel’s La Valse (c. 1919). It was not until flutist Doriot Anthony Dwyer won the principal flute position in the BSO in 1952 that a woman was hired as a principal player of a major US orchestra. Following Dwyer’s lead, more women slowly earned their acceptance in professional orchestras. Focusing on the time period 1920-1950, three of the first pioneers who gained acceptance into American orchestras and were the first female orchestral players were flutists Doriot Anthony Dwyer, Lois Schaefer, and Frances Blaisdell. These women lived extraordinary lives and have inspired many generations of female flutists to continue in their footsteps pursuing their own orchestral and professional solo careers. One significant factor for the eventual increase of female musicians in the modern orchestra was the establishment of blind auditions. A blind audition is where a player performs behind a screen for an audition committee to preserve anonymity. Screens can be made of heavy cloth or a room divider that separates the player from the panel of orchestra members critiquing potential hires. This can often include the music director and other musicians. The screen conceals each player’s identity and allows the panel to focus their listening on how a candidate actually sounds versus how they may look and act while playing. Limiting stimuli to aural perception would help to mitigate bias or prejudice against race, gender, or age through the audition process.

ContributorsMcClain, Katelyn (Author) / Buck, Elizabeth (Thesis director) / Meyer, Jeffery (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)

Created2020-05