Matching Items (236)
Description
New music is often created as a product of commissions resulting in a collaborative effort between the performer and the composer. This performer-composer relationship represents an important component of the role of the artist in expanding the repertoire of the instrument. Belgian composer, Norbert Goddaer (b. 1933), has written numerous works for clarinet that are the result of such collaborations. Mr. Goddaer's works for clarinet are well-crafted and audience-friendly, and are thus good programming choices for students and professionals alike. His clarinet works have been performed worldwide in artist recitals, conferences for organizations such as the International Clarinet Association, The Midwest Clinic, and the Texas Music Educators Association, and have been commercially recorded and released by some of the foremost contemporary clarinet artists. These works have a great education value given the fact that they are appropriate choices for such a wide range of clarinetists. In an effort to contribute to this body of performance history, the author has produced a recording of five of Goddaer's previously unrecorded works, accompanied by a performance guide to each work. This document provides detailed performance notes with corresponding musical examples, basic formal analyses, and musical suggestions for Las Mañas, Conversations, Ballad, Duets, and Restless by Norbert Goddaer. The author has included a full transcript of an interview with Norbert Goddaer, which includes a first-person discussion of each work, and additionally includes biographical information supported by concert programs and an annotated list of all of Goddaer's works for clarinet, and a discography of his works for clarinet.
ContributorsClasen, Kevin (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Committee member) / Norton, Kay (Committee member) / Hill, Gary (Committee member) / McAllister, Timothy (Committee member) / Arizona State University (Publisher)
Created2012
Description
The number of Brazilian immigrants in the United States has greatly increased over the past three decades. In Phoenix, Arizona, this population increase reveals itself through a greater number of large Brazilian cultural events and higher demand for live Brazilian music. Music is so embedded in Brazilian culture that it serves as the ideal medium through which immigrants can reconnect to their Brazilian heritage. In this thesis, I contend that Brazilian immigrants in Phoenix, Arizona maintain their identity as Brazilians through various activities extracted from their home culture, the most prominent being musical interaction and participation. My research reveals three primary factors which form a foundation for maintaining cultural identity through music within the Brazilian immigrant community in Phoenix. These include the common experiences of immigration, diasporic identity, and the role of music within this diaspora. Music is one of the stronger art forms for representing emotions and creating an experience of relationship and connections. Music creates a medium with which to confirm identity, and makes the Brazilian immigrant population visible to other Americans and outsiders. While other Brazilian activities can also serve to maintain immigrants' identity, it is clear to me from five years of participant-observation that musical interaction and participation is the most prominent and effective means for Brazilians in Phoenix to maintain their cultural identity while living in the U.S. As a community, music unites the experiences of the Brazilian immigrants and removes them from the periphery of life in a new society.
ContributorsSwietlik, Amy (Author) / Solís, Ted (Thesis advisor) / Norton, Kay (Committee member) / Pilafian, Sam (Committee member) / Arizona State University (Publisher)
Created2012
Description
Emily Dickinson is a well-known American poet of the nineteenth century, and her oeuvre consists of nearly 2,000 posthumously published poems. Written largely in hymn form with unique ideas of punctuation and grammar, her poetry attracts composers with its inherent musicality. The twentieth-century American composers Aaron Copland, Ernst Bacon, Lee Hoiby, and Gordon Getty have created song settings of Dickinson's poetry. Copland's song cycle Twelve Poems of Emily Dickinson (1949-50) is admired by many as an illustration of poetry; however, the Dickinson cycles by Bacon, Hoiby, and Getty are also valuable, lesser-known representations of her writing. Settings of one poem, "There came a Wind like a Bugle--", are common among Copland's Twelve Poems, Bacon's cycle Songs from Emily Dickinson: Nature, Time, and Space (1930), Hoiby's Four Dickinson Songs (1988), and Getty's The White Election (1982). These latter three settings have previously undergone some theoretical analysis; however, this paper considers a performance analysis of these songs from a singer's point of view. Chapter 1 provides background for this study. Chapter 2 consists of a biographical overview of Dickinson's life and writing style, as well as a brief literary analysis of "There came a Wind like a Bugle--". Chapters 3, 4, and 5 discuss Ernst Bacon, Lee Hoiby, and Gordon Getty, respectively; each chapter consists of a short biography of the composer and a discussion of his writing style, a brief theoretical analysis of his song setting, and commentary on the merits of his setting from the point of view of a singer. Observations of the depiction of mood in the song and challenges for the singer are also noted. This paper provides a comparative analysis of three solo vocal settings of one Emily Dickinson poem as a guide for singers who wish to begin studying song settings of this poem. The Bacon and Hoiby settings were found to be lyrical, tonal representations of the imagery presented in "There came a Wind like a Bugle--". The Getty setting was found to be a musically starker representation of the poem's atmosphere. These settings are distinctive and worthy of study and performance.
ContributorsCastellone, Amanda Beth (Author) / Doan, Jerry (Thesis advisor) / Kopta, Anne E (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mills, Robert (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
Concrete design has recently seen a shift in focus from prescriptive specifications to performance based specifications with increasing demands for sustainable products. Fiber reinforced composites (FRC) provides unique properties to a material that is very weak under tensile loads. The addition of fibers to a concrete mix provides additional ductility and reduces the propagation of cracks in the concrete structure. It is the fibers that bridge the crack and dissipate the incurred strain energy in the form of a fiber-pullout mechanism. The addition of fibers plays an important role in tunnel lining systems and in reducing shrinkage cracking in high performance concretes. The interest in most design situations is the load where cracking first takes place. Typically the post crack response will exhibit either a load bearing increase as deflection continues, or a load bearing decrease as deflection continues. These behaviors are referred to as strain hardening and strain softening respectively. A strain softening or hardening response is used to model the behavior of different types of fiber reinforced concrete and simulate the experimental flexural response. Closed form equations for moment-curvature response of rectangular beams under four and three point loading in conjunction with crack localization rules are utilized. As a result, the stress distribution that considers a shifting neutral axis can be simulated which provides a more accurate representation of the residual strength of the fiber cement composites. The use of typical residual strength parameters by standards organizations ASTM, JCI and RILEM are examined to be incorrect in their linear elastic assumption of FRC behavior. Finite element models were implemented to study the effects and simulate the load defection response of fiber reinforced shotcrete round discrete panels (RDP's) tested in accordance with ASTM C-1550. The back-calculated material properties from the flexural tests were used as a basis for the FEM material models. Further development of FEM beams were also used to provide additional comparisons in residual strengths of early age samples. A correlation between the RDP and flexural beam test was generated based a relationship between normalized toughness with respect to the newly generated crack surfaces. A set of design equations are proposed using a residual strength correction factor generated by the model and produce the design moment based on specified concrete slab geometry.
ContributorsBarsby, Christopher (Author) / Mobasher, Barzin (Thesis advisor) / Rajan, Subramaniam D. (Committee member) / Neithalath, Narayanan (Committee member) / Arizona State University (Publisher)
Created2011
Description
Zwischen in the German language means `between,' and over the past century, as operatic voices have evolved in both range and size, the voice classification of Zwischenfach has become much more relevant - particularly to the female voice. Identifying whether nineteenth century composers recognized the growing opportunities for vocal drama, size, and range in singers and therefore wrote roles for `between' singers; or conversely whether, singers began to challenge and develop their voices to sing the new influx of romantic, verismo and grand repertoire is difficult to determine. Whichever the case, teachers and students should not be surprised about the existence of this nebulous Fach. A clear and concise definition of the word Fach for the purpose of this paper is as follows: a specific voice classification. Zwischenfach is an important topic because young singers are often confused and over-eager to self-label due to the discipline's excessive labeling of Fachs. Rushing to categorize a young voice ultimately leads to misperceptions. To address some of the confusion, this paper briefly explores surveys of the pedagogy and history of the Fach system. To gain insights into the relevance of Zwischenfach in today's marketplace, I developed with my advisors, colleagues and students a set of subjects willing to fill out questionnaires. This paper incorporates current interviews from two casting directors of national and international opera houses, an emerging American mezzo-soprano, a mid-career working European mezzo-soprano, an operatic stage director, an education director for opera houses and a composer. These interviews, along with modern examples of zwischenfach voices are analyzed and discussed.
ContributorsAllen, Jennifer, D.M.A (Author) / Norton, Kay (Thesis advisor) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Ryan, Russell (Committee member) / Barefield, Robert (Committee member) / Arizona State University (Publisher)
Created2012
Description
Musical Impressionism has been most significantly reflected through the works of Claude Debussy (1862-1918) and Maurice Ravel (1875-1937). These two key figures exhibit the essence of this art and their piano music remains substantial, influential, and frequently assigned and played today. Nevertheless, from a pedagogical perspective, important factors required in achieving a successful performance of Debussy and Ravel's piano music--delicate tone production, independent voicing, complicated rhythm, sensitive pedaling, and a knowledgeable view of Impressionism--are musically and technically beyond the limit of early advanced students. This study provides a collection of short piano pieces by nine lesser-known European and American composers--Edward MacDowell (1861-1908), Charles Griffes (1884-1920), Marion Bauer (1887-1955), Cyril Scott (1879-1970), Arnold Bax (1883-1953), Selim Palmgren (1878-1951), Ottorino Respighi (1879-1936), Jacques Ibert (1890-1962) and Federico Mompou (1893-1987). They were influenced by impressionistic aesthetics or composed at one time in an impressionistic manner over a span of their lifetimes and their music provides a bridge to the more advanced impressionistic pieces of Debussy and Ravel for early advanced students. These composers' selected short piano pieces display richly colored sonority through the use of impressionistic techniques such as non-functional harmony (parallel chords and free modulation), exotic setting (e.g. modality, pentatonic and whole-tone scales), ostinato figures, bell-sound imitation, and extended texture. Moreover, personal interpretive elements, such as poetic and folklore references, were incorporated in some piano works of MacDowell, Griffes, Bauer, Scott, and Bax; among them MacDowell and Bax were particularly inspired by Celtic and Nordic materials. Mompou infused Spanish folklores in his individual naïve style. Most importantly, these selected short piano pieces are approachable and attractive to early advanced pianists. These works, as well as other largely undiscovered impressionistic piano character pieces, ought to be a great source of preliminary repertoire as preparation for the music of Debussy and Ravel.
ContributorsChien, Chieh Jenny (Author) / Thompson, Janice Meyer (Thesis advisor) / Hamilton, Robert (Committee member) / Humphreys, Jere (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Arizona State University (Publisher)
Created2011
Description
Ultra-concealable multi-threat body armor used by law-enforcement is a multi-purpose armor that protects against attacks from knife, spikes, and small caliber rounds. The design of this type of armor involves fiber-resin composite materials that are flexible, light, are not unduly affected by environmental conditions, and perform as required. The National Institute of Justice (NIJ) characterizes this type of armor as low-level protection armor. NIJ also specifies the geometry of the knife and spike as well as the strike energy levels required for this level of protection. The biggest challenges are to design a thin, lightweight and ultra-concealable armor that can be worn under street clothes. In this study, several fundamental tasks involved in the design of such armor are addressed. First, the roles of design of experiments and regression analysis in experimental testing and finite element analysis are presented. Second, off-the-shelf materials available from international material manufacturers are characterized via laboratory experiments. Third, the calibration process required for a constitutive model is explained through the use of experimental data and computer software. Various material models in LS-DYNA for use in the finite element model are discussed. Numerical results are generated via finite element simulations and are compared against experimental data thus establishing the foundation for optimizing the design.
ContributorsVokshi, Erblina (Author) / Rajan, Subramaniam D. (Thesis advisor) / Neithalath, Narayanan (Committee member) / Mobasher, Barzin (Committee member) / Arizona State University (Publisher)
Created2012
Description
The current method of measuring thermal conductivity requires flat plates. For most common civil engineering materials, creating or extracting such samples is difficult. A prototype thermal conductivity experiment had been developed at Arizona State University (ASU) to test cylindrical specimens but proved difficult for repeated testing. In this study, enhancements to both testing methods were made. Additionally, test results of cylindrical testing were correlated with the results from identical materials tested by the Guarded Hot&ndashPlate; method, which uses flat plate specimens. In validating the enhancements made to the Guarded Hot&ndashPlate; and Cylindrical Specimen methods, 23 tests were ran on five different materials. The percent difference shown for the Guarded Hot&ndashPlate; method was less than 1%. This gives strong evidence that the enhanced Guarded Hot-Plate apparatus in itself is now more accurate for measuring thermal conductivity. The correlation between the thermal conductivity values of the Guarded Hot&ndashPlate; to those of the enhanced Cylindrical Specimen method was excellent. The conventional concrete mixture, due to much higher thermal conductivity values compared to the other mixtures, yielded a P&ndashvalue; of 0.600 which provided confidence in the performance of the enhanced Cylindrical Specimen Apparatus. Several recommendations were made for the future implementation of both test methods. The work in this study fulfills the research community and industry desire for a more streamlined, cost effective, and inexpensive means to determine the thermal conductivity of various civil engineering materials.
ContributorsMorris, Derek (Author) / Kaloush, Kamil (Thesis advisor) / Mobasher, Barzin (Committee member) / Phelan, Patrick E (Committee member) / Arizona State University (Publisher)
Created2011
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
Calcium hydroxide carbonation processes were studied to investigate the potential for abiotic soil improvement. Different mixtures of common soil constituents such as sand, clay, and granite were mixed with a calcium hydroxide slurry and carbonated at approximately 860 psi. While the carbonation was successful and calcite formation was strong on sample exteriors, a 4 mm passivating boundary layer effect was observed, impeding the carbonation process at the center. XRD analysis was used to characterize the extent of carbonation, indicating extremely poor carbonation and therefore CO2 penetration inside the visible boundary. The depth of the passivating layer was found to be independent of both time and choice of aggregate. Less than adequate strength was developed in carbonated trials due to formation of small, weakly-connected crystals, shown with SEM analysis. Additional research, especially in situ analysis with thermogravimetric analysis would be useful to determine the causation of poor carbonation performance. This technology has great potential to substitute for certain Portland cement applications if these issues can be addressed.
ContributorsHermens, Stephen Edward (Author) / Bearat, Hamdallah (Thesis director) / Dai, Lenore (Committee member) / Mobasher, Barzin (Committee member) / Barrett, The Honors College (Contributor) / Chemical Engineering Program (Contributor)
Created2015-05