Matching Items (57)
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- Status: Published
ContributorsBritton, David (Performer) / Bennett, Glenn (Performer) / Denton, Marcus (Performer) / Hoffer, Warren (Performer) / Smith, Marion (Performer) / Nagell, Ann (Performer) / Pendleton, Mary (Performer) / Fuller, Max (Performer) / ASU Library. Music Library (Publisher)
Created1990-01-29
ContributorsBritton, David (Performer) / ASU Library. Music Library (Publisher)
Created1997-10-21
ContributorsBritton, David (Performer) / McLeod, Lois (Performer) / ASU Library. Music Library (Publisher)
Created1989-08-29
ContributorsBritton, David (Performer) / Thompson, Jan (Performer) / ASU Library. Music Library (Publisher)
Created1999-01-25
ContributorsRussell, Timothy Wells (Conductor) / Britton, David (Performer) / University Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2000-09-22
ContributorsWytko, Joseph (Performer) / Anthony, Jeffrey (Performer) / LaMonica, Michael (Performer) / Gorman, Kevin (Performer) / Hoffer, Warren (Performer) / Sellheim, Eckart (Performer) / Britton, David (Performer) / Marohnic, Chuck (Performer) / Pilafian, Sam (Performer) / Vignola, Frank (Performer) / Dixon, Michael (Performer) / Joseph Wytko Saxophone Quartet (Performer) / Travelin' Light (Jazz duo) (Performer) / ASU Library. Music Library (Publisher)
Created1995-10-20
ContributorsRice, Sarah (Performer) / Reber, William (Performer) / Barefield, Robert (Performer) / Britton, David (Performer) / Chan, Kenny (Performer) / Dektor, Lisa (Performer) / Kleinman, Kaitlynn (Performer) / Tongret, Joann Yeoman (Performer) / ASU Library. Music Library (Publisher)
Created2007-03-24
ContributorsStrava, Robert (Performer) / Spring, Robert (Performer) / Cosand, Walter, 1950- (Performer) / Schulze, Tascha (Performer) / Williamson, Madeline J. (Performer) / Smith, J. B., 1957- (Performer) / Britton, David (Performer) / Barroll-Aschaffenburg, Rayna (Performer) / Wytko, Joseph (Performer) / Kelly, Kathleen (Performer) / ASU Library. Music Library (Publisher)
Created1988-10-11
Description
The Vocal Jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate Vocal Jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the Vocal Jazz ensemble. The discussion relies on recent data showing the benefits of Vocal Jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training.
ContributorsAmerind, Gregory (Author) / Kocour, Michael (Thesis advisor) / Carpenter, Ellon (Committee member) / Britton, David (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
In an interview with the author, composer Chen Yi shared thoughts regarding her inspiration to compose the piece As in a Dream. She composed the first version in 1988 for soprano, violin, and cello. Left unpublished, this work was re-done in 1994 with the Chinese instruments zheng and pipa in place of the violin and cello. As in a Dream is a setting of two linked poems of six lines each by Qingzhao Li, one of the earliest female poets in China. Chen Yi kept the voice part the same in the two versions, but adapted the accompaniment to suit the Chinese instruments.
This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese.
Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry.
This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese.
Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry.
ContributorsIp, Hoi Lam (Author) / Britton, David (Thesis advisor) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015