Matching Items (412)
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Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts

This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
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About piano students who display disruptive behavior and perform far below reasonable expectations, teachers first conclude that they are lazy, rude, disinterested, and/or lacking intelligence or ability. Most dismiss such students from studios and advise parents to discontinue lessons. In truth, many of these students are both highly gifted and

About piano students who display disruptive behavior and perform far below reasonable expectations, teachers first conclude that they are lazy, rude, disinterested, and/or lacking intelligence or ability. Most dismiss such students from studios and advise parents to discontinue lessons. In truth, many of these students are both highly gifted and also have a learning disability. Examined literature shows that the incidence of dyslexia and other learning disabilities in the gifted learner population is several times that of the regular learner population. Although large volumes of research have been devoted to dyslexia, and more recently to dyslexia and music (in the classroom and some in individual instrumental instruction), there is no evidence of the same investigation in relation to the specific needs of highly gifted dyslexic students in learning to play the piano. This project examines characteristics of giftedness and dyslexia, gifted learners with learning disabilities, and the difficulties they encounter in learning to read music and play keyboard instruments. It includes historical summaries of author's experience with such students and description of their progress and success. They reveal some of practical strategies that evolved through several decades of teaching regular and gifted dyslexic students that helped them overcome the challenges and learn to play the piano. Informal conversations and experience exchanges with colleagues, as well as a recently completed pilot study also showed that most piano pedagogues had no formal opportunity to learn about this issue and to be empowered to teach these very special students. The author's hope is to offer personal insights, survey of current knowledge, and practical suggestions that will not only assist piano instructors to successfully teach highly gifted learners with dyslexia, but also inspire them to learn more about the topic.
ContributorsVladikovic, Jelena (Author) / Humphreys, Jere T. (Thesis advisor) / Meir, Baruch (Thesis advisor) / Norton, Kay (Committee member) / Hamilton, Robert (Committee member) / Arizona State University (Publisher)
Created2013
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Overall, biofuels play a significant role in future energy sourcing and deserve thorough researching and examining for their best use in achieving sustainable goals. National and state policies are supporting biofuel production as a sustainable option without a holistic view of total impacts. The analysis from this research connects to

Overall, biofuels play a significant role in future energy sourcing and deserve thorough researching and examining for their best use in achieving sustainable goals. National and state policies are supporting biofuel production as a sustainable option without a holistic view of total impacts. The analysis from this research connects to policies based on life cycle sustainability to identify other environmental impacts beyond those specified in the policy as well as ethical issues that are a concern. A Life cycle assessment (LCA) of switchgrass agriculture indicates it will be challenging to meet U.S. Renewable Fuel Standards with only switchgrass cellulosic ethanol, yet may be used for California's Low Carbon Fuel Standard. Ethical dilemmas in food supply, land conservation, and water use can be connected to biofuel production and will require evaluation as policies are created. The discussions around these ethical dilemmas should be had throughout the process of biofuel production and policy making. Earth system engineering management principles can help start the discussions and allow anthropocentric and biocentric viewpoints to be heard.
ContributorsHarden, Cheyenne (Author) / Landis, Amy E. (Thesis advisor) / Allenby, Braden (Committee member) / Khanna, Vikas (Committee member) / Arizona State University (Publisher)
Created2014
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Description
Geirr Tveitt (1908-1981) was a central figure of the national movement in Norwegian cultural life during the 1930s. He studied composition with masters such as Arthur Honegger, Heitor Villa-Lobos, and Nadia Boulanger, achieving international acclaim for many of his works. However, his native Norway was slow to follow this praise,

Geirr Tveitt (1908-1981) was a central figure of the national movement in Norwegian cultural life during the 1930s. He studied composition with masters such as Arthur Honegger, Heitor Villa-Lobos, and Nadia Boulanger, achieving international acclaim for many of his works. However, his native Norway was slow to follow this praise, as post-World War II intellectuals disregarded anything that resembled nationalism. Tveitt's music was considered obsolete. He became isolated and withdrawn and died in 1981 after a house fire destroyed the manuscripts of nearly three hundred opuses, leaving only a handful of works, some of which were not yet published. Tveitt was raised in a remote part of Norway where the folk tradition was strong. Because of his close ties with the Hardanger community, he was able to bring to light many undiscovered folk tunes and exceptional practices. Tveitt utilizes this first-hand knowledge in his works for solo piano, and successfully combines them with his roots in both Germanic and Nordic traditions, eventually becoming a well-known and respected composer to the Norwegian people. However, he remains virtually unknown to the rest of the world. All of his music was deeply influenced by folk traditions and instruments. Techniques such as planing, drones, modal scales and passages, ornamentation, and simple melodies are pervasive in each piece, and are often the building blocks of main themes and motives. Because of the ambiguity of the status of many works, this paper examines only his published works for solo piano. Discussions of each piece will focus on folk influences within each work, including basic form, texture, and pianistic concerns.
ContributorsHunter, Karali (Author) / Meir, Baruch (Thesis advisor) / Carpenter, Ellon (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
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ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; have much to offer students, teachers and

ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble &eacutetudes; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble &eacutetude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying &eacutetudes; in a group, this document introduces creative ways that works for violin ensemble can be used as both &eacutetudes; and performance pieces. The first two chapters explore the history and philosophy of the violin &eacutetude; and multiple-violin works, the practice of arranging of solo &eacutetudes; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble &eacutetude; study from solo &eacutetude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: &eacutetude; for Four Violins, with an explanation of the process and techniques used to create this ensemble &eacutetude.; This work is an example of the musical and technical integration essential to &eacutetude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble &eacutetudes; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble &eacutetudes; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.
ContributorsLundell, Eva Rachel (Contributor) / Swartz, Jonathan (Thesis advisor) / Rockmaker, Jody (Committee member) / Buck, Nancy (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
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Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk

Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
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Description
This study examined attitudes and perspectives of classroom guitar students toward the reading of staff notation in music. The purpose of this qualitative research was to reveal these perceptions in the student's own words, and compare them to those of orchestra and band students of comparable experience. Forty-seven students from

This study examined attitudes and perspectives of classroom guitar students toward the reading of staff notation in music. The purpose of this qualitative research was to reveal these perceptions in the student's own words, and compare them to those of orchestra and band students of comparable experience. Forty-seven students from four suburban middle and high schools on the east coast were selected through purposeful sampling techniques. Research instruments included a Musical Background Questionnaire and a thirty-five question Student Survey. Follow-up interviews were conducted with students to clarify or expound upon collected data. Guitar, orchestra, and band teachers were interviewed in order to provide their perspectives on the issues discussed. The Student Survey featured a five-point Likert-type scale, which measured how much students agreed or disagreed with various statements pertaining to their feelings about music, note-reading, or their class at school. Collected data were coded and used to calculate mean scores, standard deviations, and percentages of students in agreement or disagreement with each statement. Interviews were audio recorded and transcribed into a word processing document for analysis. The study found that while a variety of perspectives exist within a typical guitar class, some students do not find note-reading to be necessary for the types of music they desire to learn. Other findings included a perceived lack of relevance toward the classical elements of the guitar programs in the schools, a lack of educational consistency between classroom curricula and private lesson objectives, and the general description of the struggle some guitarists experience with staff notation. Implications of the collected data were discussed, along with recommendations for better engaging these students.
ContributorsWard, Stephen Michael (Author) / Koonce, Frank (Thesis advisor) / Schmidt, Margaret (Thesis advisor) / Buck, Nancy (Committee member) / Rogers, Rodney (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2011
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Description
This study treats in some depth a contemporary solo piano work, "Arirang Variations" (2006) by Edward "Teddy" Niedermaier (b. 1983). Though Niedermaier is an American composer and pianist, he derives his inspiration for that work from four types of Korean arirang: "Arirang," "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin

This study treats in some depth a contemporary solo piano work, "Arirang Variations" (2006) by Edward "Teddy" Niedermaier (b. 1983). Though Niedermaier is an American composer and pianist, he derives his inspiration for that work from four types of Korean arirang: "Arirang," "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang." The analysis of "Arirang Variations" focuses primarily on how the composer adapts arirang in each variation and develops them into his own musical language. A salient feature of Niedermaier's composition is his combination of certain contradictions: traditional and contemporary styles, and Western and Eastern musical styles. In order to discuss in detail the musical elements of arirang used in "Arirang Variations," scores of all the arirang Niedermaier references are included with the discussion of each. Unfortunately, sources concerning three of these were limited to a single book by Yon-gap Kim, Pukhan Arirang Yongu (A Study of North Korean Arirang), because "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang"are North Korean versions of arirang. Since arirang are the most important Korean folk song genre, basic information concerning such features of Korean traditional musical elements as scales, vocal techniques, rhythms and types of folk songs are provided along with an overview of the history and origins of arirang. Given that each arirang has distinctive characteristics that vary by region, the four best-known types of arirang are introduced to demonstrate these differences.  
ContributorsPark, Hyunjin (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Levy, Benjamin (Committee member) / Thompson, Janice (Committee member) / Arizona State University (Publisher)
Created2011
Description
Highly active in the fields of viola performance, composition, recording, and pedagogy, Lionel Tertis is known as one of the first and most influential career violists. Established in 1980, the Lionel Tertis International Viola Competition and Festival was founded in his honor and occurs triennially at the Isle of Man.

Highly active in the fields of viola performance, composition, recording, and pedagogy, Lionel Tertis is known as one of the first and most influential career violists. Established in 1980, the Lionel Tertis International Viola Competition and Festival was founded in his honor and occurs triennially at the Isle of Man. While addressing facets of the professional violist with workshops, lectures, and masterclasses, this event provides a venue for competitive performers, acting as a platform for new viola repertoire.

Each competitor must prepare an extensive set of viola repertoire, among which is a compulsory piece for unaccompanied viola by an English composer. These commissioned works require the virtuosity and expression available within a contemporary musical language; this additionally challenges competitors to provide an artistic interpretation relatively untouched by tradition or common practice.

Although these pieces are written specifically for the competition, the commissioned works have the capacity to reach beyond the competition sphere and are highly programmable in most recital and solo performance settings. These pieces provide the contemporary violist with a greater selection of repertoire that displays idiomatic and expressive strengths of the viola.

My project commemorates the contributions of Lionel Tertis to the advancement of viola repertoire and performance with the study of works written a century post his prolific career. The secondary intent is to provide biographical information about each composer and to explore how these highly programmable works enrich the violist and their repertoire, ultimately bringing recognition to these new works for solo viola. Through biographical research, musical analysis, interviews and the recording process, I will provide a performer's analysis and supplemental recordings for three of these works: Darkness Draws In by David Matthews, Sonatine I by Roger Steptoe and Through a Limbeck by John Woolrich.
ContributorsWuenschel, Allyson Kay (Author) / Buck, Nancy (Thesis advisor) / Carpenter, Ellon (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2017
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This handbook is aimed to develop a violist’s technique as they move from Georg Philipp Telemann’s Concerto for Viola, Strings, and Basso Continuo in G Major, TWV 51: G9 and begin the Carl Stamitz's Viola Concerto in D Major, Op. 1. Ten etudes and related exercises introduce and highlight various

This handbook is aimed to develop a violist’s technique as they move from Georg Philipp Telemann’s Concerto for Viola, Strings, and Basso Continuo in G Major, TWV 51: G9 and begin the Carl Stamitz's Viola Concerto in D Major, Op. 1. Ten etudes and related exercises introduce and highlight various techniques, providing a comprehensive and methodical transition from one concerto to the next. These etudes are based on fragments of the Stamitz Concerto in an effort to directly relate technical development with performance skills.
ContributorsChien, Shao-Chuan Sylvia (Author) / Buck, Nancy (Thesis advisor) / Rockmaker, Jody (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2018