Matching Items (126)
Description
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
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 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
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 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
ABSTRACT études; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études.; These works rarely go by the title "étude;," and have not been the focus of much scholarly research. Ensemble études; 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 études; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études; in a group, this document introduces creative ways that works for violin ensemble can be used as both études; and performance pieces. The first two chapters explore the history and philosophy of the violin étude; and multiple-violin works, the practice of arranging of solo études; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude; study from solo étude; 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: étude; for Four Violins, with an explanation of the process and techniques used to create this ensemble étude.; This work is an example of the musical and technical integration essential to étude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble études; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble études; 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
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 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
Description
This dissertation focuses on seven solo piano works written by contemporary Chinese-American composer Chen Yi. It is presented in the form of a recording project, with a written analysis of each recorded composition. The seven recorded pieces are Variations on "Awariguli", Duo Ye, Guessing, Two Chinese bagatelles: Yu Diao and Small Beijing Gong, Ba Ban, Singing in the Mountain, and Ji-Dong-Nuo. They were written between 1978 and 2005, presenting a wide range of Chen Yi's compositional style. The written portion consists of five chapters. After the introductory chapter, a sketch of Chen Yi's life is presented in Chapter Two. This chapter specifically uncovers Chen Yi's deep roots of Chinese traditional and folk music through her experiences during the Cultural Revolution. Chapter Three analyzes each of the seven pieces. Through formal structure realization, motivic analysis, and folk music implication, the author discovers the blend of Chinese and Western cultures throughout Chen Yi's music. Chapter Four discusses the performance aspect of these compositions through the author's recording experience. In this chapter, the author provides background information as well as suggestions on specific performance practice. The last chapter summarizes the entire dissertation.
ContributorsFeeken, Qing Nadia (Author) / Meir, Baruch (Thesis advisor) / Carpenter, Ellon (Committee member) / Cosand, Walter (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
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
Description
This project is a visual presentation on the value of music education in public schools. With cutbacks in funding for education, arts programs such as orchestra or band are often the first to face budget restrictions or be eliminated altogether. Many schools and administrators deem arts programs as less essential to a student’s education because they do not directly teach core subjects such as math, science or reading. This project explains why reducing or eliminating funding for arts programs is ultimately detrimental to students. A high quality musical education brings great developmental benefits in a variety of skills such as language development, memory learning and special understanding. Students trained in music also have shown higher scores on standardized tests. Additionally, music programs provide a creative outlet for students that can help relieve stress and provide an opportunity for personal expression and a sense of identity. This project is organized into three sections. Part I discusses the lack of funding for fine arts programs in schools and the affordability of playing a stringed instrument. Part II dives into the academic, cognitive and behavioral benefits of an education in music. Finally, Part III discusses potential solutions to the problem and showcases examples of out-of-school music programs. The final form of the project is displayed online through a program called Readymag, a digital tool for presenting projects, which allows for the written aspect of the project to fall seamlessly with the visual component. The visual component of the project is made of photographs captured on site at interviews, performances and practices, as well as in a studio.
ContributorsAtzenweiler, Stella Alexander (Author) / Dolin, Penny (Thesis director) / Buck, Nancy (Committee member) / Graphic Information Technology (Contributor, Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
ContributorsSun, Chiao-Ling (Performer) / Meir, Baruch (Performer) / Campbell, Andrew (Pianist) (Performer) / Chen, Po Hsun (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-20
Description
This research project dug into mathematics in music, exploring the various ways a number series was used in the 20th century to create musical compositions. The Fibonacci Series (FS) is an infinite number series that is created by taking the two previous numbers to create the next, excluding 0 and 1 at the very start of the series. As the numbers grow larger, the ratios between the numbers of the FS approach the value of another mathematical concept known as the Golden Mean (GM). The GM is so closely related to the series that it is used interchangeably in terms of proportions and overall structure of musical pieces. This is similar to how both the FS and GM are found in aspects of nature, like to all too well-known conch shell spiral.
The FS in music was used in a variety of ways throughout the 20th century, primarily focusing on durations and overall structure in its use. Examples of this are found in Béla Bartók’s Music for Strings, Percussion, and Celeste (1936), Allegro barbaro (1911), Karlheinz Stockhausen’s Klavierstück IX (1955), and Luigi Nono’s il canto sospeso (1955). These works are analyzed in detail within my research, and I found every example to have a natural feel to them even if its use of the FS is carefully planned out by the composer. Bartók’s works are the least precise of my examples but perhaps the most natural ones. This imprecision in composition may be considered a more natural use of the FS in music, since nature is not always perfect either. However, in works such as Stockhausen’s, the structure is meticulously formatted in such that the precision is masked by a cycle as to appear more natural.
The conclusion of my research was a commissioned work for my instrument, the viola. I provided my research to composer Jacob Miller Smith, a DMA Music Composition student at ASU, and together we built the framework for the piece he wrote for me. We utilized the life cycle of the Black-Eyed Susan, a flower that uses the FS in its number of petals. The life cycle of a flower is in seven parts, so the piece was written to have seven separate sections in a palindrome within an overall ABA’ format. To utilize the FS, Smith used Fibonacci number durations for rests between notes, note/gesture groupings, and a mapping of 12358 as the set (01247). I worked with Smith during the process to make sure that the piece was technically suitable for my capabilities and the instrument, and I premiered the work in my defense.
The Fibonacci Series and Golden Mean in music provides a natural feel to the music it is present in, even if it is carefully planned out by the composer. More work is still to be done to develop the FS’s use in music, but the examples presented in this project lay down a framework for it to take a natural place in music composition.
The FS in music was used in a variety of ways throughout the 20th century, primarily focusing on durations and overall structure in its use. Examples of this are found in Béla Bartók’s Music for Strings, Percussion, and Celeste (1936), Allegro barbaro (1911), Karlheinz Stockhausen’s Klavierstück IX (1955), and Luigi Nono’s il canto sospeso (1955). These works are analyzed in detail within my research, and I found every example to have a natural feel to them even if its use of the FS is carefully planned out by the composer. Bartók’s works are the least precise of my examples but perhaps the most natural ones. This imprecision in composition may be considered a more natural use of the FS in music, since nature is not always perfect either. However, in works such as Stockhausen’s, the structure is meticulously formatted in such that the precision is masked by a cycle as to appear more natural.
The conclusion of my research was a commissioned work for my instrument, the viola. I provided my research to composer Jacob Miller Smith, a DMA Music Composition student at ASU, and together we built the framework for the piece he wrote for me. We utilized the life cycle of the Black-Eyed Susan, a flower that uses the FS in its number of petals. The life cycle of a flower is in seven parts, so the piece was written to have seven separate sections in a palindrome within an overall ABA’ format. To utilize the FS, Smith used Fibonacci number durations for rests between notes, note/gesture groupings, and a mapping of 12358 as the set (01247). I worked with Smith during the process to make sure that the piece was technically suitable for my capabilities and the instrument, and I premiered the work in my defense.
The Fibonacci Series and Golden Mean in music provides a natural feel to the music it is present in, even if it is carefully planned out by the composer. More work is still to be done to develop the FS’s use in music, but the examples presented in this project lay down a framework for it to take a natural place in music composition.
ContributorsFerry, Courtney (Author) / Knowles, Kristina (Thesis director) / Buck, Nancy (Committee member) / School of Music (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12