Matching Items (74)
ContributorsCha, Jooyean (Performer) / ASU Library. Music Library (Publisher)
Created2002-11-19
ContributorsWytko, Joseph (Performer) / Campbell, Andrew (Pianist) (Performer) / Madden, Maryann (Performer) / Sunkett, Mark, 1949- (Performer) / Jiang, Danwen (Performer) / Rotaru, Catalin (Performer) / ASU Library. Music Library (Publisher)
Created2005-11-04
ContributorsSpring, Robert (Performer) / Hamilton, Robert, 1937- (Performer) / Hur, Jiyoun (Performer) / Schuring, Martin (Performer) / Micklich, Albie (Performer) / Gardner, Joshua (Performer) / Creviston, Christopher (Performer) / Rotaru, Catalin (Performer) / Smith, J. B., 1957- (Performer) / Alpizar, Mark (Conductor) / ASU Library. Music Library (Publisher)
Created2017-09-17
ContributorsYu, Wan-Ting (Performer) / Zhao, Wan (Performer) / Smith, Aaron (Performer) / Robinson, Michael (Performer) / Lastra-Cancela, Paula (Performer) / Haskett, Mason (Performer) / Baik, Elijah (Performer) / Rotaru, Catalin (Performer)
Created2022-11-12
Description
This is a recording of a new piece for Double bass and Guzheng performer Qingfeng Li, who is internationally renowned. The composer composed this audacious and unique chamber work for double bass and traditional Chinese Guzheng zither in November 2021, dedicating it to me and Guzheng virtuoso Prof. Qingfeng Li. The objective of this project is to create a work for the classic Chinese instrument Guzheng that incorporates elements of Chinese folk music. This chamber music will be a duet for double bass and guzheng, with the guzheng's distinctive style and sonic effects blended into the double bass. The project will contain a recording of this new piece, as well as a written research document outlining the work's structure, the composer's collaboration process with me as a performer, and brief analysis of the work. Additionally, the author recorded this piece in a professional audio and video recording made in China, with Guzheng player Qingfeng Li.This is the first combination of a traditional Chinese instrument, the guzheng, and a Western instrument, the double bass. This unusual melodic combination conveys the essence of traditional musical practices unique to the Chinese folk of Jiangnan. To investigate the connections between the pentatonic scale and traditional musical practices, I have studied Jiangnan music manuscripts compiled by ethnomusicologists. To better complement the traditional instrument of the guzheng in the piece, I studied the history of the guzheng and how to use techniques to express emotion in the piece. These connections are discussed in depth in the chapter on structure form, including how to break out of familiar compositional combinations and how to use the unique acoustics and techniques of the double bass to embody the Chinese folk pentatonic scale. I also discuss the process of working with the composer, the rehearsal process, and the incorporation of necessary modifications in this document to make the music effective and idiomatic for the double bass. This new work at the intermedi
ContributorsWu, Yuxin (Author) / Rotaru, Catalin (Thesis advisor) / Solís, Ted (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2022
Description
Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B.
ContributorsSewell, David (Author) / Koonce, Frank (Thesis advisor) / Rotaru, Catalin (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
ContributorsTelemann, Georg Philipp, 1681-1767 (Composer) / Sankey, Stuart (Editor) / Rotaru, Catalin (Editor)
ContributorsTelemann, Georg Philipp, 1681-1767 (Composer) / Sankey, Stuart (Editor) / Rotaru, Catalin (Editor)
ContributorsTelemann, Georg Philipp, 1681-1767 (Composer) / Sankey, Stuart (Editor) / Rotaru, Catalin (Editor)
ContributorsTelemann, Georg Philipp, 1681-1767 (Composer) / Sankey, Stuart (Editor) / Rotaru, Catalin (Editor)