Matching Items (130)

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Musical Guidance towards Immortality by the Greek Muses by Inspiring Awareness of Being-in-the-World as Understood through the Philosophy of Martin Heidegger

Description

For the ancient Greeks, music not only was esteemed for its social and entertaining value, but also because it reflected the beauty of the gods and their creations. Music furthermore

For the ancient Greeks, music not only was esteemed for its social and entertaining value, but also because it reflected the beauty of the gods and their creations. Music furthermore “embodied larger universal principles and served as a vehicle for higher understanding.” According to Lippmann, the ancients believed that the universe “contains a harmony that controls both spatial and temporal phenomena” and “we can come to know the divine order of harmony more readily in ourselves than in the external world.” Gaining self-knowledge and awareness of one’s place in the world are significant and music is a means of gaining this consciousness. Ancient Greeks believed that music was inspired by the Greek goddesses known as the Muses. In this paper, I argue that, by gifting humans with divinely inspired music, the Muses help humans achieve this mindfulness of one‟s place in the world and attain immortality.

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  • 2012-12

A Performance of Hindustani Indian Classical Khyal Music: Raag Maru Bihag

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Hindustani classical music is an ancient art, where musicians perform ragas, or scales of notes with specific rules as to how one can move up/down the scales, which notes can

Hindustani classical music is an ancient art, where musicians perform ragas, or scales of notes with specific rules as to how one can move up/down the scales, which notes can be emphasized, what time of day they can be performed, what kinds of moods they evoke, and what phrases can and cannot be used. In this Honors thesis, I performed Raga Maru Bihag, an early night romantic raga. I performed three compositions within this raga, in slow, medium, and fast speeds. The majority of the performance was improvised, as is typical of Hindustani music. In addition to providing video footage of the performance, I have included an essay covering the history of Hindustani classical music, a stylistic analysis of my performance, and the cultural significance of the concert. The history section covers major developments in the art starting from its inception in 2500 BCE and details the contributions of important figures in Hindustani classical music. The stylistic analysis of the performance breaks down each and every element of the raga's presentation and development, with video links accompanying relevant descriptions. Lastly, the cultural significance section discusses the importance of the audience's behavior, artists' behavior, setting, invocation, gestures, etc. Collectively, the thesis will introduce the reader to Hindustani classical music and use a specific performance as a point of reference to showcase unique elements of the art style.

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  • 2017-05

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Exploring the Paternal Voice's Impact on the Fetus

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Peer-reviewed literature on the effects of sound and music on babies ranging from the prenatal period to the postnatal period, called the perinatal period moving forward, is vast. Substantial research

Peer-reviewed literature on the effects of sound and music on babies ranging from the prenatal period to the postnatal period, called the perinatal period moving forward, is vast. Substantial research has been directed towards the neural connections they make with sound, musical therapy, audio learning, and much more. The primary focus of this thesis was to review the current literature on how the father's voice affects the fetus during the perinatal period. During the preliminary research of the topic, the process faced an immediate problem as this concept had very little substantial sources. The number of relevant articles or documents with the term “father” in the title can be counted on one hand. In some cases, research that explored the father’s voice did so only as a supporting statistic or comparison to the main goal of exploring the mother’s voice. The mother’s voice has been prioritized as a research topic because of the immediate physical connection between the mother and the child throughout the entire pregnancy. The third semester of pregnancy is often a period of study since what the mother senses, says or does will somehow translate into an experience for the child’s developing brain. On the other hand, the father’s voice has been considered an environmental sound, a position justified by some researchers due to phenomena such as differing levels of fetal attention and observed “preference” of a newborn. The scarcity of research regarding the father’s voice, or the voice of a non-parental male, can be explained in several ways. These include the father’s potential absence due to work, inherited ideologies and biases against active parenting for the father, parental roles, and their unwillingness to utilize infant-directed speech and singing for psychological reasons, during the perinatal period, compared to that of the mother. Researching ways to deepen the relationship between the father and baby during the perinatal period, along with developing new biotechnologies for different kinds of evaluative tests, will help advance the subject matter of how the father’s voice impacts a baby to a larger scale.

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  • 2021-05

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A ",field_main_title:"most enjoyable evening: music in early Prescott and Flagstaff, Arizona Territory, ca. 1865-ca. 1890

Description

Although one finds much scholarship on nineteenth-century music in America, one finds relatively little about music in the post-Civil-War frontier west. Generalities concerning small frontier towns of regional importance remain

Although one finds much scholarship on nineteenth-century music in America, one finds relatively little about music in the post-Civil-War frontier west. Generalities concerning small frontier towns of regional importance remain to be discovered. This paper aims to contribute to scholarship by chronicling musical life in the early years of two such towns in northern Arizona territory: Prescott and Flagstaff. Prescott, adjacent to Fort Whipple, was founded in 1864 to serve as capital of the new territory. Primarily home to soldiers and miners, the town was subject to many challenges of frontier life. Flagstaff, ninety miles to the north-northwest, was founded about two decades later in 1883 during the building of the Atlantic & Pacific Railroad, which connected the town to Albuquerque, New Mexico in the east and southern California in the west. Although the particular resources of each town provided many different musical opportunities, extant newspaper articles from Prescott's Arizona Miner and Flagstaff's Arizona Champion describe communities in which musical concerts, dances and theatrical performances provided entertainment and socializing for its citizens. Furthermore, music was an important part of developing institutions such as the church, schools, and fraternal lodges, and the newspapers of both towns advertised musical instruments and sheet music. Both towns were home to amateur musicians, and both offered the occasional opportunity to learn to dance or play an instrument. Although territorial Arizona was sometimes harsh and resources were limited, music was valued in these communities and was a consistent presence in frontier life.

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  • 2011

Alyssa Morris: Forecast : a commissioned work for oboe and percussion

Description

The purpose of this project was to commission, perform, and discuss a new work for an instrument pairing not often utilized, oboe and percussion. The composer, Alyssa Morris, was selected

The purpose of this project was to commission, perform, and discuss a new work for an instrument pairing not often utilized, oboe and percussion. The composer, Alyssa Morris, was selected in June 2009. Her work, titled Forecast, was completed in October of 2009 and premiered in February of 2010, as part of a program showcasing music for oboe and percussion. Included in this document is a detailed biography of the composer, a description of the four movements of Forecast, performance notes for each movement, a diagram for stage set-up, the full score, the program from the premiere performance with biographies of all the performers involved, and both a live recording and MIDI sound file. The performance notes discuss issues that arose during preparation for the premiere and should help avoid potential pitfalls. TrevCo Music, publisher of the work, graciously allowed inclusion of the full score. This score is solely for use in this document; please visit the publisher's website for purchasing information. The commission and documentation of this composition are intended to add to the repertoire for oboe in an unusual instrument pairing and to encourage further exploration of such combinations.

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Date Created
  • 2011

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The ensemble étude for violins: an examination with an annotated survey of violin trios and quartets and an original étude for four violins

Description

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

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.

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  • 2011

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Concerto for two horns in E-flat major attributed to Joseph Haydn: a new arrangement for wind ensemble

Description

A new arrangement of the Concerto for Two Horns in E-flat Major, Hob. VIId/6, attributed by some to Franz Joseph Haydn, is presented here. The arrangement reduces the orchestral portion

A new arrangement of the Concerto for Two Horns in E-flat Major, Hob. VIId/6, attributed by some to Franz Joseph Haydn, is presented here. The arrangement reduces the orchestral portion to ten wind instruments, specifically a double wind quintet, to facilitate performance of the work. A full score and a complete set of parts are included. In support of this new arrangement, a discussion of the early treatment of horns in pairs and the subsequent development of the double horn concerto in the eighteenth century provides historical context for the Concerto for Two Horns in E-flat major. A summary of the controversy concerning the identity of the composer of this concerto is followed by a description of the content and structure of each of its three movements. Some comments on the procedures of the arrangement complete the background information.

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  • 2011

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Geechie Wiley: an exploration of enigmatic virtuosity

Description

The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver

The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver and Greil Marcus unearthed and promoted her music and called for further research on this enigmatic figure. In other publications, Wiley is frequently given only passing mention in long lists of talented female blues singer-guitarists, or briefly discussed in descriptions of songsters. Her music is lauded in the liner notes of the myriad compilation albums that have re-released her recordings. However, prior to this study, Marcus's three-page profile is the longest work written about Wiley; other contributions range between one sentence and two paragraphs in length. None really answers the question: who was Geechie Wiley? This thesis begins by documenting my attempt to piece together all information presently available on Geechie Wiley. A biographical chapter, supplemented with a discussion of the blues songster, follows. I then discuss my methodology and philosophy for transcription. This is followed by a critical and comparative analysis of the recordings, using the transcriptions as supplements. Finally, my fifth chapter presents conclusions about Wiley's life, career, and disappearance. My transcriptions of Wiley's six songs are found in the first appendix. Reproductions of Paramount Records advertisements are located in the final appendix. In these ways, this thesis argues that Wiley's work traces the transformation of African-American music from the general secular music of the songsters to the iconic blues genre.

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  • 2011

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An investigation of finger motion and hand posture during clarinet performance

Description

Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair

Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous Computing Laboratory. Performance tasks included performing a slurred three-octave chromatic scale in sixteenth notes, at sixty quarter-note beats per minute, three times, with a metronome and a short pause between repetitions, and forming three pedagogical hand postures. Following the CyberGloves® tasks, each subject completed a questionnaire about equipment, playing history, practice routines, health practices, and hand usage during computer and sports activities. CyberGlove® data were analyzed to find average hand/finger postures and differences for each pitch across subjects, subject variance in the performance task and differences in ascending and descending postures of the chromatic scale. The data were also analyzed to describe generalized finger posture characteristics based on hand size, whether right hand thumb position affects finger flexion, and whether professional clarinetists use similar finger/hand postures when performing on clarinet, holding a tennis ball, allowing hands to hang freely by the sides, or form a "C" shape. The findings of this study suggest an individual approach based on hand size is necessary for teaching clarinet hand posture.

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  • 2011