Matching Items (241)
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
In addition to his many other works, Russian-American composer Leo Ornstein (1893-2002) contributed a substantial body of literature for cello and piano, including Sonata No. 1 (1915-1916), Sonata No. 2 (circa 1920), Composition No. 1 (date unknown), Two Pieces (date unknown), and Six Preludes (1930-1931). His cello music is an eclectic mix of twentieth-century Neoromantic and atonal styles. This study includes a recording of the complete works for cello and piano by Leo Ornstein and a description of the music that details the formal procedures and how the cello and piano relate to one another. The discussion offers extensive musical examples in support of the descriptions. The recording was completed at the Banff Centre for the Arts in Alberta, Canada (October 2009), with R. Nicolas Alvarez, cello, in collaboration with pianist Keith Kirchoff. Andre Shrimski produced and edited the recording.
ContributorsAlvarez, Rodolfo Nicolas (Author) / Landschoot, Thomas (Thesis advisor) / Rotaru, Catalin (Committee member) / Jiang, Danwen (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2013
Description
Whenever a text is transmitted, or communicated by any means, variations may occur because editors, copyists, and performers are often not careful enough with the source itself. As a result, a flawed text may come to be accepted in good faith through repetition, and may often be preferred over the authentic version because familiarity with the flawed copy has been established. This is certainly the case with regard to Manuel M. Ponce's guitar editions. An inexact edition of a musical work is detrimental to several key components of its performance: musical interpretation, aesthetics, and the original musical concept of the composer. These phenomena may be seen in the case of Manuel Ponce's Suite in D Major for guitar. The single published edition by Peer International Corporation in 1967 with the revision and fingering of Manuel López Ramos contains many copying mistakes and intentional, but unauthorized, changes to the original composition. For the present project, the present writer was able to obtain a little-known copy of the original manuscript of this work, and to document these discrepancies in order to produce a new performance edition that is more closely based on Ponce's original work.
ContributorsReyes Paz, Ricardo (Author) / Koonce, Frank (Thesis advisor) / Solis, Theodore (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
There are a significant number of musical compositions for violin by composers who used folk songs and dances of various cultures in their music, including works by George Enescu, Béla Bartók and György Ligeti. Less known are pieces that draw on the plethora of melodies and rhythms from Turkey. The purpose of this paper is to help performers become more familiar with two such compositions: Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin. Fazil Say (b. 1970) is considered to be a significant, contemporary Turkish composer. Both of the works discussed in this document simulate traditional "Eastern" instruments, such as the kemenҫe, the baðlama, the kanun and the ud. Additionally, both pieces use themes from folk melodies of Turkey, Turkish dance rhythms and Arabian scales, all framed within traditional structural techniques, such as ostinato bass and the fughetta. Both the Sonata for Violin and Piano and Cleopatra are enormously expressive and musically interesting works, demanding virtuosity and a wide technical range. Although this document does not purport to be a full theoretical analysis, by providing biographical information, analytical descriptions, notes regarding interpretation, and suggestions to assist performers in overcoming technical obstacles, the writer hopes to inspire other violinists to consider learning and performing these works.
ContributorsKalantzi, Panagiota (Author) / Jiang, Danwen (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
Description
The main objective of this study is to develop an innovative system in the form of a sandwich panel type composite with textile reinforced skins and aerated concrete core. Existing theoretical concepts along with extensive experimental investigations were utilized to characterize the behavior of cement based systems in the presence of individual fibers and textile yarns. Part of this thesis is based on a material model developed here in Arizona State University to simulate experimental flexural response and back calculate tensile response. This concept is based on a constitutive law consisting of a tri-linear tension model with residual strength and a bilinear elastic perfectly plastic compression stress strain model. This parametric model was used to characterize Textile Reinforced Concrete (TRC) with aramid, carbon, alkali resistant glass, polypropylene TRC and hybrid systems of aramid and polypropylene. The same material model was also used to characterize long term durability issues with glass fiber reinforced concrete (GFRC). Historical data associated with effect of temperature dependency in aging of GFRC composites were used. An experimental study was conducted to understand the behavior of aerated concrete systems under high stain rate impact loading. Test setup was modeled on a free fall drop of an instrumented hammer using three point bending configuration. Two types of aerated concrete: autoclaved aerated concrete (AAC) and polymeric fiber-reinforced aerated concrete (FRAC) were tested and compared in terms of their impact behavior. The effect of impact energy on the mechanical properties was investigated for various drop heights and different specimen sizes. Both materials showed similar flexural load carrying capacity under impact, however, flexural toughness of fiber-reinforced aerated concrete was proved to be several degrees higher in magnitude than that provided by plain autoclaved aerated concrete. Effect of specimen size and drop height on the impact response of AAC and FRAC was studied and discussed. Results obtained were compared to the performance of sandwich beams with AR glass textile skins with aerated concrete core under similar impact conditions. After this extensive study it was concluded that this type of sandwich composite could be effectively used in low cost sustainable infrastructure projects.
ContributorsDey, Vikram (Author) / Mobasher, Barzin (Thesis advisor) / Rajan, Subramaniam D. (Committee member) / Neithalath, Narayanan (Committee member) / Arizona State University (Publisher)
Created2012
Description
Woven fabric composite materials are widely used in the construction of aircraft engine fan containment systems, mostly due to their high strength to weight ratios and ease of implementation. The development of a predictive model for fan blade containment would provide great benefit to engine manufactures in shortened development cycle time, less risk in certification and fewer dollars lost to redesign/recertification cycles. A mechanistic user-defined material model subroutine has been developed at Arizona State University (ASU) that captures the behavioral response of these fabrics, namely Kevlar® 49, under ballistic loading. Previously developed finite element models used to validate the consistency of this material model neglected the effects of the physical constraints imposed on the test setup during ballistic testing performed at NASA Glenn Research Center (NASA GRC). Part of this research was to explore the effects of these boundary conditions on the results of the numerical simulations. These effects were found to be negligible in most instances. Other material models for woven fabrics are available in the LS-DYNA finite element code. One of these models, MAT234: MAT_VISCOELASTIC_LOOSE_FABRIC (Ivanov & Tabiei, 2004) was studied and implemented in the finite element simulations of ballistic testing associated with the FAA ASU research. The results from these models are compared to results obtained from the ASU UMAT as part of this research. The results indicate an underestimation in the energy absorption characteristics of the Kevlar 49 fabric containment systems. More investigation needs to be performed in the implementation of MAT234 for Kevlar 49 fabric. Static penetrator testing of Kevlar® 49 fabric was performed at ASU in conjunction with this research. These experiments are designed to mimic the type of loading experienced during fan blade out events. The resulting experimental strains were measured using a non-contact optical strain measurement system (ARAMIS).
ContributorsFein, Jonathan (Author) / Rajan, Subramaniam D. (Thesis advisor) / Mobasher, Barzin (Committee member) / Jiang, Hanqing (Committee member) / Arizona State University (Publisher)
Created2012
Description
Dwindling energy resources and associated environmental costs have resulted in a serious need to design and construct energy efficient buildings. One of the strategies to develop energy efficient structural materials is through the incorporation of phase change materials (PCM) in the host matrix. This research work presents details of a finite element-based framework that is used to study the thermal performance of structural precast concrete wall elements with and without a layer of phase change material. The simulation platform developed can be implemented for a wide variety of input parameters. In this study, two different locations in the continental United States, representing different ambient temperature conditions (corresponding to hot, cold and typical days of the year) are studied. Two different types of concrete - normal weight and lightweight, different PCM types, gypsum wallboard's with varying PCM percentages and different PCM layer thicknesses are also considered with an aim of understanding the energy flow across the wall member. Effect of changing PCM location and prolonged thermal loading are also studied. The temperature of the inside face of the wall and energy flow through the inside face of the wall, which determines the indoor HVAC energy consumption are used as the defining parameters. An ad-hoc optimization scheme is also implemented where the PCM thickness is fixed but its location and properties are varied. Numerical results show that energy savings are possible with small changes in baseline values, facilitating appropriate material design for desired characteristics.
ContributorsHembade, Lavannya Babanrao (Author) / Neithalath, Narayanan (Thesis advisor) / Rajan, Subramaniam D. (Thesis advisor) / Mobasher, Barzin (Committee member) / Arizona State University (Publisher)
Created2012
Description
The life and pedagogy of Saburo Sumi (1902-1984) has had a major influence on the violin world, particularly in Japan. Born of humble origins and lacking any formal musical training until his adulthood, Sumi nevertheless rose to become one of the most important violin pedagogues of Japan. His non-traditional musical background had a profound effect on the teacher he became and contributed to his tremendous success as a pedagogue. Since most of the existing information on Sumi is written in Japanese, this study is designed to acquaint the Western reader with this amazing pedagogue. The information for this study was gathered through books, articles, and documents related to his life as well as the writer's personal experiences with the Sumi family.
ContributorsHayashi, Junko (Author) / McLin, Katherine (Thesis advisor) / Hill, Gary (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2012
Description
American music of late-nineteenth and early twentieth centuries represents some of the first mature achievements in classical music written by American composers.John Knowles Paine (1839-1906), Arthur Foote (1853-1937), George Whitefield Chadwick (1854-1931), Horatio Parker (1868-1919), and Amy Beach (1867-1944) from the Second New England School were among the most prominent musical figures in America during this time period. These composers shared similar compositional characteristics, perhaps due to the profound influences of German Romantic tradition, either through their direct study with musicians in Germany or with professional German-trained musicians in America.They were active in Boston, affiliated with important music organizations, and had publications through A. P. Schmidt, the most important music publisher of that time. Piano chamber music of the Second New England School is a small but important portion of their diverse repertoire. It is generally considered the first successful body of such repertoire by American composers. Even though most of these works were premiered to great acclaim during the composers' lifetimes, many of them no longer have place in current recital programs and very few are available to the public in published or recorded form. The purpose of this study is to reintroduce this important and worthwhile literature to today's audience. For the purpose of this study the repertoire will be limited to music that involves at least three performers, one of whom must be a pianist. The repertoire must be originally composed for a piano chamber group and must have been published or performed at least once during the composer's lifetime. While Edward MacDowell (1860-1908) is generally considered a member of the Second New England School, he surprisingly did not write any piano chamber music, and therefore has no works in this study. This research project will provide general background information about each composer and their piano chamber music, and a closer examination of one particularly representative work or movement, including performance guidelines from the collaborative pianist's point of view. The author's hope is to awaken greater curiosity about this rich repertoire and to increase its presence on the concert stage.
ContributorsHsu, Juiling (Author) / Campbell, Andrew (Thesis advisor) / Micklich, Albert (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012