Matching Items (251)
Description
Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.
ContributorsFelice, Joseph Philip (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2013
Description
The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.
ContributorsLanier, William Hudson (Author) / Koonce, Frank (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014
Description
Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement.
ContributorsFang, Zhou, D.M.A (Author) / Koonce, Frank (Thesis advisor) / Levy, Benjamin (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Arrangements of music from other instruments have always played a key role in expanding the guitar repertoire. This project investigates the life and work of eighteenth-century composer Antonio Soler (1729-1783), specifically his sonatas for solo keyboard. This study carries out a formal inquiry on Soler's influences, including a background of Soler's life and training, his connection with Domenico Scarlatti (1685-1757), and an overview of the eighteenth-century sonata in Spain. Timbres, articulations, tessitura, and other aspects of Spanish folk music are discussed as related to Soler's composition style. Five sonatas are analyzed in connection to Spanish folk music, and part of this study's focus was arranging the sonatas for two guitars: R. 48, 50, 60, 106 and 114. An overview of the current arrangements of Soler's sonatas for guitar is included in Appendix A.
ContributorsCrissman, Jonathan (Author) / Koonce, Frank (Thesis advisor) / Swartz, Jonathan (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014
Description
This is a solo guitar transcription of the first five movements, known as the "Joyous Mysteries," of the Mystery Sonatas by Heinrich Ignaz Franz von Biber, accompanied by a history of the sonata collection, an analysis of the process of translating a Baroque solo sonata to the guitar, and a guide for performance. The work was chosen because of its significance and popularity within violin repertoire, and the suitability of the solo sonata genre for performance on a guitar. The first section of this project addresses the history and appeal of Biber and the Mystery Sonatas. It is supplemented by a brief survey of guitar transcriptions of Biber's compositions, and the value of the present edition in modern guitar literature. The second section explores the process and challenges of arranging the Mystery Sonatas for solo guitar, followed by a summation of the general allowances and limitations the genre offers to arrangers. The third section focuses on performance practice issues encountered in adapting this series and other Baroque solo sonatas to the guitar. The project concludes with the arrangement, complemented with the original violin and continuo parts for comparison.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
ContributorsLake, Brendan (Author) / Koonce, Frank (Thesis advisor) / Oldani, Robert W. (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project presents eight harpsichord sonatas, 3, 5, 10, 12, 13, 18, 19, and 21, by Sebastián de Albero (1722-1756), arranged for the classical guitar. These pieces were chosen because of the success of other eighteenth-century Iberian harpsichord music that has been arranged for guitar, including works by composers such as Domenico Scarlatti, Carlos Seixas, and Antonio Soler. The popularity and enjoyment of Scarlatti's harpsichord sonatas on the guitar today was the inspiration for this project.
Historically, guitarists have used arrangements as a means to expand the guitar's repertoire. The late eighteenth century, especially, was a time in which the instrument was undergoing significant changes from being a five-course instrument into becoming the standard six single string instrument of today. Also, composer/guitarists at that time were beginning to abandon tablature in favor of modern staff notation. Because of these changes, the amount of music originally written for the guitar from this period that is suitable to be played on a modern instrument is limited.
I chose to focus on eight selected sonatas from Sebastián Albero's Treinta Sonatas para Clavicordio because of the influence of Domenico Scarlatti's harpsichord arrangements for solo guitar. It is intriguing to note that Albero and Scarlatti both held positions at the Spanish Royal Chapel for a number of years and, in this capacity, may have influenced one another in their musical compositions and style. Certain similarities are documented in this paper.
Since Scarlatti's music has been successfully arranged, and is popular to play on modern guitar, it is hoped that these sonatas by Albero may enjoy similar success.
Historically, guitarists have used arrangements as a means to expand the guitar's repertoire. The late eighteenth century, especially, was a time in which the instrument was undergoing significant changes from being a five-course instrument into becoming the standard six single string instrument of today. Also, composer/guitarists at that time were beginning to abandon tablature in favor of modern staff notation. Because of these changes, the amount of music originally written for the guitar from this period that is suitable to be played on a modern instrument is limited.
I chose to focus on eight selected sonatas from Sebastián Albero's Treinta Sonatas para Clavicordio because of the influence of Domenico Scarlatti's harpsichord arrangements for solo guitar. It is intriguing to note that Albero and Scarlatti both held positions at the Spanish Royal Chapel for a number of years and, in this capacity, may have influenced one another in their musical compositions and style. Certain similarities are documented in this paper.
Since Scarlatti's music has been successfully arranged, and is popular to play on modern guitar, it is hoped that these sonatas by Albero may enjoy similar success.
ContributorsSloyka, Erik Robert (Author) / Koonce, Frank (Thesis advisor) / McLin, Katherine (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2014
Description
The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of the artists' life and method. Innovators are often the subject of published studies of this kind, but transcriptions of plunger-mute master Al Grey have been overlooked. This document fills that void, combining historical context with thirteen transcriptions of Grey's trombone features and improvisations. Selection of transcribed materials was based on an examination of historically significant solos in Al Grey's fifty-five-year career. The results are a series of open-horn and plunger solos that showcase Grey's sound, technical brilliance, and wide range of dynamics and articulation. This collection includes performances from a mix of widely available and obscure recordings, the majority coming from engagements with the Count Basie Orchestra. Methods learned from the study of Al Grey's book Plunger Techniques were vital in the realization of his work. The digital transcription software Amazing Slow Downer by Roni Music aided in deciphering some of Grey's more complicated passages and, with octave displacement, helped bring previously inaudible moments to the foreground.
ContributorsHopkins, Charles E (Author) / Pilafian, Sam (Thesis advisor) / Stauffer, Sandra (Committee member) / Solís, Ted (Committee member) / Ericson, John (Committee member) / Kocour, Michael (Committee member) / Arizona State University (Publisher)
Created2011
Description
During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America.
ContributorsOcampo Cardona, Javier Andrés (Author) / McAllister, Timothy (Thesis advisor) / Spring, Robert (Committee member) / Hill, Gary (Committee member) / Pilafian, Sam (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2011
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 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.
ContributorsHarger, Stefanie (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Stauffer, Sandy (Committee member) / Arizona State University (Publisher)
Created2011