Matching Items (714)
Description
The legacy of the great double bassist and pedagogue Joseph Prunner (1886-1969) includes his scale and arpeggio exercise book, Progressive Studies for the Double Bass, composed in 1955. Progressive Studies was originally written for Prunner's students at the Bucharest Conservatoire and was not intended for a wide publication. In the work Prunner presents major and harmonic and melodic minor scales that are performed in one octave and then extended diatonically through all their modes, progressing through this pattern for three octaves, followed by a series of arpeggio exercises. These exercises are based on a modernized fingering system and are offered in the traditional positions and in what Prunner called "Fixed-Position" scales. A series of chromatic scale exercises are also included that follow the template of the major and minor scales. The study at hand is a revision and expansion of Prunner's work. The edition presented here intends to preserve the information that Prunner provided, fix the errors made in editing, and expand the study greatly by increasing the range of the exercises, providing more arpeggio exercises, creating melodic and harmonic minor "Fixed-Position" scales and arpeggio exercises, and including the study of double-stops. In support of the revised and updated version of Progressive Studies, this study includes a biography of Joseph Prunner and a summary of the importance of the type of scale and arpeggio practice the collection of exercises supports. An explanation of the revisions made to Prunner's work and recommendations for using the exercises also precede the new edition.
ContributorsStotz, Daniel Aaron (Author) / Rotaru, Catalin (Thesis advisor) / Holbrook, Amy (Committee member) / Kennedy, Jeffery (Committee member) / Koonce, Frank (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2012
Description
This project covers the transcription of Three Suites for Cello, opp. 72, 80, and 87, by Benjamin Britten, for guitar. These suites were chosen because of the influence of Bach, which is seen in the texture of the pieces, and because they can be played on guitar with very few changes. Music for unaccompanied cello has a history of being transcribed for guitar, including the Bach cello suites, and is a means for guitarists to expand the repertoire. In addition to documenting the changes made in adapting these pieces for guitar, a brief biographical sketch of the composer and descriptions of each movement are included. Also explained are articulation symbols and terminologies that are uncommon in music written for the guitar, and suggestions on how to perform the multitude of ornaments Britten has written in the score.
ContributorsHigginbotham, Joseph Aaron (Author) / Koonce, Frank (Thesis advisor) / Aspnes, Lynne (Committee member) / Jiang, Danwen (Committee member) / Mclin, Katie (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
Profound alterations to instruments that take place over short periods of time are fascinating, and the changes undergone by the guitar during the late eighteenth century make for an intriguing transition in the instrument's history. The guitar that existed before 1750 is most commonly referred to as the 'Baroque guitar' and is vastly different from the guitar of today. It was considerably smaller than the guitars that followed, pitched higher, and used primarily for accompaniment through chord strumming. From roughly 1750 to 1800 the guitar underwent a transformation that eventually led to the design and performance practices that have continued through to this day; larger, with lower-pitched courses (and sometimes single stringing), and used increasingly more in punteado (plucked) style. By defining the instrument as it existed prior to 1750, and the changes that it underwent after 1750, we can ensure that the instrument discussed is the one that has directly led to the instrument we use today. Because instrument design and performance practice inevitably influence each other, a thorough examination of ornamentation practices from 1750-1800 can lead to a greater understanding of the instrument as it changed, and the instrument it eventually turned into. Since the early nineteenth century was one of the more productive time periods for the guitar, having a better understanding of the ornamentation performance practices that preceded it may provide insight to how the players and composers of this fertile time (Sor, Aguado, Giuliani, etc.) approached their instrument. Although there was not much music printed or copied for guitar during the latter half of the eighteenth century, a substantial number of guitars were built, along with instruction manuals featuring the guitar. Instruction manuals were examined, along with works for solo guitar and guitar in ensemble with other instruments, to explore ornamentation practices from 1750-1800. Through examination of the guitar instruction manuals of the late eighteenth century, an increased understanding is gained regarding the techniques that eventually became cornerstones of nineteenth-century guitar performance practice.
ContributorsCopeland, Jeffrey S. (Jeffrey Scott), 1953- (Author) / Koonce, Frank (Thesis advisor) / Aspnes, Lynne (Committee member) / Feisst, Sabine (Committee member) / Jiang, Danwen (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2012
Description
Tres Tangos para Duo de Contrabajos (Three Tangos for Double Bass Duet) is a three-movement set written by Andrés Martín and commissioned by Darren Cueva specifically for this document and accompanying performance project. This piece blends tango with Western art music in a style often referred to as “nuevo tango” (new tango) which was popularized by Astor Piazzolla. This research paper will serve as a performance aid for those wishing to present tango idioms on the double bass in addition to a more detailed guide to performing Tres Tangos by Martín.
To give context to performers, this survey begins with a brief history of the tango and the life and stylistic developments of Astor Piazzolla. Various music and dance styles that contributed to early tango include, milonga, habanera, and tango andalúz. The resulting tango was popularized as a music and dance style in the early twentieth century. Astor Piazzolla brought the tango to the concert hall after studying composition with acclaimed professor Nadia Boulanger. His new tango style merged traditional tango, classical composition, and jazz music, which he was exposed to after his family moved from Argentina to New York.
Tres Tangos was modeled after the style of Piazzolla. Characteristic articulation and improvised techniques are a fundamental aspect of the tango sound; a successful performance will depend on the musician’s ability to create these sounds. A detailed description of the most common elements is provided as well as suggestions for creating them on the double bass. Finally, I have compiled a specific performance guide for Tres Tangos. This guide includes rhythmic, articulation, fingering, and notational considerations, to assist in the performance of this piece.
To give context to performers, this survey begins with a brief history of the tango and the life and stylistic developments of Astor Piazzolla. Various music and dance styles that contributed to early tango include, milonga, habanera, and tango andalúz. The resulting tango was popularized as a music and dance style in the early twentieth century. Astor Piazzolla brought the tango to the concert hall after studying composition with acclaimed professor Nadia Boulanger. His new tango style merged traditional tango, classical composition, and jazz music, which he was exposed to after his family moved from Argentina to New York.
Tres Tangos was modeled after the style of Piazzolla. Characteristic articulation and improvised techniques are a fundamental aspect of the tango sound; a successful performance will depend on the musician’s ability to create these sounds. A detailed description of the most common elements is provided as well as suggestions for creating them on the double bass. Finally, I have compiled a specific performance guide for Tres Tangos. This guide includes rhythmic, articulation, fingering, and notational considerations, to assist in the performance of this piece.
ContributorsCueva, Darren (Author) / Rotaru, Catalin (Thesis advisor) / Koonce, Frank (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
In the 1950s, Miguel Llobet (1878–1938) and Emilio Pujol (1886–1980) published the first transcriptions of piano and orchestral music for two guitars that became staples in the repertoire. Ida Presti (1924–1967) and Alexandre Lagoya (1929–1999) expanded their efforts with new adaptations of Baroque, Romantic, and Modern music. Following their examples, generations of professional guitar duos have maintained a similar transcription repertoire. However, closer examination reveals noticeable gaps in it as Renaissance works have been largely overlooked. To illuminate this issue, chapter 2 revisits adaptations for two guitars of music originally written for vihuelas, lutes, viols, and the virginal to inquire about the reasons for this neglect and discuss plausible solutions. Because the virginal stands out for its innovative characteristics and alignment with the solo lute works by John Dowland (1563–1626) and John Johnson (ca. 1545–1594), the “English School” of Virginalists is further explored as a potential source of suitable works for transcriptions.
Chapter 3 discusses philosophical concepts and editorial practices to propose a method aimed at producing stylistically faithful adaptations of virginal music. The editorial criteria for this method are informed by in-depth reflections on terminology, the ontology of musical works, the notion of authenticity, and common sixteenth-century practices from musica ficta to tuning temperaments and notational conventions. Concerning ethical matters, this chapter assesses authorship issues that originated at the turn of the nineteenth century but are still adopted by modern editors and transcribers. This discussion aims to shed light on both the negative impact on intellectual property and how it can be avoided by simply resorting to the practice of scholarly transcriptions. Chapters 4 and 5 explain the procedures and applications of the proposed method in two parts: adaptation and revision. The first introduces concepts and strategies from choosing suitable works to balancing playability and aesthetic fidelity intended to produce a preliminary version of the original work. The second establishes a knowledge base through musico-historical discussions and comparative analyses of sources that inform editorial decisions and necessary changes to be implemented in the final score.
Chapter 3 discusses philosophical concepts and editorial practices to propose a method aimed at producing stylistically faithful adaptations of virginal music. The editorial criteria for this method are informed by in-depth reflections on terminology, the ontology of musical works, the notion of authenticity, and common sixteenth-century practices from musica ficta to tuning temperaments and notational conventions. Concerning ethical matters, this chapter assesses authorship issues that originated at the turn of the nineteenth century but are still adopted by modern editors and transcribers. This discussion aims to shed light on both the negative impact on intellectual property and how it can be avoided by simply resorting to the practice of scholarly transcriptions. Chapters 4 and 5 explain the procedures and applications of the proposed method in two parts: adaptation and revision. The first introduces concepts and strategies from choosing suitable works to balancing playability and aesthetic fidelity intended to produce a preliminary version of the original work. The second establishes a knowledge base through musico-historical discussions and comparative analyses of sources that inform editorial decisions and necessary changes to be implemented in the final score.
ContributorsDe Souza, Gibran Araujo (Author) / Koonce, Frank (Thesis advisor) / Stover, Christopher (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2019
Description
This research compares shifts in a SuperSpec titanium nitride (TiN) kinetic inductance detector's (KID's) resonant frequency with accepted models for other KIDs. SuperSpec, which is being developed at the University of Colorado Boulder, is an on-chip spectrometer designed with a multiplexed readout with multiple KIDs that is set up for a broadband transmission of these measurements. It is useful for detecting radiation in the mm and sub mm wavelengths which is significant since absorption and reemission of photons by dust causes radiation from distant objects to reach us in infrared and far-infrared bands. In preparation for testing, our team installed stages designed previously by Paul Abers and his group into our cryostat and designed and installed other parts necessary for the cryostat to be able to test devices on the 250 mK stage. This work included the design and construction of additional parts, a new setup for the wiring in the cryostat, the assembly, testing, and installation of several stainless steel coaxial cables for the measurements through the devices, and other cryogenic and low pressure considerations. The SuperSpec KID was successfully tested on this 250 mK stage thus confirming that the new setup is functional. Our results are in agreement with existing models which suggest that the breaking of cooper pairs in the detector's superconductor which occurs in response to temperature, optical load, and readout power will decrease the resonant frequencies. A negative linear relationship in our results appears, as expected, since the parameters are varied only slightly so that a linear approximation is appropriate. We compared the rate at which the resonant frequency responded to temperature and found it to be close to the expected value.
ContributorsDiaz, Heriberto Chacon (Author) / Mauskopf, Philip (Thesis director) / McCartney, Martha (Committee member) / Department of Physics (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This paper considers what factors influence student interest, motivation, and continued engagement. Studies show anticipated extrinsic rewards for activity participation have been shown to reduce intrinsic value for that activity. This might suggest that grade point average (GPA) has a similar effect on academic interests. Further, when incentives such as scholarships, internships, and careers are GPA-oriented, students must adopt performance goals in courses to guarantee success. However, performance goals have not been shown to correlated with continued interest in a topic. Current literature proposes that student involvement in extracurricular activities, focused study groups, and mentored research are crucial to student success. Further, students may express either a fixed or growth mindset, which influences their approach to challenges and opportunities for growth. The purpose of this study was to collect individual cases of students' experiences in college. The interview method was chosen to collect complex information that could not be gathered from standard surveys. To accomplish this, questions were developed based on content areas related to education and motivation theory. The content areas included activities and meaning, motivation, vision, and personal development. The developed interview method relied on broad questions that would be followed by specific "probing" questions. We hypothesize that this would result in participant-led discussions and unique narratives from the participant. Initial findings suggest that some of the questions were effective in eliciting detailed responses, though results were dependent on the interviewer. From the interviews we find that students value their group involvements, leadership opportunities, and relationships with mentors, which parallels results found in other studies.
ContributorsAbrams, Sara (Author) / Hartwell, Lee (Thesis director) / Correa, Kevin (Committee member) / Department of Psychology (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This study estimates the capitalization effect of golf courses in Maricopa County using the hedonic pricing method. It draws upon a dataset of 574,989 residential transactions from 2000 to 2006 to examine how the aesthetic, non-golf benefits of golf courses capitalize across a gradient of proximity measures. The measures for amenity value extend beyond home adjacency and include considerations for homes within a range of discrete walkability buffers of golf courses. The models also distinguish between public and private golf courses as a proxy for the level of golf course access perceived by non-golfers. Unobserved spatial characteristics of the neighborhoods around golf courses are controlled for by increasing the extent of spatial fixed effects from city, to census tract, and finally to 2000 meter golf course ‘neighborhoods.’ The estimation results support two primary conclusions. First, golf course proximity is found to be highly valued for adjacent homes and homes up to 50 meters way from a course, still evident but minimal between 50 and 150 meters, and insignificant at all other distance ranges. Second, private golf courses do not command a higher proximity premia compared to public courses with the exception of homes within 25 to 50 meters of a course, indicating that the non-golf benefits of courses capitalize similarly, regardless of course type. The results of this study motivate further investigation into golf course features that signal access or add value to homes in the range of capitalization, particularly for near-adjacent homes between 50 and 150 meters thought previously not to capitalize.
ContributorsJoiner, Emily (Author) / Abbott, Joshua (Thesis director) / Smith, Kerry (Committee member) / Economics Program in CLAS (Contributor) / School of Sustainability (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The objective of this paper is to provide an educational diagnostic into the technology of blockchain and its application for the supply chain. Education on the topic is important to prevent misinformation on the capabilities of blockchain. Blockchain as a new technology can be confusing to grasp given the wide possibilities it can provide. This can convolute the topic by being too broad when defined. Instead, the focus will be maintained on explaining the technical details about how and why this technology works in improving the supply chain. The scope of explanation will not be limited to the solutions, but will also detail current problems. Both public and private blockchain networks will be explained and solutions they provide in supply chains. In addition, other non-blockchain systems will be described that provide important pieces in supply chain operations that blockchain cannot provide. Blockchain when applied to the supply chain provides improved consumer transparency, management of resources, logistics, trade finance, and liquidity.
ContributorsKrukar, Joel Michael (Author) / Oke, Adegoke (Thesis director) / Duarte, Brett (Committee member) / Hahn, Richard (Committee member) / School of Mathematical and Statistical Sciences (Contributor) / Department of Economics (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The Super Catalan numbers are a known set of numbers which have so far eluded a combinatorial interpretation. Several weighted interpretations have appeared since their discovery, one of which was discovered by William Kuszmaul in 2017. In this paper, we connect the weighted Super Catalan structure created previously by Kuszmaul and a natural $q$-analogue of the Super Catalan numbers. We do this by creating a statistic $\sigma$ for which the $q$ Super Catalan numbers, $S_q(m,n)=\sum_X (-1)^{\mu(X)} q^{\sigma(X)}$. In doing so, we take a step towards finding a strict combinatorial interpretation for the Super Catalan numbers.
ContributorsHouse, John Douglas (Author) / Fishel, Susanna (Thesis director) / Childress, Nancy (Committee member) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05