Matching Items (104)
Description
In light of the intensifying environmental, social, and economic challenges facing the world, sustainable development is more necessary than ever. Approaching sustainability problems through Asset-Based Community Development (ABCD) programs involving music is unconventional, but holds potential for grand results. An examination of various existing community development projects, from the Playing for Change Foundation to the Arizona State University Barrett Choir, shows that music-related activities are highly effective at fostering community development. Once a foundation of community connectedness is created, other issues such as social injustices or natural disasters can be more effectively addressed and overcome. Music and other fine arts can contribute, in a variety of ways, to the health of communities. This should be recognized and utilized in the pursuit of sustainable community development to preserve the health of the planet and its inhabitants.
ContributorsPaonessa, Carlotta Colleen (Author) / Schildkret, David (Thesis director) / Manuel-Navarrete, David (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Sustainability (Contributor)
Created2014-05
Description
Being Sparky will be a sports documentary about the life of Walker McCrae as Arizona State University’s mascot, Sparky. The idea behind this documentary is to outline all that encompasses being Sparky from events themselves to student life, as well as the time commitment needed for such a role. The purpose is to show the impact Sparky has not only on the university but on the people who are Sparky. While it can just be wearing a costume and getting really sweaty, the work one puts in to it will always reap rewards. To most people, Sparky life seems simple and straightforward but the reality is that it is much more complex and that is what we want to demonstrate in this documentary.
ContributorsMcCrae, Walker (Co-author) / Millon, Ellie (Co-author) / Ashby, Ben (Co-author) / Lizzy, Baxter (Co-author) / Ingram-Waters, Mary (Thesis director) / Bonfiglio, Thomas (Committee member) / Schildkret, David (Committee member) / Eaton, John (Committee member) / Scott, Jason (Committee member) / Department of Information Systems (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
DescriptionReflections of Self is an original score containing three movements composed and transcribed entirely by myself (Cameron Labban) under the guidance of Dr. David Schildkret. The foundation of the movements within the score are based upon stand-alone melodies created since I first began teaching myself how to play the piano.
ContributorsLabban, Cameron Wael (Author) / Schildkret, David (Thesis director) / Evans, Bartlett (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The piano-vocal scores of musical theatre songs often contain simplistic and uninspired piano writing. Characteristically, the scores have right-hand figuration that doubles the voice line, restricting the singer from having the rhythmic and melodic freedom that is an essential component of the style. In addition, the piano-vocal scores have shallow bass lines and thin textures, making it difficult for the pianist to offer the support and expression that the music deserves. Editors may choose this writing style to make the score pianistically accessible for voice teachers accompanying their students, or to provide melodic assistance for less experienced singers. Conductor-vocal scores do exist and more closely resemble what an orchestra might play, but they are expensive, at times only available as rental scores, or highly inconvenient to locate. Therefore, I have designed twelve techniques to enhance piano-vocal scores, and will demonstrate those techniques through seven songs selected from the canon of musical theatre repertoire. The project is intended to be a teaching tool for advanced collaborative pianists working with advanced musical theatre singers, as many of the techniques create virtuosic piano writing and are designed for use with little to no prior rehearsal, which could potentially distract, rather than benefit, a beginning singer. The ultimate aim of enhancing the piano-vocal score is for the finished product to be creative and inspiring. Further objectives include: the creation of orchestral textures, allowing the singer more freedom, the creation of a piano part that is technically rewarding, and piano writing that inspires the singer. Through my descriptions of the techniques and discussions of the piano-vocal score enhancements, I hope to demonstrate that the singer, pianist, and audience all benefit when collaborative pianists enhance the piano-vocal score of musical theater repertoire.
ContributorsNamminga, Jaime (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Committee member) / FitzPatrick, Carole (Committee member) / Ryan, Russell (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2016
Description
The symphonies of Gustav Mahler (1860 - 1911) constitute an essential element of the orchestral repertory; they are therefore essential for young conductors to understand and for instrumentalists to play. Yet they are impractical in many school situations because they call for large orchestras. One solution to this problem is for the conductor to study the original, full version of the works as Mahler composed them, but to consider performing one of the reduced instrumentations now available. A smaller-scale version provides an opportunity for both the conductor and the instrumentalists to confront the challenges of performing Mahler's music and to explore Mahler's musical language and style in a more manageable setting.
This project focuses on Mahler's Fourth Symphony, which is available in two reduced orchestrations: one by Erwin Stein made in 1921 and another by Klaus Simon from 2007. This paper is part of a larger project that includes a lecture-recital with commentary and a performance of the symphony in the more recent Simon arrangement (documented on video). It presents some background on Mahler's Fourth Symphony and compares the two reduced instrumentations to Mahler's original and to one another. Taken together, the parts of this project demonstrate an approach to learning and performing Mahler's music in a more accessible and practical setting for student conductors.
This project focuses on Mahler's Fourth Symphony, which is available in two reduced orchestrations: one by Erwin Stein made in 1921 and another by Klaus Simon from 2007. This paper is part of a larger project that includes a lecture-recital with commentary and a performance of the symphony in the more recent Simon arrangement (documented on video). It presents some background on Mahler's Fourth Symphony and compares the two reduced instrumentations to Mahler's original and to one another. Taken together, the parts of this project demonstrate an approach to learning and performing Mahler's music in a more accessible and practical setting for student conductors.
ContributorsKwon, JungHwan (Author) / Schildkret, David (Thesis advisor) / Caslor, Jason (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2016
Description
This research paper recounts the work done in founding an opera company and putting on its inaugural show. It also provides some of the insights acquired during the process, which may be helpful for other future opera producers in creating a framework and guideposts for starting their own companies. The paper consists of two main sections followed by several short appendices.
The first section methodically reconstructs the process by which Windy City Opera's La Bohème was brought to the stage. It covers the background experiences that prompted the author to found her own company, the research and decisions involved, and the interplay between the company's overall goals and the resources available for a first production. The business, casting, rehearsing, and marketing aspects are reviewed in detail, as well as several mistakes that were made during the process that afforded valuable learning opportunities.
The second section follows up on these and other opportunities by sketching an ideal plan that opera startups might follow; the principal topics are timeline, budgeting, fundraising, venue selection, personnel selection, and marketing.
The appendices consist of worksheets and materials meant to illustrate and supplement this written how-to guide, as well as a video of the Windy City Opera production of La Bohème.
The first section methodically reconstructs the process by which Windy City Opera's La Bohème was brought to the stage. It covers the background experiences that prompted the author to found her own company, the research and decisions involved, and the interplay between the company's overall goals and the resources available for a first production. The business, casting, rehearsing, and marketing aspects are reviewed in detail, as well as several mistakes that were made during the process that afforded valuable learning opportunities.
The second section follows up on these and other opportunities by sketching an ideal plan that opera startups might follow; the principal topics are timeline, budgeting, fundraising, venue selection, personnel selection, and marketing.
The appendices consist of worksheets and materials meant to illustrate and supplement this written how-to guide, as well as a video of the Windy City Opera production of La Bohème.
ContributorsO'Shaughnessy, Catherine (Author) / Dreyfoos, Dale (Thesis advisor) / Schildkret, David (Thesis advisor) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT
The early music revival in Paris, which came into full swing in the 1890s, had a defining impact on the composer Claude Debussy. Among the leaders of this movement were the Chanteurs de Saint Gervais under the direction of Charles Bordes and the Schola Cantorum, a school Bordes founded for the study and performance of early music in Paris. Debussy wrote admiringly of the performances of the Chanteurs and opera productions he saw at the Schola. He also spoke of the revelatory nature of performances of Renaissance masses that he heard in Italy after he won the Prix de Rome. Finally, he most likely visited Solesmes, important in the revival of plainchant. Hitherto unknown documents raise questions about the date of that visit, which most likely took place in 1892 or 1893.
A powerful manifestation of the influence of early music on Debussy’s compositional style is a melodic gesture that he referred to as “arabesque.” Debussy made many comments about the “divine arabesque,” which he related to the “primitives,” Palestrina, Victoria, and di Lasso. Further, Debussy connected those composers’ use of the arabesque to plainchant: “They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints.”
Debussy’s writings on early music provide a deeper context for understanding how plainchant, as well as music from the Renaissance, contributed to his compositional style, specifically in his use of modes and his notion of the arabesque. These influences are especially apparent in his only a cappella choral work, Trois chansons de Charles d’Orléans.
Until now, analysis of the Trois chansons has not sufficiently considered the importance of either plainchant or the arabesque and their influence on the style and character of this work. Viewing Debussy’s musical aesthetic through the lens of plainchant and the arabesque brings his music to life in a new and exciting way, resulting in a richer understanding and more informed performance practice, especially in the Trois chansons de Charles d’Orléans.
The early music revival in Paris, which came into full swing in the 1890s, had a defining impact on the composer Claude Debussy. Among the leaders of this movement were the Chanteurs de Saint Gervais under the direction of Charles Bordes and the Schola Cantorum, a school Bordes founded for the study and performance of early music in Paris. Debussy wrote admiringly of the performances of the Chanteurs and opera productions he saw at the Schola. He also spoke of the revelatory nature of performances of Renaissance masses that he heard in Italy after he won the Prix de Rome. Finally, he most likely visited Solesmes, important in the revival of plainchant. Hitherto unknown documents raise questions about the date of that visit, which most likely took place in 1892 or 1893.
A powerful manifestation of the influence of early music on Debussy’s compositional style is a melodic gesture that he referred to as “arabesque.” Debussy made many comments about the “divine arabesque,” which he related to the “primitives,” Palestrina, Victoria, and di Lasso. Further, Debussy connected those composers’ use of the arabesque to plainchant: “They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints.”
Debussy’s writings on early music provide a deeper context for understanding how plainchant, as well as music from the Renaissance, contributed to his compositional style, specifically in his use of modes and his notion of the arabesque. These influences are especially apparent in his only a cappella choral work, Trois chansons de Charles d’Orléans.
Until now, analysis of the Trois chansons has not sufficiently considered the importance of either plainchant or the arabesque and their influence on the style and character of this work. Viewing Debussy’s musical aesthetic through the lens of plainchant and the arabesque brings his music to life in a new and exciting way, resulting in a richer understanding and more informed performance practice, especially in the Trois chansons de Charles d’Orléans.
ContributorsRynex, Carolyn Rose (Author) / Schildkret, David (Thesis advisor) / Kopta, Anne (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsEvans, Bartlett R. (Conductor) / Schildkret, David (Conductor) / Glenn, Erica (Conductor) / Concert Choir (Performer) / Chamber Singers (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-16
Description
Canadian composer, conductor, pianist, and organist Donald Patriquin (b. 1938) is
best known for his choral folksong arrangements but is also a composer of many original
works. Songs of Innocence, which Patriquin calls “one of my very best choral works,”
exemplifies his approach to setting text to music and provides a rich opportunity for
understanding Patriquin’s method of selecting text, creating a kind of libretto out of the
available text, setting the text to music, and conceiving of and composing instrumental
parts equal in importance to the choral parts. Also evident in this work is his attention to
such elements as precise word painting, varied theoretical approaches, and a general
musical aesthetic that focuses on beauty. This quintessential composition provides
important insights into Patriquin’s personal artistry and his approach to composition.
Patriquin does not fit text to music; instead, all of the musical elements are generated out
of the textual nuances. Patriquin’s comments on the work and his process, gleaned from
extensive email correspondence and his attendance at the U.S. premiere of the work,
provide important insights that can inform conductors and singers of his music. The study
of this suite highlights Patriquin’s expert crafting of musical elements and the methodical
layering of elements he combines to tell the musical story. Pairing Patriquin’s email
correspondence with an in-depth look at Songs of Innocence reveals his overarching
compositional ideas and underlying musical motivations.
best known for his choral folksong arrangements but is also a composer of many original
works. Songs of Innocence, which Patriquin calls “one of my very best choral works,”
exemplifies his approach to setting text to music and provides a rich opportunity for
understanding Patriquin’s method of selecting text, creating a kind of libretto out of the
available text, setting the text to music, and conceiving of and composing instrumental
parts equal in importance to the choral parts. Also evident in this work is his attention to
such elements as precise word painting, varied theoretical approaches, and a general
musical aesthetic that focuses on beauty. This quintessential composition provides
important insights into Patriquin’s personal artistry and his approach to composition.
Patriquin does not fit text to music; instead, all of the musical elements are generated out
of the textual nuances. Patriquin’s comments on the work and his process, gleaned from
extensive email correspondence and his attendance at the U.S. premiere of the work,
provide important insights that can inform conductors and singers of his music. The study
of this suite highlights Patriquin’s expert crafting of musical elements and the methodical
layering of elements he combines to tell the musical story. Pairing Patriquin’s email
correspondence with an in-depth look at Songs of Innocence reveals his overarching
compositional ideas and underlying musical motivations.
ContributorsNeish, Julie (Author) / Schildkret, David (Thesis advisor) / Solis, Theodore (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2017
Description
ABSTRACT In this study, I used a qualitative approach to explore the music teacher role identities of six beginning music teachers prior to, during, and after their student teaching experience. Data collection included participant-observation, interviews, and e-mail communication. Specifically, I looked at what each of these beginning music teachers discussed when describing themselves in the role of music teacher. These participants' music teacher role identities appeared to focus on four main components, while also remaining unique from one another. Those four components were: musical selves, instructional selves, professional selves, and ideological selves. Further, the participants' role identities appeared to change from the period prior to student teaching through student teaching to the time after their student teaching experience. Based on data gleaned from the participants in this study, I created my own definition of music teacher role identity. This study's findings suggest further research using a longitudinal approach to explore the role identities of music teachers at various stages of their careers.
ContributorsPaise, Michele Paynter (Author) / Schmidt, Margaret (Thesis advisor) / Stauffer, Sandra L (Committee member) / Bush, Jeffrey (Committee member) / Sullivan, Jill M (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2010