Matching Items (13)
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- Genre: Scores
- Creators: Micklich, Albie
- Creators: McLin, Katherine
Description
The repertoire of the saxophone has advanced significantly since its invention circa 1840. Performers are required to adapt to the demands of composers - many of whom are exploring new and unconventional sounds and techniques. Numerous texts exist to identify and explain these so-called "extended" techniques, but there are very few resources for the initial stages of performance. In order to offer performers a resource, the author of this text composed forty original etudes (or studies) that incorporate extended techniques in a variety of ways. After identifying common extended techniques that a performer might face, the author focused on four different ways each individual technique might appear in actual repertoire. The resulting work is entitled Pushing Boundaries: Forty Etudes on Extended Techniques. Each etude offers a practical approach to what is generally a single extended technique. Although this text is not pedagogical in the sense of identifying the mechanics and anatomical requirements of each technique, it does contain a performance analysis of each etude. This analysis identifies areas where performers might struggle and offers helpful suggestions. To this end, the etudes accompanied by performance analysis provide a paced, systematic approach to the mastery of each technique.
ContributorsMurphy, Patrick Joseph (Author) / Hill, Gary (Thesis advisor) / Spring, Robert (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project features three new pieces for clarinet commissioned from three different composers. Two are for unaccompanied clarinet and one is for clarinet, bass clarinet, and laptop. These pieces are Storm's a Comin' by Chris Burton, Light and Shadows by Theresa Martin, and My Own Agenda by Robbie McCarthy. These three solos challenge the performer in various ways including complex rhythm, use of extended techniques such as growling, glissando, and multiphonics, and the incorporation of technology into a live performance. In addition to background information, a performance practice guide has also been included for each of the pieces. This guide provides recommendations and suggestions for future performers wishing to study and perform these works. Also included are transcripts of interviews done with each of the composers as well as full scores for each of the pieces. Accompanying this document are recordings of each of the three pieces, performed by the author.
ContributorsVaughan, Melissa Lynn (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Feisst, Sabine (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
Description
Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have become increasingly popular. Consequently, Latin American performers and composers are receiving more attention and recognition than ever before. The contemporary repertoire for clarinet increasingly includes works highlighted at the ClarinetFest international festivals, and many clarinetists express interest in finding new Latin American compositions. In order to supplement this growing Latin American repertoire and to introduce the life and works of Peruvian composer Armando Guevara Ochoa (1926-2013), this project presents a brief biography of the composer, a discussion of his musical style, and new editions of his popular works transcribed for clarinet. A recording of these works is included in an appendix to this document. Prior to this research, much of the scholarship written about Guevara Ochoa was in Spanish. While most sources and scholars relate that Guevara Ochoa composed over 400 works, the whereabouts of fewer than 200 are currently known. This project will supplement Guevara Ochoa's clarinet literature and raise awareness of his compositions in English-speaking countries.
ContributorsPalmer, Katherine H (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2013
Description
The commissioning and recording of music from living composers is a very important tradition in the art of music. The ability to work with living composers gives the performer insight into the music that is far beyond reading the notes on the page. For my research paper, I commissioned two new works for the cello by the composers Joseph Hallman and Christian Asplund, in an effort to continue adding great pieces to the cello repertoire. This paper documents my experiences in finding and working with selected composers. It includes detailed descriptions of the pieces with practice and performance suggestions as well as recordings of the pieces. Commissioning new works often creates many first-hand artistic decisions for the performer as well as many new technical difficulties on the instrument. The two pieces commissioned offer insight into two different instrumentations: the sonata for cello and piano, and a solo cello suite. In this paper I describe various important aspects of these compositions and point out ways to make informed artistic decisions when approaching form, harmony, motive, and extended techniques on the cello. Providing this information on commissioning and collaborating with living composers will help continue this tradition into the future for classical music.
ContributorsKesler, Michelle (Contributor) / Landschoot, Thomas (Committee member) / Carpenter, Ellon (Committee member) / McLin, Katherine (Committee member) / Spring, Robert (Committee member) / Ryan, Russell (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
This composition was commissioned by the Orgelpark to be performed in Amsterdam in September 2011 during Gaudeamus Muziekweek. It will be performed by the vocal group VocaalLab Nederland. It is scored for four vocalists, organ, tanpura, and electronic sound. The work is a culmination of my studies in South Indian Carnatic rhythm, North Indian classical singing, and American minimalism. It is a meditation on the idea that the drone and pulse are micro/macro aspects of the same phenomenon of vibration. Cycles are created on the macroscale through a mathematically defined scale of harmonic/pitch relationships. Cycles are created on the microscale through the subdivision and addition of rhythmic pulses.
ContributorsAdler, Jacob (Composer) / Rockmaker, Jody (Thesis advisor) / Feisst, Sabine (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Arizona State University (Publisher)
Created2011
Description
New works for the bass clarinet as a solo instrument are uncommon. In the interest of expanding the repertoire of the bass clarinet, three new works for bass clarinet were commissioned from three different composers, all with different instrumentations. The resulting works are Industrial Strength for bass clarinet and piano by Kenji Bunch; Dark Embers for two bass clarinets by Theresa Martin; and Shovelhead for bass clarinet and interactive electronics by Steven Snowden. Although all three works feature the bass clarinet, they are all very different and pose unique challenges to the performer. To accompany these pieces, and as an aid to future performers, a performance practice guide has been included with recommendations for individuals who wish to perform these works. Included in the guide are recommended fingerings, practice techniques, and possible adjustments to the bass clarinet parts designed in collaboration with the composers that make the works more technically accessible. Accompanying this guide are full scores of all three works, a recording of them performed by the author, and a chart that contains recommended altissimo fingerings.
ContributorsMiracle, Matthew (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
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 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.
ContributorsYeh, Guan-Lin (Author) / Ericson, John (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Pilafian, J. Samuel (Committee member) / Arizona State University (Publisher)
Created2011
Description
The two solo violin works by Carl Nielsen (1865-1931) have been largely overlooked since their composition in the 1920s. These pieces are representative of Nielsen's mature style, combining elements of classical form (the Theme and Variations) as well as processes more commonly found in the twentieth century (through-composition and non-tonal harmonic language). This paper is designed to bring these long-neglected works to light and make them more approachable for violin students, teachers and performers. As Denmark's leading composer, Nielsen was well regarded in his lifetime, although his isolation from mainland Europe created obstacles in his path toward international fame. Rather than following trends in post-romantic music, he remained true to his own musical ideals. This choice often isolated him further during his career, but his unique blend of chromatic harmony, driving rhythms and juxtapositions of character captivates modern listeners. Although small in scope compared to his symphonies and other large works, the enthusiastic spirit and indomitable energy of the solo violin works reflect Nielsen's character at its best. Combining a high level of virtuosity with solid structural integrity, textural variety and musical interest, these works deserve a much more prominent place in the standard violin repertoire.
ContributorsVallier, Michelle Mitchell (Author) / McLin, Katherine (Thesis advisor) / Rogers, Rodney (Committee member) / Jiang, Danwen (Committee member) / Bailey, Wayne (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2012