Matching Items (598)
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

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
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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

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
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Description
This six month IRB approved qualitative study was held at Arizona State University to see how a group of seven university dancers' body appreciation and body perception would be affected by introduction and familiarized with Bartenieff Fundamentals and other somatic practices. During this process the individuals gained knowledge about their

This six month IRB approved qualitative study was held at Arizona State University to see how a group of seven university dancers' body appreciation and body perception would be affected by introduction and familiarized with Bartenieff Fundamentals and other somatic practices. During this process the individuals gained knowledge about their own bodies through somatic movement activities, journal writings, group discussions, and personal interviews. Movers then used this knowledge to create movement phrases that represented their own personal journeys with body image struggles, doubts, and insecurities. These movement phrases were then linked together in a 40-minute expressive movement piece that represented the journey the group of movers had made and was still making together.
ContributorsRodgers, Patricia (Author) / Jackson, Naomi (Thesis advisor) / Britt, Melissa (Committee member) / Vissicaro, Pegge (Committee member) / Arizona State University (Publisher)
Created2014
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Description
Transformation Is... is an arts practice-led research in Dance and Design, embodying and materializing concepts of structure, leadership and agency and their role in bringing about desired social transformation. My personal experiences as a foreign student interested in transformative experiences gave origin to this arts practice-led research. An auto-ethnographic approach

Transformation Is... is an arts practice-led research in Dance and Design, embodying and materializing concepts of structure, leadership and agency and their role in bringing about desired social transformation. My personal experiences as a foreign student interested in transformative experiences gave origin to this arts practice-led research. An auto-ethnographic approach informed by grounded theory methods shaped this creative inquiry in which dance was looked at as data and rehearsals became research fields. Within the context of social choreography, a transformational leadership style was applied to promote agency using improvisational movement scores to shape individual and collective creative explorations. These explorations gave birth to a flexible and transformable dance installation that served as a metaphor for social structure. Transformation revealed itself in this research as a sequence of process and product oriented stages that resulted in a final performance piece in which a site-specific interactive installation was built before the audience's eyes. This work became a metaphor of how individual actions and interactions effect the construction of social reality and how inner-transformation and collaboration are key in the process of designing and building new egalitarian social structures.
ContributorsSibauste Bermudez, Janelle (Author) / Kaplan, Robert (Thesis advisor) / Britt, Melissa (Committee member) / Standley, Eileen (Committee member) / Arizona State University (Publisher)
Created2014
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Description
"Linked Together" is a choreographic piece inspired by at-risk youth and their ability to learn, grow, and transform their lives through dance. The idea for the piece originated from dance programs implemented with under-resourced populations in Virginia, Panama, and India. My teaching experiences in these places sparked the development of

"Linked Together" is a choreographic piece inspired by at-risk youth and their ability to learn, grow, and transform their lives through dance. The idea for the piece originated from dance programs implemented with under-resourced populations in Virginia, Panama, and India. My teaching experiences in these places sparked the development of a longer, more comprehensive dance program in Arizona, with a Boys and Girls Club. The Arizona dance program included specific somatics exercises, focused on the integration of mind and body, as well as other types of improvisations, to help the participants learn about movement concepts and develop original movement.

The title "Linked Together" suggests that all people are connected in many ways, regardless of personal differences such as socioeconomic status or language. The dancers included myself, Arizona State University (ASU) dance students, as well as Boys and Girls Club dance program participants. For the concert, all dancers portrayed stories and concepts related to empowerment through emotionally charged movement, and thereby provided audience members with a visceral lens through which to see the transformative powers of dance. The data collected from this project through observations, surveys, and interviews suggest that constructive behaviors that are internalized through dance can flow seamlessly into the non-dance world, encouraging people to think creatively, collaborate with others, gain a sense of ownership, and feel empowered in all parts of life.
ContributorsDaniel, Chareka (Author) / Fitzgerald, Mary (Thesis advisor) / Britt, Melissa (Committee member) / Manning, Linda (Committee member) / Arizona State University (Publisher)
Created2015
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Description
As clarinet compositions created by Taiwanese composers have not been widely discussed and published in academia, this research paper examines three unaccompanied clarinet works by three Taiwanese composers: Ballade by Hsiao-Wen Tseng, Chin Thoughts III by Ling-Huei Tsai, and Pointe de Flame by Chia-Lin Pan, all commissioned by the author

As clarinet compositions created by Taiwanese composers have not been widely discussed and published in academia, this research paper examines three unaccompanied clarinet works by three Taiwanese composers: Ballade by Hsiao-Wen Tseng, Chin Thoughts III by Ling-Huei Tsai, and Pointe de Flame by Chia-Lin Pan, all commissioned by the author in 2007. This research also includes a compact disc with recordings of these works, aiming to document the creativity of Taiwanese composers. This research paper examines these three commissioned works by analyzing their overall musical styles, notations, formal structures, rhythmical and melodic materials, unconventional clarinet techniques as well as the influence of Chinese musical elements. The analysis reveals the distinctive characteristic of each piece. Moreover, the author provides composers' insights and performance guides to help interested readers practice these pieces. To further understand how the composers create these pieces by drawing upon different life experiences, the paper also includes information about their backgrounds, program notes, lists of compositions, and music examples for reference. The author found that collaborating with these composers helped to establish a closer composer-performer relationship in interpreting the music. It is hoped that this compact disc recording will help make Taiwanese composers' clarinet works more accessible to a wider audience. Moreover, this research paper hopes to generate more interest in performing and appreciating music composed by Taiwanese composers.
ContributorsChuang, Yenting (Author) / Spring, Robert (Thesis advisor) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Jiang, Danwen (Committee member) / Hackbarth, Glenn (Committee member) / Arizona State University (Publisher)
Created2011
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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

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
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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

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
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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'

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
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Description

Public engagement is increasingly viewed as an important pillar of scientific scholarship. For early career and established scholars, however, navigating the mosaic landscape of public education and science communication, noted for rapid “ecological” succession, can be daunting. Moreover, academics are characterized by diverse skills, motivations, values, positionalities, and temperaments that

Public engagement is increasingly viewed as an important pillar of scientific scholarship. For early career and established scholars, however, navigating the mosaic landscape of public education and science communication, noted for rapid “ecological” succession, can be daunting. Moreover, academics are characterized by diverse skills, motivations, values, positionalities, and temperaments that may differentially incline individuals to particular public translation activities.

ContributorsAmorim, Carlos Eduardo G (Author) / Dasari, Mauna (Author) / Durgavich, Lara (Author) / Hinde, Katie (Author) / Kissel, Marc (Author) / Lewton, Kristi L (Author) / Loewen, Tisa (Author)
Created2021