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The aim of this project was to create an original sound design and score for the ASU SOMDT production of HEDDATRON, by Elizabeth Meriwether. Composition and sound design was done primarily with a modular synthesizer. All audio editing was done in Reaper, and the cues were programmed in Qlab.

ContributorsJansen, Troy Sherk (Author) / Max, Bernstein (Thesis director) / Lance, Gharavi (Committee member) / School of Music, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Jane Austen’s depictions of musical performers and listeners in her novels suggest her belief that musical performances should strengthen intimacy between people, both between listeners and performers as well as among listeners. Austen commends music for its power to increase intimacy through honest expressions of taste, which more often arise

Jane Austen’s depictions of musical performers and listeners in her novels suggest her belief that musical performances should strengthen intimacy between people, both between listeners and performers as well as among listeners. Austen commends music for its power to increase intimacy through honest expressions of taste, which more often arise in private performances, but she warns against its power to decrease intimacy through pretentious displays of taste, which more often arise in public performances. Austen’s belief that music allows for this healthy intimacy indicates that music has great significance in society. Austen suggests that music has a greater importance to everyday life than many may originally suppose, as it is a universal connection between people. Ultimately, Jane Austen’s perspective of music’s great power both to expose pretentiousness and to cultivate intimacy should lead all of her readers to recognize and respect music’s true power and to consider seriously the importance and role of music in their own lives.

Created2021-05
Description
The original scope of this project was to have several conducting experiences and written records about the conductor’s experiences. Due to COVID-19, the focus of the paper has shifted to documenting the preparation, rehearsal, and performance "Recombobulation" (2016) by Theresa Martin. Using the templates found in the "Teaching Music Through

The original scope of this project was to have several conducting experiences and written records about the conductor’s experiences. Due to COVID-19, the focus of the paper has shifted to documenting the preparation, rehearsal, and performance "Recombobulation" (2016) by Theresa Martin. Using the templates found in the "Teaching Music Through Performance in Band" book series as a model, combined with the author’s personal narrative of their experience, this paper aims to serve as a resource for both people considering programming this piece of music as well as early career conductors who strive to improve their craft.
ContributorsStirm, Taylor Lynne (Author) / Caslor, Jason (Thesis director) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / School of Music, Dance and Theatre (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
Description
This project describes the process of creating an arrangement of Gustav Holst's "Second Suite in F for Military Band," to include the oboe d'amore. The oboe d'amore is a member of the oboe family which is not often used in the modern day. Also included are a score, 5 individual

This project describes the process of creating an arrangement of Gustav Holst's "Second Suite in F for Military Band," to include the oboe d'amore. The oboe d'amore is a member of the oboe family which is not often used in the modern day. Also included are a score, 5 individual parts, and a digital audio file of the arrangement.
ContributorsJones, Katherine (Author) / Schuring, Martin (Thesis director) / Micklich, Albie (Committee member) / School of Music, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
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Description
Clarinet articulation is a process that uses the tongue to create an interruption in sound production either by contacting the reed or disrupting the air stream. This process occurs inside the mouth and is hidden from direct view. As a result, various solutions were developed in clarinet pedagogy to address

Clarinet articulation is a process that uses the tongue to create an interruption in sound production either by contacting the reed or disrupting the air stream. This process occurs inside the mouth and is hidden from direct view. As a result, various solutions were developed in clarinet pedagogy to address the issue of teaching with no visual feedback. Clarinet pedagogy literature consists of language that makes it possible for other clarinetists to discuss, teach, and research various aspects of clarinet playing. The interdisciplinary application of theoretical concepts in linguistics and how they map onto the language of clarinet pedagogy offers a new perspective for understanding the teaching methods used for articulation. To provide insight into the relationship of language and clarinet pedagogy, an overview of several linguistic theories and concepts, such as Peircean semiotics, metalanguages, discursive strategies, and articulatory phonetics, is presented. Additionally, a brief explanation of articulation techniques (single, multiple, flutter, and slap articulation) and commonly used teaching strategies is outlined. The language used in clarinet pedagogy literature from resources by prominent clarinet pedagogues, such as the works of John Anderson, Joshua Gardner, Michèle Gingras, Eric C. Hansen, Howard Klug, Phillip Rehfeldt, Thomas Ridenour, Heather Roche, Robert Spring, and Rachel Yoder, is surveyed. Pedagogical insights from a linguistic analysis are used to create resources for teaching and/or correcting articulation. Since the interdisciplinary application of linguistics and clarinet pedagogy is an underexplored topic, this research also aims to serve as a basis for further interdisciplinary studies.
Contributorsde Alba, Francisco Javier (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Fossum, Dave (Committee member) / Caslor, Jason (Committee member) / Arizona State University (Publisher)
Created2021
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Description
This paper highlights a method for jazz transcription, comprehension, and practice to be implemented primarily in applied saxophone instruction with undergraduate students. The purpose is the identify and mend the divide between jazz and classical that appears in academia. This divide is one that came about by necessity in the

This paper highlights a method for jazz transcription, comprehension, and practice to be implemented primarily in applied saxophone instruction with undergraduate students. The purpose is the identify and mend the divide between jazz and classical that appears in academia. This divide is one that came about by necessity in the saxophone’s relative youth in the academic world as it found solid footing in conservatories around the world. A literature review establishes the current state of dialogue between both jazz and classical in the academic saxophone community, including the current state of crossover scholarship that discusses the interaction between multiple genres. This review investigates what serves as pedagogical material in an aural discipline like jazz. A thorough approach to transcription is crucial change to the standard practice of jazz transcription typically employed in applied saxophone studios. This approach takes the focus away from the product and places it on the process. This process is demonstrated through a transcription and deconstruction of Charlie Parker’s “Cheryl.” Though this approach is presented through the perspective of a saxophonist, this process can be applied to any number of instrumental disciplines seeking to understand jazz transcription and improvisation more fully.
ContributorsFeher, Patrick Francis (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Libman, Jeffrey (Committee member) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
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Description
While much has been written on the history of Education Concerts in the United States, there is a void in research focused on actual content, structure, and purposes of these concerts. This document seeks to fill this void through a detailed examination of salient aspects of Education Concerts, including programming,

While much has been written on the history of Education Concerts in the United States, there is a void in research focused on actual content, structure, and purposes of these concerts. This document seeks to fill this void through a detailed examination of salient aspects of Education Concerts, including programming, structure, rehearsal, and performance considerations. In conjunction with my research, I will draw on my first-hand experience as Associate Conductor of the Seattle Symphony, providing a glimpse into the creative challenges and solutions that confront a contemporary orchestra. Additionally, my research endeavors to discover ways of transforming the historically rigid model of orchestral operations into a structure that embraces diversity, equity, and inclusion, encourages connections, and sparks curiosity. The goal of this research, therefore, is to provide tangible references and practical guidance to the conductor or administrator who is venturing into the richness of Education Concert programming and performance in today’s everchanging orchestral landscape.
ContributorsXia, Sunny Xuecong (Author) / Caslor, Jason (Thesis advisor) / Bolanos, Gabriel (Committee member) / Feisst, Sabine (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2023
Description
During my career as an oboist, I have only played the oboe d’amore one time before this project. I have always wondered why such a beautiful instrument is scarcely played today, and decided it was time to commission new works that aim to bring back the instrument’s popularity. Tim Carlos

During my career as an oboist, I have only played the oboe d’amore one time before this project. I have always wondered why such a beautiful instrument is scarcely played today, and decided it was time to commission new works that aim to bring back the instrument’s popularity. Tim Carlos composed Fernweh: Sonata for Oboe d’amore and Piano and Two Sketches for Oboe d’amore, Guitar, and Percussion. This document covers the collaborative method Carlos and I experienced, the history of the oboe d’amore, edits made to the compositions, and most importantly a performer’s guide to these two new works (discussing both technical and musical challenges.) The recordings are also included. To purchase either work in its entirety, contact timcarloscomposer@gmail.com.
ContributorsDinger, Maja Malina (Author) / Schuring, Martin (Thesis advisor) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
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Description
One way in which public school band directors hone their conducting skills beyond their initial academic training is by attending conducting workshops. These workshops, which usually range in duration from one day to a full week give conductors the opportunity to obtain critical feedback from recognized pedagogues, helping them improve,

One way in which public school band directors hone their conducting skills beyond their initial academic training is by attending conducting workshops. These workshops, which usually range in duration from one day to a full week give conductors the opportunity to obtain critical feedback from recognized pedagogues, helping them improve, among other things, their conducting gestures, rehearsal techniques, and score study abilities. Offered at various times throughout the year with many of them taking place during the summer when public school educators do not have teaching responsibilities, most band conducting workshops are designed to be inclusive of anyone in search of professional development opportunities. However, the costs often associated with attending a workshop can be challenging for many people. The goal of this study is to take the potential professional development yielded from a traditional in-person conducting workshop and transition it to a one-on-one online format that will not only allow for similar growth found with traditional in-person workshops, but also provide additional benefits unique to the virtual setting. Based on the findings in this study, the virtual platform has the potential to cover many of the same goals as the traditional workshop. And while there were some components of the traditional workshop that could not be produced virtually, there were some unintended positives that the virtual workshop provided. Among those positives were addressing issues of equity and access, while also building professional relationships, that in turn, could result in graduate school opportunities.
ContributorsVallejo, Phillip Albert (Author) / Caslor, Jason (Thesis advisor) / Duncan, Jamal (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2022
Description

Collaborating with others is a crucial part of growing creatively, and gaining perspective. With different artistic mediums like dance, film, music and design, there is a lot artists can learn from one another. Art is also a way to convey important messages that reflect social, political and cultural issues, and

Collaborating with others is a crucial part of growing creatively, and gaining perspective. With different artistic mediums like dance, film, music and design, there is a lot artists can learn from one another. Art is also a way to convey important messages that reflect social, political and cultural issues, and artists have become increasingly responsible for presenting these issues in a way that will provoke thought and create change. “Luna” is a series of compositions with a goal of inviting the audience into a different world. The use of sound design and electronic music production paired with piano arrangements creates a vast, sonic landscape, and the titles of each piece are related to space. The live performance of the album also involves dance, which adds another human element to the experience.

ContributorsAzersky, Sadie (Author) / Yanez, Raul (Thesis director) / Costa Palazuelos, Jorge (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor) / Dean, W.P. Carey School of Business (Contributor)
Created2023-05