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- Creators: Norton, Kay
Description
Late nineteenth-century French art song, also known as mélodie, is one of the most important genres in a classical singer’s repertoire and it cannot be ignored. Its creation represents a marked improvement over the song form of French Romance which dates from the eighteenth century.
French art song was not introduced to China until the establishment of the New Republic of China in 1949. In the decades since then, French art song seems less favored by Chinese singers, when compared to Italian songs and German Lieder. Having studied both in China and the United States, the author realized that for Chinese native speakers, singing French art song is a difficult challenge.
Two main problems immediately present themselves: the language barrier and the obstacle of a basic understanding of French poetry. The author’s purpose here is to examine these problems and try to help Chinese singers by offering them a systematic path toward correct French pronunciation, a brief discussion of poetic imagery often seen in French poetry, and a selected bibliography of sources on French poetry to advance their comprehension.
First, the paper will introduce the phonology of Pinyin (Chinese Phonetic Alphabet), the system used in China to teach Chinese (Mandarin) and compare it with the IPA (International Phonetic Alphabet), which is universally used by people in the West to learn the pronunciation of most languages. The document will then show the sounds that are most challenging for Chinese singers and will give some suggestions and vocal exercises to help singers better pronounce French diction.
Secondly, the author will examine a few poems used in French songs to point out some of the cultural differences between China and Western countries and identify the challenges in understanding the meaning of selected French art songs from the perspective of a Chinese singer. Since an exhaustive study of French poetry would be another broad topic to be researched, the author will offer only basic suggestions and a brief annotated bibliography of sources at the end of this research project.
It is the author's hope that this document will benefit Chinese singers and voice teachers by acquainting them with French diction and by helping them to appreciate French song literature.
French art song was not introduced to China until the establishment of the New Republic of China in 1949. In the decades since then, French art song seems less favored by Chinese singers, when compared to Italian songs and German Lieder. Having studied both in China and the United States, the author realized that for Chinese native speakers, singing French art song is a difficult challenge.
Two main problems immediately present themselves: the language barrier and the obstacle of a basic understanding of French poetry. The author’s purpose here is to examine these problems and try to help Chinese singers by offering them a systematic path toward correct French pronunciation, a brief discussion of poetic imagery often seen in French poetry, and a selected bibliography of sources on French poetry to advance their comprehension.
First, the paper will introduce the phonology of Pinyin (Chinese Phonetic Alphabet), the system used in China to teach Chinese (Mandarin) and compare it with the IPA (International Phonetic Alphabet), which is universally used by people in the West to learn the pronunciation of most languages. The document will then show the sounds that are most challenging for Chinese singers and will give some suggestions and vocal exercises to help singers better pronounce French diction.
Secondly, the author will examine a few poems used in French songs to point out some of the cultural differences between China and Western countries and identify the challenges in understanding the meaning of selected French art songs from the perspective of a Chinese singer. Since an exhaustive study of French poetry would be another broad topic to be researched, the author will offer only basic suggestions and a brief annotated bibliography of sources at the end of this research project.
It is the author's hope that this document will benefit Chinese singers and voice teachers by acquainting them with French diction and by helping them to appreciate French song literature.
ContributorsWu, Kehui (Author) / Britton, David (Thesis advisor) / Norton, Kay (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2019
Description
Musicians who perform in front of an audience are often familiar with tension and nervousness, whether they are performing on stage, giving a public concert, or practicing on their own. Tension can eventually build up in a musician’s body because of the stress of holding an instrument or performing in an audition or concert. Warm-ups are not guaranteed to reduce stress or pain. However, by warming up, musicians can help expect to prevent possible injuries and reduce stress or pain. In addition, some musicians can expect warm-ups to improve basic skills and the level of their playing overall.
To begin, this document will examine several warm-ups which were published by famous flutists. It will reference warm-ups back to the 20th century, when legendary flutist and pedagogue Marcel Moyse published De La Sonorité (Paris, 1934). De La Sonorité is a world-famous warm-up book which emphasizes the importance of flute tone. Many flutists were inspired by this book, and because of its renown, De La Sonorité is the starting point when discussing flute warm-ups.
After discussing specific flutists’ warm-up books, the author will add her own warm-up exercises as a final project. Specifically, these warm-ups are intended to improve flutists’ embouchure and flexibility. Embouchure warm-ups can help reduce pain or tightness in the embouchure and help prevent some mistakes caused by stress and anxiety, such as in an audition or performance.
To begin, this document will examine several warm-ups which were published by famous flutists. It will reference warm-ups back to the 20th century, when legendary flutist and pedagogue Marcel Moyse published De La Sonorité (Paris, 1934). De La Sonorité is a world-famous warm-up book which emphasizes the importance of flute tone. Many flutists were inspired by this book, and because of its renown, De La Sonorité is the starting point when discussing flute warm-ups.
After discussing specific flutists’ warm-up books, the author will add her own warm-up exercises as a final project. Specifically, these warm-ups are intended to improve flutists’ embouchure and flexibility. Embouchure warm-ups can help reduce pain or tightness in the embouchure and help prevent some mistakes caused by stress and anxiety, such as in an audition or performance.
ContributorsHur, Jiyoun (Author) / Buck, Elizabeth (Thesis advisor) / Micklich, Albie (Committee member) / Norton, Kay (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2019
Description
The close relationship between mathematics and music has been well documented in Western cultures since at least the time of the ancient Greeks. While many connections have been made between math and music over the centuries, it seems that many modern researchers have attempted to create interdisciplinary bridges between these disciplines by using mathematical principles to explain several essential aspects of music: harmony, melody, form, and rhythm. Using these established connections, in addition to several of my own, I have created an undergraduate level survey of Western music course for a population of mathematically inclined students. This approach makes music history comprehensible, relevant, and engaging to my target demographic.
The course is organized into three units. The first unit begins with the music of Ancient Greece and Early Christianity and concludes with music of the Renaissance (roughly 1300-1600). The second unit will cover what classical musicians call the “common practice period” (roughly 1600-1900). This span of time covers three musical eras – Baroque, Classical, and Romantic. The final unit will cover the 20th century up to the present. During this course, I introduce the students to Western music using examples, concepts, terminology, and methodology derived from the world of mathematics. These include Pythagorean mathematics, geometry, simple algebra and fractions, the golden mean, the Fibonacci sequence, matrices, set theory, and many more. I have written the chapters as scripts for an online version of the class. The writing style in the chapters is therefore informal and contrasts with the tone of the other parts of the thesis.
The course is organized into three units. The first unit begins with the music of Ancient Greece and Early Christianity and concludes with music of the Renaissance (roughly 1300-1600). The second unit will cover what classical musicians call the “common practice period” (roughly 1600-1900). This span of time covers three musical eras – Baroque, Classical, and Romantic. The final unit will cover the 20th century up to the present. During this course, I introduce the students to Western music using examples, concepts, terminology, and methodology derived from the world of mathematics. These include Pythagorean mathematics, geometry, simple algebra and fractions, the golden mean, the Fibonacci sequence, matrices, set theory, and many more. I have written the chapters as scripts for an online version of the class. The writing style in the chapters is therefore informal and contrasts with the tone of the other parts of the thesis.
ContributorsCueva, Darren Luis (Author) / Norton, Kay (Thesis advisor) / Wells, Christopher (Committee member) / Schmidt, Margaret (Committee member) / Arizona State University (Publisher)
Created2019
Description
This research paper is a study of Sergei Taneyev’s Concert Suite for Violin and Orchestra, Op. 28 and includes Taneyev’s biography, a brief musical analysis which benefits the interpretation, and performance suggestions from the perspective of a concert violinist. The purpose of this paper is to enable performers to achieve a better understanding of this artwork and make informed musical choices.
Sergei Ivanovich Taneyev (1856-1915) was a Russian composer. As a composition pupil of Tchaikovsky, and a teacher of Scriabin, Rachmaninoff, Lyapunov, and Glière, Taneyev is an important figure in Russian music. His compositions include operas, symphonies, chamber music, songs, and piano music. Taneyev’s style was influenced by Bach, Handel, Mozart, Glinka, Tchaikovsky, Wagner and various European composers. His cosmopolitan style, and wide-ranging compositional interests do not easily lend themselves generalization. This difficulty in categorizing his music along with his self-criticism and aversion to self-promotion, contribute to his lack of recognition when compared with his contemporaries.
The Concert Suite for Violin and Orchestra, composed six years before his death, is his only work for Violin and Orchestra and was his last large composition. This work is cast in an unusual five-movement structure and embodies various brilliant violin techniques and rich Romantic-era harmonies. Taneyev’s interests in “old fashioned” style and folk music are evidenced by some of the movements titled “Prelude,” “Gavotte,” and “Theme and Variation” which contains a double fugue. He also utilizes folk dances such as the mazurka and tarantella. This performance guide provides practical interpretational advice based on an analysis of harmony, form and structural divisions, stylistic considerations and violin techniques. A brilliant and charming work, it has sadly been neglected. Through the study and performance of this piece, the author hopes to provide performers with useful information that enables more musicians to know and enjoy this valuable masterwork.
Sergei Ivanovich Taneyev (1856-1915) was a Russian composer. As a composition pupil of Tchaikovsky, and a teacher of Scriabin, Rachmaninoff, Lyapunov, and Glière, Taneyev is an important figure in Russian music. His compositions include operas, symphonies, chamber music, songs, and piano music. Taneyev’s style was influenced by Bach, Handel, Mozart, Glinka, Tchaikovsky, Wagner and various European composers. His cosmopolitan style, and wide-ranging compositional interests do not easily lend themselves generalization. This difficulty in categorizing his music along with his self-criticism and aversion to self-promotion, contribute to his lack of recognition when compared with his contemporaries.
The Concert Suite for Violin and Orchestra, composed six years before his death, is his only work for Violin and Orchestra and was his last large composition. This work is cast in an unusual five-movement structure and embodies various brilliant violin techniques and rich Romantic-era harmonies. Taneyev’s interests in “old fashioned” style and folk music are evidenced by some of the movements titled “Prelude,” “Gavotte,” and “Theme and Variation” which contains a double fugue. He also utilizes folk dances such as the mazurka and tarantella. This performance guide provides practical interpretational advice based on an analysis of harmony, form and structural divisions, stylistic considerations and violin techniques. A brilliant and charming work, it has sadly been neglected. Through the study and performance of this piece, the author hopes to provide performers with useful information that enables more musicians to know and enjoy this valuable masterwork.
ContributorsZhang, Aihua (Author) / Jiang, Danwen (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2019
Description
This project’s goal is to expand the repertoire for soprano saxophone featuring improvisation. Each work detailed in this document features improvisation as an integral component. The first piece, Impetus, was written by Grant Jahn for soprano saxophone and piano. The second piece, Sonata, was written for the same instrumentation by Brett Wery. Ethan Cypress wrote the third work for solo soprano saxophone, Noir et Bleu. The final composition on the project, Counterpunch by Gregory Wanamaker, was written for saxophone sextet. This paper also includes composer biographies, program notes, performance guides, and composer questionnaires. The central component of this project is a recording of all these works which features the author.
ContributorsDetweiler, Samuel (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2018
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
The purpose of this study was to: (1) record and describe a brief history of the life and career of Bolivian composer Dr. Nicolás Suárez Eyzaguirre, and (2) write an analysis from a vocal performer's perspective of Suárez's song cycle for soprano and piano, Monólogos del Desierto, with texts by Dr. Guillermo Mariaca Iturri.
In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper.
In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper.
ContributorsStanford, Allison (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Mark O'Connor's Fiddle concerto: Texas style fiddling, classical violin, and American string playing
Description
ABSTRACT
Classical violin playing and American fiddle music have traditionally been seen as separate musical worlds. Classical violinists practice and study long hours to master a standard repertoire of concertos and sonatas from the Western European school of art music. Fiddlers pride themselves on a rich tradition passed down through generations of informal jam sessions and innovation through improvisation. Mark O'Connor's Fiddle Concerto, premiered in 1993, sounds like a contradiction at first: a quintessential classical form combined with traditional fiddle playing. Examination of the Fiddle Concerto will show that the piece contains classical and fiddle-style elements simultaneously, creating an effective hybrid of the two styles. This document will explore how the history of the classical violin concerto and American fiddle music converge in Mark O'Connor's Fiddle Concerto. To gain an understanding of O'Connor's composition process, I submitted to him a list of questions, via email, in the summer of 2016. O'Connor’s responses provide a unique insight into the genesis of the Fiddle Concerto and his vision for musical compositions that originate from multiple genres. Chapter four of this document will discuss the melodic themes, formal makeup, and techniques presented in the Fiddle Concerto and show how both classical and fiddle elements coexist in the piece. The result of the mix is an exciting work that appeals to a broad audience of music lovers. The final chapter of this document will explore the growing repertoire of music created by cross-pollinating from different styles to create a new style, including selected O'Connor compositions completed since the Fiddle Concerto, as well as similar works by other composers who combined classical elements with other musical styles.
Classical violin playing and American fiddle music have traditionally been seen as separate musical worlds. Classical violinists practice and study long hours to master a standard repertoire of concertos and sonatas from the Western European school of art music. Fiddlers pride themselves on a rich tradition passed down through generations of informal jam sessions and innovation through improvisation. Mark O'Connor's Fiddle Concerto, premiered in 1993, sounds like a contradiction at first: a quintessential classical form combined with traditional fiddle playing. Examination of the Fiddle Concerto will show that the piece contains classical and fiddle-style elements simultaneously, creating an effective hybrid of the two styles. This document will explore how the history of the classical violin concerto and American fiddle music converge in Mark O'Connor's Fiddle Concerto. To gain an understanding of O'Connor's composition process, I submitted to him a list of questions, via email, in the summer of 2016. O'Connor’s responses provide a unique insight into the genesis of the Fiddle Concerto and his vision for musical compositions that originate from multiple genres. Chapter four of this document will discuss the melodic themes, formal makeup, and techniques presented in the Fiddle Concerto and show how both classical and fiddle elements coexist in the piece. The result of the mix is an exciting work that appeals to a broad audience of music lovers. The final chapter of this document will explore the growing repertoire of music created by cross-pollinating from different styles to create a new style, including selected O'Connor compositions completed since the Fiddle Concerto, as well as similar works by other composers who combined classical elements with other musical styles.
ContributorsYoungblood, Beth (Violinist) (Author) / Jiang, Danwen (Thesis advisor) / Norton, Kay (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT
The path to producing a Broadway Musical is not easily trod, and in the case of A Gentleman's Guide To Love And Murder, the journey was filled with rewrites (the title of the show went from Kind Hearts And Coronets to The Truth About Monty and finally became A Gentleman's Guide To Love And Murder), cast changes (only one member of the show that is currently running on Broadway was with the show in its original form), multiple producers, and a lawsuit. Through it all, the musical's creator, Steven Lutvak, a well-known songwriter and cabaret artist who is one of the most sought after vocal coaches in NY, navigated these hurdles by throwing himself at the process whole-heartedly. In creating A Gentlemen's Guide To Love and Murder, Lutvak labored ardently through the process: making the necessary musical and textual changes, creating opportunities to showcase his work, enticing producers and, when he wasn't putting up his own money, locating the financing to fund the production, including taking on the enormous cost of a lawsuit. In this paper, I will present the musical and personal development of Lutvak in his journey to and in creating and composing the successful Broadway musical A Gentlemen's Guide to Love and Murder. I will focus specifically the legal and administrative difficulties associated with obtaining the rights for the production, in order to support the argument that these struggles shaped and transformed the production into the artistic and commercial success seen on Broadway, and across the country on its 2015 national tour. Methodologically, this paper is part assisted memoir, part textual analysis, and part insider observations, substantiated with court documentation and published reviews of Lutvak's work.
The path to producing a Broadway Musical is not easily trod, and in the case of A Gentleman's Guide To Love And Murder, the journey was filled with rewrites (the title of the show went from Kind Hearts And Coronets to The Truth About Monty and finally became A Gentleman's Guide To Love And Murder), cast changes (only one member of the show that is currently running on Broadway was with the show in its original form), multiple producers, and a lawsuit. Through it all, the musical's creator, Steven Lutvak, a well-known songwriter and cabaret artist who is one of the most sought after vocal coaches in NY, navigated these hurdles by throwing himself at the process whole-heartedly. In creating A Gentlemen's Guide To Love and Murder, Lutvak labored ardently through the process: making the necessary musical and textual changes, creating opportunities to showcase his work, enticing producers and, when he wasn't putting up his own money, locating the financing to fund the production, including taking on the enormous cost of a lawsuit. In this paper, I will present the musical and personal development of Lutvak in his journey to and in creating and composing the successful Broadway musical A Gentlemen's Guide to Love and Murder. I will focus specifically the legal and administrative difficulties associated with obtaining the rights for the production, in order to support the argument that these struggles shaped and transformed the production into the artistic and commercial success seen on Broadway, and across the country on its 2015 national tour. Methodologically, this paper is part assisted memoir, part textual analysis, and part insider observations, substantiated with court documentation and published reviews of Lutvak's work.
ContributorsShepherd, Tregoney (Author) / Britton, David (Thesis advisor) / Dreyfoos, Dale (Committee member) / Reber, William (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT A survey of board-certified music therapists who identified themselves as self-employed was conducted to examine current methods of marketing related to planning, positioning, promotion, and implementation within a music therapy private practice or contracting model, as well as identify trends in marketing methods as compared to prior research. Respondents (n=273) provided data via online survey as to current marketing practices, assessment of personal marketing skills, and views on marketing's overall role in their businesses. Historical, qualitative, and quantitative distinctions were developed through statistical analysis as to the relationship between respondents' views and current marketing practices. Results show that self-employed music therapists agree marketing is a vital part of their business and that creating a unique brand identity is necessary to differentiate oneself from the competition. A positive correlation was identified between those who are confident in their marketing skills and the dollar amount of rates charged for services. Presentations, websites, and networking were regarded as the top marketing vehicles currently used to garner new business, with a trend towards increased use of social media as a potential marketing avenue. Challenges for respondents appear to include the creation and implementation of written marketing plans and maintaining measurable marketing objectives. Barriers to implementation may include confidence in personal marketing skills, time required, and financial constraints. The majority of respondents agreed that taking an 8-hour CMTE course regarding marketing methods for self-employed music therapists would be beneficial.
ContributorsTonkinson, Scott (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014