Matching Items (33)
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- All Subjects: Music
- Creators: Micklich, Albie
Description
For this project, I commissioned and recorded five new works for contrabassclarinet from five different composers. Composition parameters were given to each
composer before they started writing which detailed what needed to be included in each
work. Four of the composers were asked to utilize a single, difficult aspect of playing the
instrument, which included intonation, low note technique and response, phrasing, and
articulation. For the fifth work, the composer was asked to incorporate all parameters of
the project. Because of the differences between contrabass clarinet designs, I recorded
each work three times using the Leblanc Vito, Leblanc “Paperclip”, and Selmer Model 41
contrabass clarinets to demonstrate that the works were adaptable and playable. In this
paper, I will outline the parameters of the project, describe the instruments used for
recording and provide a performance guide for each work. It is my hope that these works
will provide an enjoyable way for future contrabass clarinetists to become more
proficient performers of the instrument.
ContributorsFullerton, Kimberly Irene (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Micklich, Albie (Committee member) / Wells, Christi Jay (Committee member) / Watts, Sarah (Committee member) / Arizona State University (Publisher)
Created2023
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 main objective of this research project is to expand the bassoon repertoire with the addition of three pieces. The first composition, Rust for bassoon and piano, was written by Christopher Marchant and is six minutes in duration; august, for woodwind quartet (flute, oboe, B-flat clarinet, and bassoon) was composed by Matthew Triplett and is four minutes in duration; the third composition, Rhapsody for woodwind quartet, was written by Conor Anderson and is six minutes in duration. The present document includes background information and a performance guide for each of the commissioned works. The performance guide provides recommendations and tips to aid musicians in preparing these works. This document also contains transcripts of interviews with each composer and performer. Finally, this document is accompanied by a recording of each piece.
ContributorsStrickland, Kiefer Philip (Author) / Micklich, Albie (Thesis advisor) / Gardner, Joshua (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2019
Description
As clarinet students progress in their studies, there comes a point at which many are assigned to perform contemporary repertoire that is either overplayed due to accessibility and use in pedagogy, or includes difficult extended techniques like microtones, multiphonics, and more. This project identifies a “gap” in unaccompanied clarinet repertoire and seeks to expand this repertoire by outlining a program of study featuring five newly commissioned unaccompanied clarinet solos through which students can learn both traditional and untraditional techniques. Each of the first four works focus on one aspect of clarinet technique—musicality, the altissimo register, microtones, and multiphonics, respectively—and the final work is a culmination of all these techniques. Included in this document is biographical information for each composer, program notes, a brief description, and a performance guide for each piece. Additionally, each work was recorded by the author and included with this document.
ContributorsMeadows, Olivia Lauren (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Thesis advisor) / Meyer, Jeffery (Committee member) / Micklich, Albie (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
ContributorsBreadon, Thomas, Jr (Author) / Micklich, Albie (Thesis advisor) / Creviston, Christopher (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2015
Description
Students afflicted with music performance anxiety (MPA) can greatly benefit from guidance and mentorship from a music teacher with whom they have established trust, however there exists a knowledge gap between the development and manifestations of MPA, and how it can be overcome in order to prepare the student for success as a performer. It is my purpose with this guide to inform musicians, including students and teachers, about MPA, common coping methods, and outside resources where pedagogues, students, and even professionals can find further guidance. This document is designed to aid music students and teachers in their individual research on the topic. The first section provides necessary background information on MPA and concepts of gender, identity, and personality. A discussion of the results of an experimental protocol that surveyed double reed musicians about their experiences with performance anxiety comprises the second section. An annotated bibliography, listing other resources including self-help books, personal accounts, and scientific studies, is contained in the final section of this guide. Because of the relative absence of research done on the correlation between MPA and specific identity traits including personality, self-image, and gender, it was necessary to incorporate more generalized sources relating to the topic. The annotations offer a more comprehensive approach to understanding and overcoming MPA. This work is not meant to be all-inclusive; rather, its purpose is to act as a basic guide.
ContributorsMacKenzie, Kate, D.M.A (Author) / Micklich, Albie (Thesis advisor) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014
Description
This document is an expansion of the information presented at a lecture-recital on March 24, 2017, at Arizona State University. The program consisted of ten arias selected from the cantatas and oratorios of Johann Sebastian Bach (1685-1750), all for soprano with oboe, oboe d'amore, or oboe da caccia obbligato.
The document first discusses the place and importance of oboe obbligatos in Bach's vocal works. In all, there are 173 arias with oboe obbligatos from the sacred and secular cantatas, oratorios, and the passions. Of these, 56 are arias for soprano. The ten selected for this document are intended to illustrate the rich variety of this repertoire and especially the ways in which Bach interprets and conveys the meaning of their texts.
Most of Bach's arias that feature the oboe, or the short-lived oboe d'amore or the oboe da caccia, come from his early years in Leipzig (1723-1726). The document examines the circumstances there that led to so much music for these instruments, discussing Bach's connection with instrument-makers and musicians, notably the oboist Johann Caspar Gleditsch (1684-1747).
The body of the document describes individually the ten arias performed on the May of 2017 recital, which come from BWV 1, 21, 74, 94, 98, 144, 187, 199, 202, and 248. Texts and translations are provided, and background information is given for each. The da capo structures and any distinctive features are discussed. Each description focuses on the meaning of the text, the musical character that conveys the overall affect, and specific devices of mood- and word-painting. In all cases, the close affinity of the voice and the oboe is a central concern.
The document first discusses the place and importance of oboe obbligatos in Bach's vocal works. In all, there are 173 arias with oboe obbligatos from the sacred and secular cantatas, oratorios, and the passions. Of these, 56 are arias for soprano. The ten selected for this document are intended to illustrate the rich variety of this repertoire and especially the ways in which Bach interprets and conveys the meaning of their texts.
Most of Bach's arias that feature the oboe, or the short-lived oboe d'amore or the oboe da caccia, come from his early years in Leipzig (1723-1726). The document examines the circumstances there that led to so much music for these instruments, discussing Bach's connection with instrument-makers and musicians, notably the oboist Johann Caspar Gleditsch (1684-1747).
The body of the document describes individually the ten arias performed on the May of 2017 recital, which come from BWV 1, 21, 74, 94, 98, 144, 187, 199, 202, and 248. Texts and translations are provided, and background information is given for each. The da capo structures and any distinctive features are discussed. Each description focuses on the meaning of the text, the musical character that conveys the overall affect, and specific devices of mood- and word-painting. In all cases, the close affinity of the voice and the oboe is a central concern.
ContributorsMessing, Rachel Michelle (Author) / Schuring, Martin (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Arizona State University (Publisher)
Created2017
Description
Throughout western clarinet art music, there are not only a large number of great performers and classical works, but also a valuable body of literature that has laid a solid foundation for clarinet development and global dispersion. By contrast, Chinese clarinet literature is lacking in quantity and global distribution. However, this is the first comprehensive study that discloses the mysterious mask of China’s clarinet art.
This study does not merely discuss the Chinese clarinet history, but it also introduces important historical events that influenced the development of the Chinese clarinet industry (excluding manufacturing), including Chinese military bands, clarinet music, pedagogy, clarinet figures, and its future direction.
In the conclusion of this paper, the author discusses the deficiency of the Chinese clarinet industry and makes suggestions for solving problems with clarinet players practicing more technique rather than focusing on musicianship, educators’ lack of concentration on teaching and academic research, and the shortage of Chinese clarinet works. Additionally, the author appeals to Chinese clarinet players to actively participate in international activities and the Chinese government to increase incentives to introduce high-level Chinese talents overseas to help make China a better country in any field.
This study does not merely discuss the Chinese clarinet history, but it also introduces important historical events that influenced the development of the Chinese clarinet industry (excluding manufacturing), including Chinese military bands, clarinet music, pedagogy, clarinet figures, and its future direction.
In the conclusion of this paper, the author discusses the deficiency of the Chinese clarinet industry and makes suggestions for solving problems with clarinet players practicing more technique rather than focusing on musicianship, educators’ lack of concentration on teaching and academic research, and the shortage of Chinese clarinet works. Additionally, the author appeals to Chinese clarinet players to actively participate in international activities and the Chinese government to increase incentives to introduce high-level Chinese talents overseas to help make China a better country in any field.
ContributorsZhu, Shuang (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Thesis advisor) / Wells, Christopher (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2017
Description
The dearth of young bassoonists in America can be felt at every level of expertise, whether it be at professional levels where there are fewer qualified bassoonists compared to other woodwinds, or in local communities where interested pupils cannot find a teacher to guide them. In order to alleviate this scarcity, we must solve the problem at its root: young bassoonists. There have been many attempts to provide better instructional material for beginner-level bassoonists and to produce better reeds to entice more students to study the bassoon and to sustain their playing beyond the first few years. These attempts, however, fail to address another critical issue: the cost and availability of the bassoon itself.
Most bassoonists in America begin their journey in public school; however, many school music programs cannot afford to purchase bassoons due to their cost. To combat this obstacle, Fox Products produced their first bassoon made of polypropylene—a synthetic material—in 1961 at a relatively low price point. This is an innovation that no other bassoon manufacturer has accomplished. An analysis of sales numbers from major instrument suppliers indicate that these bassoons have been very successful. Their availability has allowed schools to purchase instruments to educate more young bassoonists and, as a result, participant numbers of students in Texas (where public music programs are known for their strength) competing at regional and state competitions have increased over the past fifty years. Fox, through their focus on affordable student bassoons, is revitalizing young students’ interest in playing the bassoon and thus is a major factor in the reversal of the decline of bassoonists in America.
Most bassoonists in America begin their journey in public school; however, many school music programs cannot afford to purchase bassoons due to their cost. To combat this obstacle, Fox Products produced their first bassoon made of polypropylene—a synthetic material—in 1961 at a relatively low price point. This is an innovation that no other bassoon manufacturer has accomplished. An analysis of sales numbers from major instrument suppliers indicate that these bassoons have been very successful. Their availability has allowed schools to purchase instruments to educate more young bassoonists and, as a result, participant numbers of students in Texas (where public music programs are known for their strength) competing at regional and state competitions have increased over the past fifty years. Fox, through their focus on affordable student bassoons, is revitalizing young students’ interest in playing the bassoon and thus is a major factor in the reversal of the decline of bassoonists in America.
ContributorsTran, Toan (Author) / Micklich, Albie (Thesis advisor) / Gardner, Joshua (Committee member) / Carpenter, Ellon (Committee member) / Arizona State University (Publisher)
Created2017
Description
In the fast-paced, technology-driven society of today, new demands are placed on artists to re-think how music is presented and communicated to the world. Access to the internet, development of sound manipulation software, and broader means of use and distribution through the digital music industry have drastically shifted the way the twenty-first century artist creates and performs music. One of the most striking changes that occurred is the increased use of visual material as a vehicle to enhance and contribute to the depth and intrigue of live performances and recordings.
This project researches twenty-first century works for clarinet and multimedia that specifically include a visual element (including but not limited to images, fixed and interactive video, light effects, and choreography) and highlights the prevalence of this genre in contemporary repertoire. Discussion begins with a brief overview of the history of multimedia, its relation to the clarinet, and how it has been defined by the twenty-first century. Additionally, in order to contribute to this ever-growing repertoire, three new works for clarinet and multimedia were commissioned in collaboration with composers and visual artists. These new works include: Roadrunner (2019) for clarinet and fixed electronics by Spencer Brand with video by Samuel Proctor; I’d known this place (2020) for clarinet and electronics by Dan Caputo with live audio generative animations by Andrew Robinson; and Spectral Passages (2020) for clarinet and electronics by Alvaro Varas with painting by Miguel Godoy. Background information and performance guides are included for each piece to aid future musicians in performance, as well as respective audio/video recordings. Finally, a significant portion of this document includes a catalog of works for clarinet and multimedia. The catalog was compiled by focusing on the output of twenty-first century composers to serve as a resource for future performers.
This project researches twenty-first century works for clarinet and multimedia that specifically include a visual element (including but not limited to images, fixed and interactive video, light effects, and choreography) and highlights the prevalence of this genre in contemporary repertoire. Discussion begins with a brief overview of the history of multimedia, its relation to the clarinet, and how it has been defined by the twenty-first century. Additionally, in order to contribute to this ever-growing repertoire, three new works for clarinet and multimedia were commissioned in collaboration with composers and visual artists. These new works include: Roadrunner (2019) for clarinet and fixed electronics by Spencer Brand with video by Samuel Proctor; I’d known this place (2020) for clarinet and electronics by Dan Caputo with live audio generative animations by Andrew Robinson; and Spectral Passages (2020) for clarinet and electronics by Alvaro Varas with painting by Miguel Godoy. Background information and performance guides are included for each piece to aid future musicians in performance, as well as respective audio/video recordings. Finally, a significant portion of this document includes a catalog of works for clarinet and multimedia. The catalog was compiled by focusing on the output of twenty-first century composers to serve as a resource for future performers.
ContributorsClements, Katrina Isabel (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Meyer, Jeffery (Committee member) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2020