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- Creators: DeMars, James
An eighteenth-century polychoral vespers service of José Gil Pérez: edition and historical context
Description
Compared to sacred choral music of the great Spanish composers of the Renaissance, church music of later Spanish composers is relatively ignored, despite the fact that many left behind a significant body of works worthy of scholarly investigation and performance. In fact, there is a paucity of information on eighteenth-century church music in Spain - music history books generally treat the subject in the briefest way. To correct this situation, scholars must delve into the large caches of unpublished works from this period, which lie dormant in the archives of religious institutions. Even contextualizing these works is difficult, because so much remains to be unearthed. To help fill the lacuna of knowledge about this repertoire, I will shed light on the music of maestro de capilla José Gil Pérez (1715-1762), who was active at the cathedral of Segorbe, Spain from 1745 until his death in 1762, by presenting an edition of one of his vespers services. This service is comprised of a magnificat and three psalms (nos. 116, 122, and 147). These works, transcribed from the composer's autograph housed in the Segorbe cathedral, and written for SAT/SATB chorus and organ, will serve as a valuable contribution to the body of knowledge concerning choral music of the Spanish late Baroque. It will be seen that despite Gil Pérez's innovative use of "theatrical" instruments in the Segorbe cathedral and "Italianisms" in his villancicos, his compositional style in Latin works was largely conservative, in keeping with the practice of most maestros in Spain at this time. In fact his oeuvre demonstrates varying influences, largely dependent upon the genre. To contextualize this composer and his works, I will provide background information regarding music in the Segorbe cathedral during the century in question, including trends and influences, as well as information on Gil Pérez himself.
ContributorsGorton, William Paul (Author) / Feisst, Sabine (Thesis advisor) / DeMars, James (Committee member) / Hill, Gary (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2013
Description
Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition will discuss how Raymond Ridley's original composition, FyrStar (2009), is comparable to other pre-existing percussion works in the literature. Selected compositions for comparison included Darius Milhaud's Concerto for Marimba, Vibraphone and Orchestra, Op. 278 (1949); David Friedman's and Dave Samuels's Carousel (1985); Raymond Helble's Duo Concertante for Vibraphone and Marimba, Op. 54 (2009); Tera de Marez Oyens's Octopus: for Bass Clarinet and one Percussionist (marimba/vibraphone) (1982). In the course of this document, the author will discuss the uniqueness of FyrStar's instrumentation of nine single reed instruments--E-flat clarinet, B-flat clarinet, alto clarinet, bass clarinet, B-flat contrabass clarinet, B-flat soprano saxophone, alto saxophone, tenor saxophone, and B-flat baritone saxophone, juxtaposing this unique instrumentation to the symbolic relationship between the ensemble, marimba, and vibraphone.
ContributorsThompson, Darrell Irwin (Author) / Sunkett, Mark E (Thesis advisor) / Bush, Jeffrey (Committee member) / DeMars, James (Committee member) / Little, Bliss (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2012
Description
Gloria is a work written for SATB choir and brass quintet that uses the traditional Latin text of the Gloria found in the ordinary of the Mass. The piece is approximately fourteen minutes and explores a variety of textures, colors, and timbres of the brass quintet and choir. The composition uses quartal sonorities mixed with upper tertian structures while avoiding simple triads and stable root position voicings until the most important climactic moments. The Gloria opens with a fanfare presenting the initial rhythmic motive in a call and response between the brass and choir before the irregular meters of the A section enter. The piece develops a variety of sonorities, pitch collections, and timbres before arriving at the first climactic moment on the text "Rex" (King). The music slowly comes to a point of repose with a brass interlude revealing the motives used in the B section. The choir begins the B section a cappella on the text "Dómine Fili unigénite, Jésu Chríste" (Lord Jesus Christ, the only begotten Son). The section features a dialogue between the brass and choir, though the two groups never sound together. The section includes a lyrical soprano duet incorporating dissonant intervals preceding the choir's response on the text requesting the mercy of the Lord. The section comes to a somber, penitential rest ending with the brass quintet response. The piece gradually builds and accelerates to the second climactic moment on the word "Jésu." From there it once again gains momentum toward the return of the A section on the text "Cum Sáncto Spíritu" (With the Holy Spirit). After a climactic "Amen" section, the composition concludes with a return to the material found in the introduction followed by an affirming brass postlude.
ContributorsRichard, Nathan Daniel (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Gentry, Gregory (Committee member) / Arizona State University (Publisher)
Created2012
Description
This paper investigates the origins of the piano recital as invented by Franz Liszt, presents varying strategies for program design, and compares Liszt's application of the format with current trends. In addition it examines the concepts of program music, musical ekphrasis, and Gesamtkunstwerk and proposes a new multimedia piano concert format in which music combines with the mediums of literature and the visual arts; Picturing Rachmaninoff, and Picturing Ravel provide two recent examples of this format.
ContributorsCook, Stephen Barry (Author) / Hamilton, Robert (Thesis advisor) / DeMars, James (Committee member) / Ryan, Russell (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Arizona State University (Publisher)
Created2012
Description
This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list.
ContributorsArias-Esguerra, Mauricio (Author) / Meir, Baruch I (Thesis advisor) / DeMars, James (Committee member) / Hamilton, Robert (Committee member) / Pagano, Caio (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
Reverend Stormfield Goes to Heaven is an operetta in six scenes for seven vocalists and
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
ContributorsSakamoto, Dale Toshio (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2019
Description
Symphonic Movement: On Works of H. P. Lovecraft is a single movement
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
ContributorsLamb, Christopher John (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2016
Description
One of the most notable composers of the twentieth century, Krzysztof Penderecki played a vital role in the development of new sonorities and compositional movements in the latter half of the century. Penderecki wrote two sonatas for violin and piano, one in his student days in 1953 and the second in the twilight of his career in 1999. Given the almost fifty years that separate the two works, these sonatas provide valuable insight to Penderecki’s development as a composer over the course of his career as well as give evidence that his own unique compositional style was in place at a very early age. Despite the large span of time between the completions of these two great works, these sonatas share many commonalities. With regards to key aspects such as form, tonality, rhythm, texture, articulation, and more, this paper will analyze and compare the two works to define the ways in which they are similar as well as the ways in which they differ.
ContributorsRamchandani, Micah David (Author) / McLin, Katherine (Thesis advisor) / DeMars, James (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT
Torse III (1965) by Akira Miyoshi, Two Movements for Marimba (1965) by
Toshimistu Tanaka, and Time for Marimba (1968) by Minoru Miki have remained “tour de force” pieces in the marimba repertoire since their inception nearly fifty years ago, yet they continue to present significant performance and interpretative issues to each new generation of marimbists. This document will serve as both a performance guide for advanced marimba performers, as well as provide insight into the aesthetic qualities that contribute to their lasting artistic significance.
Each piece will receive a designated chapter discussing the historical context, technical challenges, and general performance practices. The author will also present a designated chapter discussing the three over-arching aesthetic characteristics found in all three pieces: the use of the entire range of the instrument, the use of extreme contrasting dynamics and timbre, and the use of a common harmonic language.
Torse III, Two Movements, and Time were famously performed by Keiko Abe on her first classical marimba recital in 1968. This document will also help bring to light the enormous impact this recital had on the history of the marimba, as marimbists throughout the world today are forever indebted to Abe’s efforts.
Torse III (1965) by Akira Miyoshi, Two Movements for Marimba (1965) by
Toshimistu Tanaka, and Time for Marimba (1968) by Minoru Miki have remained “tour de force” pieces in the marimba repertoire since their inception nearly fifty years ago, yet they continue to present significant performance and interpretative issues to each new generation of marimbists. This document will serve as both a performance guide for advanced marimba performers, as well as provide insight into the aesthetic qualities that contribute to their lasting artistic significance.
Each piece will receive a designated chapter discussing the historical context, technical challenges, and general performance practices. The author will also present a designated chapter discussing the three over-arching aesthetic characteristics found in all three pieces: the use of the entire range of the instrument, the use of extreme contrasting dynamics and timbre, and the use of a common harmonic language.
Torse III, Two Movements, and Time were famously performed by Keiko Abe on her first classical marimba recital in 1968. This document will also help bring to light the enormous impact this recital had on the history of the marimba, as marimbists throughout the world today are forever indebted to Abe’s efforts.
ContributorsHolm, Matthew Douglas (Author) / Smith, Jeffrey B. (Thesis advisor) / Feisst, Sabine (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT
Chevalier de Saint-Georges, the brilliant swordsman, unequalled equestrian, athlete, dancer, violin virtuoso, composer and orchestral conductor is, and remains a singularly unique historical figure of the 18th century French Court of Louis XVI. Believed to be the first man of mixed race to compose classical music, Saint-Georges, who was frequently invited to the court at Versailles to make music with Marie Antoinette not only thrived, but excelled during the height of an appalling slave trade and one of the most explosive periods in European history: the French Revolution. Saint-Georges’ ever evolving talent, and without preamble composed six operas. This research document will introduce to the reader important milestones that influenced the direction of his life, as well as a survey of two arias and duet from the opera L’Amant Anonyme using the paradigm of dance metrics as described in “Rhythmic Gesture in Mozart, Le Nozze di Figaro and Don Giovanni,” by Wye Jamison Allanbrook and “Classical Music, Expression, Form and Style” by Leonard Ratner.
Chevalier de Saint-Georges, the brilliant swordsman, unequalled equestrian, athlete, dancer, violin virtuoso, composer and orchestral conductor is, and remains a singularly unique historical figure of the 18th century French Court of Louis XVI. Believed to be the first man of mixed race to compose classical music, Saint-Georges, who was frequently invited to the court at Versailles to make music with Marie Antoinette not only thrived, but excelled during the height of an appalling slave trade and one of the most explosive periods in European history: the French Revolution. Saint-Georges’ ever evolving talent, and without preamble composed six operas. This research document will introduce to the reader important milestones that influenced the direction of his life, as well as a survey of two arias and duet from the opera L’Amant Anonyme using the paradigm of dance metrics as described in “Rhythmic Gesture in Mozart, Le Nozze di Figaro and Don Giovanni,” by Wye Jamison Allanbrook and “Classical Music, Expression, Form and Style” by Leonard Ratner.
ContributorsJones, Isola Charlayne (Author) / Britton, David (Thesis advisor) / Campbell, Andrew (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2016