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- Genre: Masters Thesis
- Genre: Arrangements (Music)
Description
This composition was commissioned by the Orgelpark to be performed in Amsterdam in September 2011 during Gaudeamus Muziekweek. It will be performed by the vocal group VocaalLab Nederland. It is scored for four vocalists, organ, tanpura, and electronic sound. The work is a culmination of my studies in South Indian Carnatic rhythm, North Indian classical singing, and American minimalism. It is a meditation on the idea that the drone and pulse are micro/macro aspects of the same phenomenon of vibration. Cycles are created on the macroscale through a mathematically defined scale of harmonic/pitch relationships. Cycles are created on the microscale through the subdivision and addition of rhythmic pulses.
ContributorsAdler, Jacob (Composer) / Rockmaker, Jody (Thesis advisor) / Feisst, Sabine (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Arizona State University (Publisher)
Created2011
Description
Although one finds much scholarship on nineteenth-century music in America, one finds relatively little about music in the post-Civil-War frontier west. Generalities concerning small frontier towns of regional importance remain to be discovered. This paper aims to contribute to scholarship by chronicling musical life in the early years of two such towns in northern Arizona territory: Prescott and Flagstaff. Prescott, adjacent to Fort Whipple, was founded in 1864 to serve as capital of the new territory. Primarily home to soldiers and miners, the town was subject to many challenges of frontier life. Flagstaff, ninety miles to the north-northwest, was founded about two decades later in 1883 during the building of the Atlantic & Pacific Railroad, which connected the town to Albuquerque, New Mexico in the east and southern California in the west. Although the particular resources of each town provided many different musical opportunities, extant newspaper articles from Prescott's Arizona Miner and Flagstaff's Arizona Champion describe communities in which musical concerts, dances and theatrical performances provided entertainment and socializing for its citizens. Furthermore, music was an important part of developing institutions such as the church, schools, and fraternal lodges, and the newspapers of both towns advertised musical instruments and sheet music. Both towns were home to amateur musicians, and both offered the occasional opportunity to learn to dance or play an instrument. Although territorial Arizona was sometimes harsh and resources were limited, music was valued in these communities and was a consistent presence in frontier life.
ContributorsJohnson, Amber V (Author) / Oldani, Robert W. (Thesis advisor) / Holbrook, Amy (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2011
Description
Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end.
ContributorsBell, Jeremy, 1986- (Composer) / Rogers, Rodney (Thesis advisor) / Oldani, Robert (Committee member) / Levy, Benjamin (Committee member) / Arizona State University (Publisher)
Created2011
Description
In the last few decades, the rapid development of electronic music technologies has changed the way society interacts with music, which in turn impacts the profession of music therapy. Except for a few cases, music therapy has not extensively explored the integration of new technology. However, current research trends show a willingness and excitement to explore the possibilities (Nagler, 2011; Ramsey, 2011; Magee, et al., 2011; Magee & Burland, 2008; Magee 2006). The project described in this paper intends to demonstrate one of these possibilities by combining modern technologies to create an interactive musical system with practical applications in music therapy. In addition to designing a practical tool, the project aims to question the role of technology in music therapy and to initiate dialogue between technologists and music therapists. The project, entitled MIST: A Musical Interactive Space for Therapy, uses modern gestural technology (the Microsoft® Kinect®) to capture body movements and turn them into music. It is intended for use in a clinical setting with children with mild to moderate disabilities. The system is a software/hardware package that is inexpensive, user-friendly, and portable. There are two functional modes of the system: the first sonifies specific movement tasks of reaching and balancing; the second is an interactive musical play space in which an entire room becomes responsive to presence and movement, creating a sonic playground. The therapeutic goals of the system are to motivate and train physical movement, encourage exploration of space and the body, and allow for musical expression, play, auditory perception, and social interaction.
ContributorsHeadlee, Kimberlee (Author) / Ingalls, Todd M (Thesis advisor) / Crowe, Barbara J. (Thesis advisor) / Stauffer, Sandra L (Committee member) / Arizona State University (Publisher)
Created2011
Description
The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver and Greil Marcus unearthed and promoted her music and called for further research on this enigmatic figure. In other publications, Wiley is frequently given only passing mention in long lists of talented female blues singer-guitarists, or briefly discussed in descriptions of songsters. Her music is lauded in the liner notes of the myriad compilation albums that have re-released her recordings. However, prior to this study, Marcus's three-page profile is the longest work written about Wiley; other contributions range between one sentence and two paragraphs in length. None really answers the question: who was Geechie Wiley? This thesis begins by documenting my attempt to piece together all information presently available on Geechie Wiley. A biographical chapter, supplemented with a discussion of the blues songster, follows. I then discuss my methodology and philosophy for transcription. This is followed by a critical and comparative analysis of the recordings, using the transcriptions as supplements. Finally, my fifth chapter presents conclusions about Wiley's life, career, and disappearance. My transcriptions of Wiley's six songs are found in the first appendix. Reproductions of Paramount Records advertisements are located in the final appendix. In these ways, this thesis argues that Wiley's work traces the transformation of African-American music from the general secular music of the songsters to the iconic blues genre.
ContributorsCordeiro, AnneMarie Youell (Author) / Norton, Kay (Thesis advisor) / Mook, Richard (Committee member) / Sunkett, Mark (Committee member) / Arizona State University (Publisher)
Created2011
Description
Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango songs are presented here: "Elegante Papirusa" by Tito Roccatagliata, "A La Gran Muñeca" by Jesús Ventura, and "La Cotorrita" by Samuel Castriota. The arrangements follow the style of three early recordings produced by The Victor Talking Machine in 1920 and 1922, as performed by two authentic Argentine orquesta típicas: Orquesta Típica Select and Orquesta Típica Fresedo. A brief history of the style and instrumental evolution of tango music from its influences and origins up until 1920 is discussed, followed by a detailed account of the musicians and circumstances involved in the three early recordings. An explanation of the issues encountered by the author in adapting the early tango style to the brass quintet setting is discussed, along with the solutions realized in order to make the project successful and practical for a moderately advanced brass quintet. The full brass quintet scores are provided as part of the Appendix.
ContributorsCamacho, Gustavo (Musician) (Author) / Ericson, John Q (Thesis advisor) / Pilafian, Samuel (Committee member) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2011
Description
Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.
ContributorsDeBoer, Andrew Caleb (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Norton, Kay (Committee member) / McAllister, Timothy (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
Cerebral palsy (CP) is a non-progressive neurologic disorder characterized by motor pathway damage prior to functional development. Damage to the central nervous system impairs motor functioning, including control of motor movement, loss of coordination, and loss of purposeful posture in individuals with cerebral palsy. This creates abnormal walking gait, impaired balance, and loss of muscle control. Current research shows positive results in studying the use of rhythmic music and walking gait for individuals with neurologic disorders. However, most research focuses on neurologic disorders acquired later in life, such as post-stroke patients and individuals with Parkinson's disease and traumatic brain injuries. The current study addresses the impact of rhythmic music on walking gait for an individual with cerebral palsy. Research addresses whether the use of rhythmic music impacts: (a) endurance (laps, distance traversed, and steps taken) (b) cadence (steps per minute), (c) velocity (distance over time), (d) emotional responsiveness (positive or negative affect), and (e) motivation. The current study is a single subject, mixed method design under randomized treatment conditions. The subject is a 25-year-old female diagnosed with spastic diplegic cerebral palsy. The subject participated in a five-week study, three times a week for one hour each session. Assessment was conducted during the first session. The following 14 sessions included gait training either under treatment (the use of recorded rhythmic music accompanied by audible drum beat) or control (no music) randomly assigned prior to the beginning of the study. Data were collected through video recordings, subject and researcher journals, and emotional responsiveness surveys. Data were analyzed for treatment versus control conditions. Analysis of both quantitative and qualitative data indicated that rhythmic music does impact walking gait for individuals with cerebral palsy. When compared to control conditions, the treatment conditions showed an increase in endurance, cadence, and velocity, and improvement in affect and motivation.
ContributorsTindal, Sevrina (Author) / Crowe, Barbara (Thesis advisor) / Rio, Robin (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement.
ContributorsFang, Zhou, D.M.A (Author) / Koonce, Frank (Thesis advisor) / Levy, Benjamin (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Peter N. Schubert in "Hidden Forms in Palestrina's `First Book of Four-Voice Motets'" (Journal of the American Musicological Society, 2007) defines significant blocks of vertical relationships in imitative and non-imitative duos in the thirty-six motets of Palestrina's Motectus festorum totius anni cum communi sanctorum, published in 1564. Schubert describes these blocks of vertical relationships that proceed from duos as modules and organizes them according to categories of construction and function. Palestrina's parody Mass, O Rex glóriæ, reveals the same duos and modules that Schubert discovers in Palestrina's motet of the same name. Palestrina transfers these duos and modules from the motet into the parody Mass, using them as building blocks for points of imitation. The duos, modules, and their motives appear in all but a few places, and are in some cases prominent throughout movements of the Mass, such as the Kyrie. Palestrina manipulates and elaborates these duos and modules according to the character and text of each movement. He borrows them consistently in their original order, which he changes only for reasons of textual meaning or verbal similarity. The module approach to recurring vertical combinations, although a recent application, is valuable for recognizing and treating systematically the duo relationships and their elaboration that are described by late-Renaissance theorists, especially Fray Tomas de Sancte Maria. The identification and analytical interpretation of duos and modules in Palestrina's motet O Rex glóriæ and the parody Mass based on it yields insights not only into his compositional decisions as he adapts material from the motet for its new setting, but also into the potential value of modules as the basis for an analytical approach to the sacred vocal polyphony of the sixteenth century.
ContributorsMenefee, Catherine Ann (Author) / Holbrook, Amy (Thesis advisor) / Saucier, Catherine (Committee member) / Carpenter, Ellon (Committee member) / Arizona State University (Publisher)
Created2013