Matching Items (7)
Filtering by
- All Subjects: pedagogy
- All Subjects: conducting
- Creators: Russell, Timothy
- Creators: Buck, Nancy
Description
ABSTRACT études; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études.; These works rarely go by the title "étude;," and have not been the focus of much scholarly research. Ensemble études; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble études; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études; in a group, this document introduces creative ways that works for violin ensemble can be used as both études; and performance pieces. The first two chapters explore the history and philosophy of the violin étude; and multiple-violin works, the practice of arranging of solo études; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude; study from solo étude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: étude; for Four Violins, with an explanation of the process and techniques used to create this ensemble étude.; This work is an example of the musical and technical integration essential to étude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble études; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble études; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.
ContributorsLundell, Eva Rachel (Contributor) / Swartz, Jonathan (Thesis advisor) / Rockmaker, Jody (Committee member) / Buck, Nancy (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study presents a conductor's guide to the Carpathian Concerto by Myroslav Skoryk. As a Deputy Head of the National Composers Association of Ukraine, a professor at the Tchaikovsky National Academy of Music and the Music Artistic Director of the National Opera of Ukraine, Skoryk continues to be active as a composer, teacher, and conductor. The Carpathian Concerto was composed in 1972 and was inspired by the culture and folklore of the west region of Ukraine, the Carpathian Mountains. Over the years the Carpathian Concerto has become standard repertoire for many symphony orchestras in the Ukraine. The author, himself from the Ukraine, performed this work in 2002, as a member of the Tchaikovsky National Academy of Music Symphony Orchestra, with the composer present. That experience was the inspiration for this study. This guide is intended as a score study supplementary from a conductor to a conductor, to aid in preparing a performance of the paper. The commentary focuses on issue of conducting, suggestions for score study, suggestions for interpretation and instructions to performers in connection with the rhythm, intonation, balance and orchestra placement. Programming ideas conclude this project, with short program notes provided for each program, in which Carpathian Concerto would contribute toward building a "theme" concert.
ContributorsIvanov, Lev, D.M.A (Author) / Russell, Timothy (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
Currently, an aspiring assistant conductor is faced with a lack of information regarding the expectations and successful strategies in preparing to take on an assistant conductorship in the United States. A conductor's training in the United States focuses heavily on stick and rehearsal technique, score study, performance practice, and developing a deeper understanding of the administrative and logistical structure of the modern symphony orchestra - as it should be. Speaking as a an aspiring young conductor, I believe that, although these aspects of conducting are crucial for one's success in the field, two important aspects of a conductor's education are often not given an adequate amount of attention in the basic curriculum. These are: 1) Developing a clearer understanding of the official and unofficial functions of an assistant orchestra conductor in the United States; and, 2) Providing a model of the elements of a professional and highly effective press packet including: conducting footage, CV/resume, photographs, website, references and cover letter. The purpose of this project was to collect and present information that may inform an aspiring assistant orchestra conductor regarding the expectations of such a position and strategies to improve one's marketability for such a job in the United States. A handbook for the aspiring conductor was also created.
ContributorsVizireanu, Vlad (Author) / Russell, Timothy (Thesis advisor) / Reber, William (Committee member) / Bailey, Wayne (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2014
Description
Pre-collegiate clarinet instructors are often challenged to teach students both fundamental skills and repertoire with limited instructional time. Insufficient time may cause fundamental skills to be addressed at the expense of repertoire or repertoire study may limit time spent on fundamental development. This document provides a suggested repertoire list that categorizes pre-collegiate clarinet literature based on the fundamental skill addressed in each included piece. Teachers can select repertoire that allows students to concurrently refine a fundamental skill while preparing a piece for performance. Addressed fundamental topics include embouchure, expanding the range into the clarion and altissimo registers, articulation, breathing, intonation, finger technique, and musicality.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
ContributorsAustermann, Kelly R (Author) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2014
Description
In the triumvirate of composer-performer-listener, while the listener always wins, the performer is the interpreter through which the listener experiences the writings of the composer. When the composer and performer are combined, however, a unique situation arises: the link from the composer to the listener becomes a direct line and the composer becomes his/her own interpreter. Such is the case with Benjamin Britten. Britten conducted almost his entire repertoire in recordings for Decca (the exceptions being Paul Bunyan, Owen Wingrave, and Death in Venice). A comparative analysis of the recordings of four of Britten's works, the Serenade for Tenor, Horn, and Strings, Op. 31; Albert Herring, Op. 39; Spring Symphony, Op. 44; and the Nocturne, Op. 60, shows that despite his complaints about performers not following his tempo markings, Britten often deviated from them himself, tending slower. Britten also occasionally added additional rubato, ritardandi, and accelerandi to his works. Additionally, a discrepancy regarding a pitch in the "Prelude" of the Serenade comes to light. Video of Britten conducting the Nocturne in rehearsal with the Canadian Broadcasting Company (CBC) Vancouver provides additional insight into his methodology. Benjamin Britten succeeded as a composer-conductor, and his catalogue of recordings provides essential primary reference material when studying his works.
ContributorsSterneman, Walter (Author) / Reber, William (Thesis advisor) / Russell, Timothy (Committee member) / Dreyfoos, Dale (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2014
Description
Most violinists of the Western classical tradition are untrained in the aural skills and left-hand techniques of microtonal intervals. This document surveys the nature of the problem and presents a manual for self-teaching the three-quarter tone step—the equal tempered ‘neutral second’ (N2) a quarter tone between the major and minor second intervals—through the melodic syntax of specific Persian classical music (PCM) modes. While the paper does not teach PCM performance, it does offer a method of melodic functional hearing through a new solmization system designed specifically for PCM. Additionally, the paper guides readers through the PCM repertoire by grouping modes with a shared functional usage of the N2. Combined with the pedagogical research of learning modalities and Edwin Gordon’s Music Learning Theory, these tools provide violinists with a method for achieving the aural accessibility and performance mastery of the N2. This process serves as a future model for learning unfamiliar intervals both within and without the Western classical tradition.
ContributorsDiBarry, Michael (Author) / McLin, Katherine (Thesis advisor) / Buck, Nancy (Committee member) / Knowles, Kristina (Committee member) / Arizona State University (Publisher)
Created2020
Description
Ernest Bloch’s Suites for Solo Cello (B. 93, 94, 97) contain a melodic-harmonic language unlike any other twentieth-century unaccompanied work, and when transcribed for viola, become meaningful additions to the existing viola repertoire. Each movement within these three works has its own distinct dancelike character, much like J.S. Bach’s Suites for Solo Cello (BWV 1007-1012). The melodies contain a persistent lyrical quality, and the harmonies are modal and reminiscent of folk music. Rather than compose an appropriate ending to Bloch’s incomplete Suite for Solo Viola (B. 101), a transcription of Bloch’s Suites for Solo Cello provides violists with more variety and opportunity for musicianship. These works present technical challenges such as rapid string crossings, sudden and vast register changes, complex rhythms and meter, and offer interpretationally rich passages. The level of these difficulties can prepare violists for more challenging twentieth-century works; thus, transcribing the Bloch Suites provides an opportunity to bridge a pedagogical divide in solo viola repertoire.
This project includes the transcriptions of Bloch’s Suites for Solo Cello, a performance edition, and a recording. Included is an overview of why these works are suitable for the viola, how these arrangements help fill a pedagogical gap in the unaccompanied viola repertoire, and insight into the transcription process. The performance recording captures the accessibility of these works for violists wishing to perform them and shows the integrity and variety of each piece by programming them all on a single recital.
This project includes the transcriptions of Bloch’s Suites for Solo Cello, a performance edition, and a recording. Included is an overview of why these works are suitable for the viola, how these arrangements help fill a pedagogical gap in the unaccompanied viola repertoire, and insight into the transcription process. The performance recording captures the accessibility of these works for violists wishing to perform them and shows the integrity and variety of each piece by programming them all on a single recital.
ContributorsHankins, Kimberly Michelle (Author) / Buck, Nancy (Thesis advisor) / Feisst, Sabine (Committee member) / Landschoot, Tom (Committee member) / Arizona State University (Publisher)
Created2020