Matching Items (13)
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- All Subjects: Performance
- Creators: Rogers, Rodney
- Creators: School of Film, Dance and Theatre
Description
The two solo violin works by Carl Nielsen (1865-1931) have been largely overlooked since their composition in the 1920s. These pieces are representative of Nielsen's mature style, combining elements of classical form (the Theme and Variations) as well as processes more commonly found in the twentieth century (through-composition and non-tonal harmonic language). This paper is designed to bring these long-neglected works to light and make them more approachable for violin students, teachers and performers. As Denmark's leading composer, Nielsen was well regarded in his lifetime, although his isolation from mainland Europe created obstacles in his path toward international fame. Rather than following trends in post-romantic music, he remained true to his own musical ideals. This choice often isolated him further during his career, but his unique blend of chromatic harmony, driving rhythms and juxtapositions of character captivates modern listeners. Although small in scope compared to his symphonies and other large works, the enthusiastic spirit and indomitable energy of the solo violin works reflect Nielsen's character at its best. Combining a high level of virtuosity with solid structural integrity, textural variety and musical interest, these works deserve a much more prominent place in the standard violin repertoire.
ContributorsVallier, Michelle Mitchell (Author) / McLin, Katherine (Thesis advisor) / Rogers, Rodney (Committee member) / Jiang, Danwen (Committee member) / Bailey, Wayne (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2012
Description
New works for the bass clarinet as a solo instrument are uncommon. In the interest of expanding the repertoire of the bass clarinet, three new works for bass clarinet were commissioned from three different composers, all with different instrumentations. The resulting works are Industrial Strength for bass clarinet and piano by Kenji Bunch; Dark Embers for two bass clarinets by Theresa Martin; and Shovelhead for bass clarinet and interactive electronics by Steven Snowden. Although all three works feature the bass clarinet, they are all very different and pose unique challenges to the performer. To accompany these pieces, and as an aid to future performers, a performance practice guide has been included with recommendations for individuals who wish to perform these works. Included in the guide are recommended fingerings, practice techniques, and possible adjustments to the bass clarinet parts designed in collaboration with the composers that make the works more technically accessible. Accompanying this guide are full scores of all three works, a recording of them performed by the author, and a chart that contains recommended altissimo fingerings.
ContributorsMiracle, Matthew (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this research paper is to discuss John Carter's Cantata, the musical development of this composition, and provide a brief history of this African American musician and composer. Presently, there exists very little research regarding Carter's life and compositions. From a musician's perspective, this paper discusses the challenges of singing and performing the Cantata for future performers and provides a reference for their preparation. This project also examines John Carter's musical style and analyzes the structure of the Cantata. African-American folk songs were an inspiration to Carter's compositions, especially this particular work. As an African-American, his life and background played a role in his inspiration of composition. With borrowed music, he reveals a basic truth about this period of American history; how the lives of slaves influenced in the development of this particular genre. Additionally, John Carter's style of composition is examined, including the application of jazz and modal scales in his Cantata. Performance practice is examined for both the singer and pianist in a way that best represents the composer's original and unique intent. From vocal safety to breath control, a singer may find several challenges when performing this eclectic piece. This paper provides a guide for singers. A brief overview of the pianist's role in the Cantata is also included. Characteristic words of the African-American vernacular found in Carter's Cantata are briefly discussed and identified (i.e. "them" vs. "dem"). It is essential that any performer, both beginning and advanced, should have a proper understanding of the concepts that Carter had so carefully crafted. This paper endeavors to provide a deeper sense of understanding to what Carter had intended for both the performer and the listener.
ContributorsNa, Bora (Author) / Britton, David (Thesis advisor) / Bush, Jeffrey (Committee member) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
As an artist, I set out to creatively answer three important questions that were discovered in a variety of ways over the course of my academic career. They all had one thing in common, the awareness and wonder around how impactful presence is. But what is presence? Merriam-Webster Dictionary defined presence as, “The state or fact of existing, occurring, or being present in a place or thing.” And, “A person or thing that exists or is present in a place but is not seen. (Presence) After a tangible experience with loss, grief, disappointment, and extenuating life circumstances for many cast members involved in this seven-month movement research project, the internal battle for physical, mental, and emotional presence began to be a daily pursuit. The originally produced work, Presence-The Walk, takes a look into the unpopular practice of being still in an ever-moving society, as well as what the process of healing can look like for an individual. Videographer and MFA candidate Lawrence Fung was a large collaborator on the final product of this work. After having to adapt several different versions of the final product due to cast changes, opportunities for public performance, and the COVID-19 pandemic, dancer, mover, and artist Victoria Ward shares her experience and research exploring the constant pursuit of presence and what it looked like to present professional work given an even shorter timeline. Interdisciplinary collaboration with photographers, artists, and spoken word was also a key aspect of this work alongside the research completed by her cast of seven dancers.
ContributorsWard, Victoria Marie (Author) / Conder, Carley (Thesis director) / Meredith, Shauna (Committee member) / Rosenkrans, Angela (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This performance attempts to decolonize possibilities for love through unarcheology, an invented method intended to re-narrate artifacts "dug up" by institutions of oppressive power and utilized in service of particular ideologies. Through unarcheologies of Sirhan Sirhan, the performer's father, and the performer's own body, the performance offers a critical call for us to examine the ways that colonial logics of criminality, threat, and wrongness always already implicate Palestinian bodies and our relations with them.
Rhetorics of criminality have long been written onto Palestinian bodies. From Dareen Tatour's imprisonment by the state of Israel to the U.S. detaining Adham Hassoun indefinitely as a "security threat", these rhetorics lead to material violence against Palestinians on a global scale, as well as on a discursive and interpersonal level. Communicative work which seeks to decolonize the Palestinian body in its various settings is vital to our survival in literal as well as symbolic ways. From a postcolonial perspective, we cannot extricate the individual from the communal, the local, the national, the global nor the universal. A postcolonial understanding of "survival" demands that we reflexively interrogate the Palestinian body in its sociohistorical complexity and on its own terms.
Autoethnography is uniquely situated as a method for postcolonial analyses of Palestinian survival. Chawla and Atay argue, "postcolonialism and autoethnography are inherently self-reflexive practices… that necessitate a centering of both the subject–object within a local and historical context" (4). In this performance, I introduce "unarcheology" as a postcolonial method for learning to love the Palestinian body. Using media and embodied performance, I stage a series of scripts comprised of poetic autoethnographic reflection, repurposed diary entries from an archetypal Palestinian "criminal," and the text of my father's indictment. These scripts, composed through a queer, collage-like method I call "unarcheology," are separated into temporal sections (past, present, and future) and audience members determine the order of their performance, thus demanding direct engagement in the performance's decolonial project. Staged on and around a single pile of dirt, this performance interrogates colonial barriers of criminality preventing the capacity to critically love Palestinians. It documents the survival that Palestinians are forced to embody- its goal, however, is the pursuit of critical, generous, decolonized love.
Rhetorics of criminality have long been written onto Palestinian bodies. From Dareen Tatour's imprisonment by the state of Israel to the U.S. detaining Adham Hassoun indefinitely as a "security threat", these rhetorics lead to material violence against Palestinians on a global scale, as well as on a discursive and interpersonal level. Communicative work which seeks to decolonize the Palestinian body in its various settings is vital to our survival in literal as well as symbolic ways. From a postcolonial perspective, we cannot extricate the individual from the communal, the local, the national, the global nor the universal. A postcolonial understanding of "survival" demands that we reflexively interrogate the Palestinian body in its sociohistorical complexity and on its own terms.
Autoethnography is uniquely situated as a method for postcolonial analyses of Palestinian survival. Chawla and Atay argue, "postcolonialism and autoethnography are inherently self-reflexive practices… that necessitate a centering of both the subject–object within a local and historical context" (4). In this performance, I introduce "unarcheology" as a postcolonial method for learning to love the Palestinian body. Using media and embodied performance, I stage a series of scripts comprised of poetic autoethnographic reflection, repurposed diary entries from an archetypal Palestinian "criminal," and the text of my father's indictment. These scripts, composed through a queer, collage-like method I call "unarcheology," are separated into temporal sections (past, present, and future) and audience members determine the order of their performance, thus demanding direct engagement in the performance's decolonial project. Staged on and around a single pile of dirt, this performance interrogates colonial barriers of criminality preventing the capacity to critically love Palestinians. It documents the survival that Palestinians are forced to embody- its goal, however, is the pursuit of critical, generous, decolonized love.
ContributorsTbakhi, Nissim Dawn (Author) / Linde, Jennifer (Thesis director) / Rohd, Michael (Committee member) / LeMaster, Benjamin (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The desire for normalcy is constant, regardless of how unattainable one knows it is. As it seems, the harder one tries for a normal life, the harder it becomes to find it. The more life I experience, the more I realize that normalcy is a construct, completely based in generalizable concepts. Normal will vary from person to person, and even within that, life always provides plenty of deviations from the norm. Within those deviations lies trauma. Trauma is difficult to handle, period. It is even more difficult to handle alone. You Can't Cry While Drinking (Coffee) follows a collegiate arts student as she strives for normalcy while dealing with her mother's terminal diagnosis. This piece focus on alienation, mental health, relationships between women, and the damage that ignoring trauma can cause. It views her actions through the lens of comedy, as laughter can convey a vast and accessible range of emotions. Throughout my college career, I have gone through a significant amount of life stressors, beyond the traditional college work load. Instead of becoming overcome with grief from the traumas I have dealt with, I decided to analyze my life from an outside perspective, taking pieces to share with others. In my observations and experience, sharing stories of hardships with others is mutually beneficial. It allows the individual to come to terms with what they have experience while allowing others to not feel alone if they are struggling with their own lives. There is a considerable amount of comfort in the realization that one does not have to go through traumatic experiences alone. This creative project was performed March 2nd through the 5th. The public exposure was a substantial portion of the process, as sharing trauma was integral to the study of this thesis.
ContributorsGalbiati, Tess Angeline (Author) / Scott, Jason (Thesis director) / Eckard, Bonnie (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
The purpose of this research was to create a theoretical lesson plan to teach the French Revolution, and specifically the March on Versailles, to secondary-level (middle and high school) students. This lesson plan incorporates a simulation of the March on Versailles for students to participate in as a supplement to their usual lesson, and as a different and engaging method of learning. For the purposes of this honors thesis, the research and information gathered was split into four individual sections: a pedagogy, a historiography, a series of short biographies, and a script which is accompanied by a short film of the dialogue. These four parts would work together in order for an instructor to easily build either a simple, short, one-class lesson or a multi-lesson project for their students. The parts combine research into educational studies and research on French Revolutionary history in order to encompass all aspects of a lesson. The goal of such research into a potential lesson plan would be to create a history lesson which is more interesting to all students, especially those who struggle to find enjoyment in history. Moving forward, this theoretical lesson would be put into practice with middle or high school students in order to gauge their interest and engagement with the subject before and after a simulation in their class.
ContributorsNun, Taylor Jaylene (Author) / Thompson, Victoria (Thesis director) / Harris, Lauren (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This document is comprised of an arrangement and recording of Giuseppe Tartini’s “Devil’s Trill” Sonata for solo violin, and includes historical background, an exploration of Italian ornamentation, and a structural analysis. The original work was written for violin and basso continuo. The author was inspired to create this arrangement for solo violin based on accounts that Tartini liked to perform this work unaccompanied.
The first three chapters focus on events from Tartini’s early life that influenced his compositional style. Chapters four and five provide an overview of Italian ornamentation, and explore five documents that were used to support decisions in creating the arrangement: Giovanni Luca Conforto’s The Joy of Ornamentation; Giuseppe Tartini’s Traité des Agréments de la Musique; Letter to Signora Maddalena Lombardini; Regole; and L’Arte dell Arco. Chapter six provides a structural analysis of the Sonata. The appendices illustrate the process of creating the arrangement.
The arrangement takes into consideration the composite of the original solo and basso continuo parts. In addition, a set of realized ornaments is provided on an ossia staff. The recording includes both the primary arrangement, presented in each initial section, as well as the realized ornaments, presented in each repeated section.
The first three chapters focus on events from Tartini’s early life that influenced his compositional style. Chapters four and five provide an overview of Italian ornamentation, and explore five documents that were used to support decisions in creating the arrangement: Giovanni Luca Conforto’s The Joy of Ornamentation; Giuseppe Tartini’s Traité des Agréments de la Musique; Letter to Signora Maddalena Lombardini; Regole; and L’Arte dell Arco. Chapter six provides a structural analysis of the Sonata. The appendices illustrate the process of creating the arrangement.
The arrangement takes into consideration the composite of the original solo and basso continuo parts. In addition, a set of realized ornaments is provided on an ossia staff. The recording includes both the primary arrangement, presented in each initial section, as well as the realized ornaments, presented in each repeated section.
Contributorsda Cruz Ribeiro e Rodrigues, Christiano E (Author) / Swartz, Jonathan (Thesis advisor) / Buck, Nancy (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT
This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms build a digital persona, and create an engaged audience. The same techniques used by corporations and opera companies for their social media and marketing strategy can be leveraged to increase brand awareness, build a strong network, and may aid in generating new opportunities for the opera singer.
Key Words: Social Media, Opera Singer, Branding, Marketing, Technology
This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms build a digital persona, and create an engaged audience. The same techniques used by corporations and opera companies for their social media and marketing strategy can be leveraged to increase brand awareness, build a strong network, and may aid in generating new opportunities for the opera singer.
Key Words: Social Media, Opera Singer, Branding, Marketing, Technology
ContributorsJones, Jennifer E. (D.M.A.) (Author) / Kopta, Anne Elgar (Thesis advisor) / Mills, Robert (Committee member) / Rogers, Rodney (Committee member) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2016
Description
Since 1913, some of the world’s finest trumpeters have utilized the advantages of
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
ContributorsEwing, Bryan Christopher (Author) / Hickman, David (Thesis advisor) / Humphreys, Jere T (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2016