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- All Subjects: Clarinet and piano music
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsBurton, Charlotte (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-08
ContributorsDruesedow, Elizabeth (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Guitar Hero III and similar games potentially offer a vehicle for improvement of musical rhythmic accuracy with training delivered in both visual and auditory formats and by use of its novel guitar-shaped interface; however, some theories regarding multimedia learning suggest sound is a possible source of extraneous cognitive load while playing so players may score higher with sound turned off. Also, existing studies have shown that differences in the physical format of interfaces affect learning outcomes. This study sought to determine whether (a) the game’s audio content affects rhythmic accuracy, and (b) the type of game controller used affects learning of rhythmic accuracy. One hundred participants were randomly assigned in approximately equal numbers (ns = 25) to the four cells of a 2x2 between-subjects design. The first variable was the audio content of the game with two levels: on or off. The second variable was the type of game controller: the standard guitar-style controller or tablet interface. Participants across all conditions completed a pre- and post-test with a system that required them to tap along with repeated rhythmic patterns on an electronic drum pad. Statistical evidence showed better outcomes with a tablet controller with respect to input time error, reduction of extra notes played, and reduction of missed notes; however, the guitar-style controller produced superior outcomes in terms of avoiding missed notes and was associated with higher satisfaction by participants. When audio was present better outcomes were achieved at multiple factor-levels of reduction of missed responses, but superior outcomes in input time error were seen without audio. There was no evidence to suggest an interaction between controller type and the presence or absence of audio.
ContributorsThomas, James William (Author) / Zuiker, Steven J (Thesis advisor) / Atkinson, Robert (Thesis advisor) / Savenye, Wilhelmina C (Committee member) / Arizona State University (Publisher)
Created2017
Description
Rhythm is a work for percussion ensemble and narrator. The percussion ensemble includes five percussionists who each play multiple instruments. The narrator recites quotes from the book Meter as Rhythm by Dr. Christopher Hasty. The piece is in six parts with a short introduction (mm. 1-5). The structure is delineated by the quotes from Meter as Rhythm. The narrator describes an aspect of rhythm at the beginning of each section and the quote is sonically realized through the percussion ensemble.
This piece experiments with different timbres and rhythmic motives. Timbral variety is achieved through grouping instruments into woods, metals, and membranes and using combinations of those groups to delineate different sections and ideas. The rhythmic motives are based on the numbers 3, 5, and 7, and appear as rhythmic values, phrase lengths, and number of repetitions.
The first section states a definition of rhythm and contains all timbres and motives contained within the composition. The piece then explores the relativity of time and is represented by drums changing the speed of their notes. The third section discusses rhythm as repetition and is illustrated by repetitive rhythmic motives. The text then features rhythm as a subjective human experience and is reflected through polyrhythms played between ensemble members. What follows is a description of meter as a temporal measurement that is unchanged by rhythmic activity. By bringing back previous motives, this section reveals that all of the motives work within the same meter. In the final section, the performers play various subdivisions of the beat to show different aspects of proportion by dividing the beat in several ways.
This piece experiments with different timbres and rhythmic motives. Timbral variety is achieved through grouping instruments into woods, metals, and membranes and using combinations of those groups to delineate different sections and ideas. The rhythmic motives are based on the numbers 3, 5, and 7, and appear as rhythmic values, phrase lengths, and number of repetitions.
The first section states a definition of rhythm and contains all timbres and motives contained within the composition. The piece then explores the relativity of time and is represented by drums changing the speed of their notes. The third section discusses rhythm as repetition and is illustrated by repetitive rhythmic motives. The text then features rhythm as a subjective human experience and is reflected through polyrhythms played between ensemble members. What follows is a description of meter as a temporal measurement that is unchanged by rhythmic activity. By bringing back previous motives, this section reveals that all of the motives work within the same meter. In the final section, the performers play various subdivisions of the beat to show different aspects of proportion by dividing the beat in several ways.
ContributorsBush, Zachary (Author) / Rockmaker, Jody (Thesis advisor) / Rodgers, Rodney (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2018
Description
The idea that everything occurs linearly, over the course of time, is evident in the way we construct our sentences and track our understanding of our own lives. It is within this understanding we perform, compose, and listen to music. Since language occurs over time, there is the understanding that words and ideas are uttered like marks on a continuous line, some closer together, others with large gaps in-between. It has been the work of linguists and philosophers to understand the patterns, or the rhythm, of speech and language in this way, and while there is no definitive or consistent model for how language is rhythmically produced in any language, it has been determined that rhythm is considered and perceived when language is spoken or heard. It is this perception of rhythm in speech that defines how language comprehension is acquired before phonetic skills. This paper will explore the effects of rhythm in language during infant's prelexical period, the correlations of rhythm and developing reading skills, and finally, explore how the intervals between vocalic utterances become normalized and consistent in poetic readings.
ContributorsZillich, Nicolette Isabel (Author) / Mantie, Roger (Thesis director) / Laing, Alexander (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Last Hymn was created by the team of Tyler Pinho, Jefferson Le, and Curtis Spence with the desire to create an eccentric Role Playing Game focused on the exploration of a strange, dying world. Battles in the game are based off of rhythm games like Dance Dance Revolution using a procedural generation algorithm that makes every encounter unique. This is then complemented with the path system where each enemy has unique rhythm patterns to give them different types of combat opportunities. In Last Hymn, the player arrives on a train at the World's End Train Station where they are greeted by a mysterious figure and guided to the Forest where they witness the end of the world and find themselves back at the train station before they left for the Forest. With only a limited amount of time per cycle of the world, the player must constantly weigh the opportunity cost of each decision, and only with careful thought, conviction, and tenacity will the player find a conclusion from the never ending cycle of rebirth. Blending both Shinto architecture and modern elements, Last Hymn used a "fantasy-chic" aesthetic in order to provide memorable locations and dissonant imagery. As the player explores they will struggle against puzzles and dynamic, rhythm based combat while trying to unravel the mystery of the world's looping time. Last Hymn was designed to develop innovative and dynamic new solutions for combat, exploration, and mapping. From this project all three team members were able to grow their software development and game design skills, achieving goals like improved level design, improved asset pipelines while simultaneously aiming to craft an experience that will be unforgettable for players everywhere.
ContributorsPinho, Tyler (Co-author) / Le, Jefferson (Co-author) / Spence, Curtis (Co-author) / Nelson, Brian (Thesis director) / Walker, Erin (Committee member) / Kobayashi, Yoshihiro (Committee member) / Computer Science and Engineering Program (Contributor) / Computing and Informatics Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsClements, Katrina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-15