Matching Items (10)
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- All Subjects: Composition (Music)
- Creators: DeMars, James
- Creators: Swoboda, Deanna
Description
A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's Structures Ia . The purpose of this survey is to examine several systematic approaches to composition by prominent composers and their philosophy in adopting this type of approach. The next section of the paper introduces my own systematic approach to composition: the Take-Away System. The third provides several musical applications of the system, citing my work, Octulus for two pianos, as an example. The appendix details theorems and observations within the system for further study.
ContributorsHarbin, Doug (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
Description
Joseph Turrin’s compositions for trumpet are frequently performed, and have
become a large part of the trumpet repertoire. His trumpet works are played at events
such as International Trumpet Guild conferences, have been featured with many well-known
orchestras and bands, and are standard recital works. Many of Turrin’s trumpet
works have been performed and recorded by well-established musicians, which include
Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas
Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom.
This study examines in detail each of Joseph Turrin’s twenty-four published
works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada,
Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits,
Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph
Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan,
and Thomas Hooten. A complete history of each composition and arrangement, and
information relating to their premieres are presented. Technical elements from the music
are discussed, such as range, articulation, melodic contour, endurance, and difficult
fingerings. Biographical information such as youth, education, and career about Turrin
are incorporated, along with a discussion of his compositional characteristics and
influences. In addition, a list of each work with an assigned difficulty grade, as well as a
current discography, is included.
become a large part of the trumpet repertoire. His trumpet works are played at events
such as International Trumpet Guild conferences, have been featured with many well-known
orchestras and bands, and are standard recital works. Many of Turrin’s trumpet
works have been performed and recorded by well-established musicians, which include
Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas
Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom.
This study examines in detail each of Joseph Turrin’s twenty-four published
works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada,
Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits,
Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph
Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan,
and Thomas Hooten. A complete history of each composition and arrangement, and
information relating to their premieres are presented. Technical elements from the music
are discussed, such as range, articulation, melodic contour, endurance, and difficult
fingerings. Biographical information such as youth, education, and career about Turrin
are incorporated, along with a discussion of his compositional characteristics and
influences. In addition, a list of each work with an assigned difficulty grade, as well as a
current discography, is included.
ContributorsAlbrecht, Christopher (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
As with many concertante, Fantasy focuses on the interplay between the soloist and the orchestra. Contrast is a fundamental principle for creating the formal design of the composition. Adjacent sections are related to one another by the contrast of any or all of the following: register, timbre, and texture. Fantasy derives inspiration from the musical languages of Stravinsky, Prokofiev, Shostakovich, Moravec, and Debussy.
ContributorsKemp, Tyler (Author) / Rockmaker, Jody (Thesis advisor) / DeMars, James (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
Sonata No. 2 in B-flat Major is a work for trumpet and piano. It is composed in the romantic tradition and is thirty minutes in length. Trumpet chamber repertoire has increased dramatically in the past century, but few new works are representative of the harmonic language or extended forms of the late romantic tradition.
The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension.
The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities.
The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work.
The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension.
The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities.
The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work.
ContributorsBrand, Spencer Paul (Author) / DeMars, James (Thesis advisor) / Rockmaker, Jody (Committee member) / Rodney, Rogers (Committee member) / Arizona State University (Publisher)
Created2018
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
Many of Erik Morales's trumpet compositions have become standard repertoire. This study examines his trumpet works, which are examples of Morales's outstanding compositional skill and versatility. The composer, some of the most significant performers, and people who commissioned these pieces were interviewed. Biographical information and compositional characteristics of Morales are presented. Historical information about the pieces is also provided, including the premieres, commissions, recordings, and significant performances. Technical concerns specific to the trumpet, and performance recommendations, are assessed. This study is a pedagogical and informative source for all trumpet educators and performers interested in solo and trumpet ensemble music.
ContributorsZapata Correa, Oswaldo Arley (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2016
Description
Piano Quintet> is a three movement piece, inspired by music of Eastern Europe. Sunrise in Hungary starts with a legato song in the first violin unfolding over slow moving sustained harmonics in the rest of the strings. This is contrasted with a lively Hungarian dance which starts in the piano and jumps throughout all of the voices. Armenian Lament introduces a mournful melody performed over a subtly shifting pedal tone in the cello. The rest of the voices are slowly introduced until the movement builds into a canonic threnody. Evening in Bulgaria borrows from the vast repertoire of Bulgarian dances, including rhythms from the horo and rachenitsa. Each time that the movement returns to the primary theme, it incorporates aspects of the dance that directly preceded it. The final return is the crux of the piece, with the first violin playing a virtuosic ornaments run on the melody.
ContributorsGiese, Adam (Composer) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2014
Description
This document offers composers a contextual reference and pragmatic overview
of the modern marimba. This guide is not designed as an orchestration text, suggesting ways to write for the instrument, rather, it illustrates through examination of well-known solo and chamber works how selected composers have effectively written for the instrument.
A guide for basic notation and examples of successful notation are included, as well as the basics of performer techniques. Samples of problematic, sometimes impossible passages are included to show the instruments and its performers' current limitations. The construction of the marimba and how it is tuned, a guide to mallets, and all of the current established extended techniques is also included. The majority of the information comes from the citation of established research on the marimba, composers and performers, and the author’s own experiences.
The intention of this document is two fold: to give composers who are unfamiliar with marimba a resource to begin composing for the instrument effectively, and for those composers who are familiar with the marimba it is designed to spark their creativity in an efficient and effective manner. The ultimate goal of this document is to create compositional momentum for marimba solo and chamber works and grow the repertoire, which is still in its infancy.
of the modern marimba. This guide is not designed as an orchestration text, suggesting ways to write for the instrument, rather, it illustrates through examination of well-known solo and chamber works how selected composers have effectively written for the instrument.
A guide for basic notation and examples of successful notation are included, as well as the basics of performer techniques. Samples of problematic, sometimes impossible passages are included to show the instruments and its performers' current limitations. The construction of the marimba and how it is tuned, a guide to mallets, and all of the current established extended techniques is also included. The majority of the information comes from the citation of established research on the marimba, composers and performers, and the author’s own experiences.
The intention of this document is two fold: to give composers who are unfamiliar with marimba a resource to begin composing for the instrument effectively, and for those composers who are familiar with the marimba it is designed to spark their creativity in an efficient and effective manner. The ultimate goal of this document is to create compositional momentum for marimba solo and chamber works and grow the repertoire, which is still in its infancy.
ContributorsMillea, Joseph Henry (Author) / Smith, Jeffrey B. (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2015
Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018
Description
This document details the conception and creative process of fundamental exercises intended for the refinement of orchestral repertoire for the tuba. Performance practices and study materials that relate to the orchestral tubist have evolved significantly over the instrument’s history. Although much of its current methodology is derived from the pedagogical insights of the brass family, resources intended to specifically address the unique musical and technical challenges of the tuba have become more prevalent in the past decade. This study aims to detail the conception of exercises that target the skills necessary for the realization of eight excerpts. It also begs the question: what might a new resource encompass that would differentiate its quality and intent from existing materials?
To create a resource that is reflective of current trends and standards in tuba performance, a dialogue was established with several professional tubists through the creation of an online survey. Respondents’ interpretations of each included excerpt were assessed by generalized, specific, and quantifiable feedback. This data was then utilized to directly inform the creative process of supplementary exercises for the included repertoire. The project fulfills its intent to serve as an educational resource, and has strong potential to expand its coverage to additional excerpts with further professional insights.
To create a resource that is reflective of current trends and standards in tuba performance, a dialogue was established with several professional tubists through the creation of an online survey. Respondents’ interpretations of each included excerpt were assessed by generalized, specific, and quantifiable feedback. This data was then utilized to directly inform the creative process of supplementary exercises for the included repertoire. The project fulfills its intent to serve as an educational resource, and has strong potential to expand its coverage to additional excerpts with further professional insights.
ContributorsRyall, Blake (Author) / Swoboda, Deanna (Thesis advisor) / Edwards, Bradley (Committee member) / Smith, Jeremy (Committee member) / Arizona State University (Publisher)
Created2020