Matching Items (16)
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- All Subjects: Orchestra
- Creators: Minov, Jana
Description
Everyday Arias for soprano and orchestra was composed largely in Arizona and completed in February 2011. The text was taken from a small collection of the composer's own poetry referencing her memories of life in rural Mississippi. Everyday Arias endeavors to elevate these prosaic experiences and settings to art, expressing the everyday as beautiful and worthy of artistic treatment. The primary compositional model for this work was Samuel Barber's Knoxville: Summer of 1915, but other influences included Charles Ives, Aaron Copland, Benjamin Britten, and Dominick Argento. Barber's and Argento's musical treatment of prose style seemed particularly appropriate to the goals of Everyday Arias. Ives and Copland used hymn tunes both to evoke certain associations of worship and as sources of interesting material. The vocal writing of all five composers was influential, but the orchestration techniques for winds are largely a product of studying Ives and Argento, while many string gestures are more obviously tied to Britten and - more historically - Debussy.The primary motive that weaves through the work features an ascending major second followed by a descending perfect fourth, in a long-short-long rhythmic pattern. As a melodic fragment, the motive is often inverted to a descending-ascending pattern, or distorted slightly by expanding the second interval to a perfect fifth, or used in retrograde. The motive was derived from the first measure of the melody "Toplady" (1830) by Thomas Hastings, better known as the hymn "Rock of Ages." In the first movement, the motive is used most frequently in sequences. The second movement treats the motive as a melodic element and as a unit in ostinati. The final movement humorously transforms it into a syncopated gesture to evoke ragtime.
ContributorsPage, Carrie Leigh (Composer) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
Of Leto: a staged concert reading is a new work development created by Alexander Tom and Daniel Oberhaus focusing on collegiate collaboration, production process, and creative intuition. An original story was adapted by Daniel Oberhaus into a working libretto. Alexander Tom created a two-act musical-drama and utilized the colleges on the Arizona State University \u2014 Tempe campus: Barrett, the Honors College, W.P. Carey School of Business, the College of Liberal Arts and Sciences, and the Herberger Institute for Design and the Arts: School of Music and School of Theatre, Film and Dance. This cross-discipline staged concert reading was comprised of a libretto by Daniel Oberhaus, music, additional lyrics and orchestrations by Alexander Tom, and orchestrations by Drew Nichols. The performance included a thirteen-piece orchestra and fourteen vocalists in undergraduate and graduate programs. This paper includes research on Benjamin Britten and Myfanwy Piper's Death in Venice and Stephen Sondheim and Hugh Wheeler's Sweeney Todd, the Demon Barber of Fleet Street. Its purpose is to impart a comparative analysis on the process of collaboration in opera, musical theatre, and the newly determined "musical-drama" \u2014 the genre in which Of Leto resides. Use of historical research will expound on the evolution of musical theatre along with each team's collaborative processes in relation to the music (lyrics and melody respectively), the libretto, and the production. The research permits conclusions regarding the possible practices to utilize in creating new student works like Of Leto.
ContributorsTom, Alexander Robert (Author) / DeMars, James (Thesis director) / Swoboda, Deanna (Committee member) / Yatso, Toby (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
ContributorsRussell, Timothy Wells (Conductor) / O'Bryant, Daniel (Conductor) / Neves, Joel (Conductor) / Minov, Jana (Conductor) / Hillmann, Joshua (Performer) / Ferguson, Homer (Performer) / Kim, Sun-Min (Performer) / Richter, Robert W. (Performer) / Sinfonietta (Performer) / University Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2005-11-21
ContributorsHarrison, Jacob (Conductor) / Minov, Jana (Conductor) / Smart, James (Conductor) / Martin, Steve (Conductor) / Sinfonietta (Performer) / Wind Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2007-10-04
ContributorsRussell, Timothy Wells (Conductor) / Harrison, Jacob (Conductor) / Matthews, Brandon S. (Conductor) / Minov, Jana (Conductor) / Yekel, Amy (Performer) / Tashjian, Tavit (Performer) / Luke, Nadine (Performer) / University Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2008-02-04
ContributorsBailey, Wayne (Conductor) / Marshall, Kimberly (Performer) / Hill, Gary W. (Conductor) (Conductor) / Minov, Jana (Conductor) / Neves, Joel (Conductor) / Crichlow, Steven (Performer) / Harrison, Jacob (Conductor) / University Choir (Performer) / Brass Ensemble (Performer) / Handel Consort (Performer) / Sinfonietta (Performer) / ASU Library. Music Library (Publisher)
Created2005-10-06
ContributorsRussell, Timothy Wells (Conductor) / Schildkret, David (Conductor) / Harrison, Jacob (Conductor) / Matthews, Brandon S. (Conductor) / Minov, Jana (Conductor) / University Symphony Orchestra (Performer) / Choral Union (Performer) / ASU Library. Music Library (Publisher)
Created2006-10-27
ContributorsDan, Kayoko (Conductor) / O'Bryant, Daniel (Conductor) / DeMars, James (Conductor) / Sinfonietta (Performer) / University Symphony Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2003-11-25
ContributorsRussell, Timothy Wells (Conductor) / Minov, Jana (Conductor) / Matthews, Brandon S. (Conductor) / Harrison, Jacob (Conductor) / University Symphony Orchestra (Performer) / Sinfonietta (Performer) / ASU Library. Music Library (Publisher)
Created2006-11-20
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