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Description
There are a significant number of musical compositions for violin by composers who used folk songs and dances of various cultures in their music, including works by George Enescu, Béla Bartók and György Ligeti. Less known are pieces that draw on the plethora of melodies and rhythms from Turkey. The purpose of this paper is to help performers become more familiar with two such compositions: Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin. Fazil Say (b. 1970) is considered to be a significant, contemporary Turkish composer. Both of the works discussed in this document simulate traditional "Eastern" instruments, such as the kemenҫe, the baðlama, the kanun and the ud. Additionally, both pieces use themes from folk melodies of Turkey, Turkish dance rhythms and Arabian scales, all framed within traditional structural techniques, such as ostinato bass and the fughetta. Both the Sonata for Violin and Piano and Cleopatra are enormously expressive and musically interesting works, demanding virtuosity and a wide technical range. Although this document does not purport to be a full theoretical analysis, by providing biographical information, analytical descriptions, notes regarding interpretation, and suggestions to assist performers in overcoming technical obstacles, the writer hopes to inspire other violinists to consider learning and performing these works.
ContributorsKalantzi, Panagiota (Author) / Jiang, Danwen (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
The legacy of the great double bassist and pedagogue Joseph Prunner (1886-1969) includes his scale and arpeggio exercise book, Progressive Studies for the Double Bass, composed in 1955. Progressive Studies was originally written for Prunner's students at the Bucharest Conservatoire and was not intended for a wide publication. In the work Prunner presents major and harmonic and melodic minor scales that are performed in one octave and then extended diatonically through all their modes, progressing through this pattern for three octaves, followed by a series of arpeggio exercises. These exercises are based on a modernized fingering system and are offered in the traditional positions and in what Prunner called "Fixed-Position" scales. A series of chromatic scale exercises are also included that follow the template of the major and minor scales. The study at hand is a revision and expansion of Prunner's work. The edition presented here intends to preserve the information that Prunner provided, fix the errors made in editing, and expand the study greatly by increasing the range of the exercises, providing more arpeggio exercises, creating melodic and harmonic minor "Fixed-Position" scales and arpeggio exercises, and including the study of double-stops. In support of the revised and updated version of Progressive Studies, this study includes a biography of Joseph Prunner and a summary of the importance of the type of scale and arpeggio practice the collection of exercises supports. An explanation of the revisions made to Prunner's work and recommendations for using the exercises also precede the new edition.
ContributorsStotz, Daniel Aaron (Author) / Rotaru, Catalin (Thesis advisor) / Holbrook, Amy (Committee member) / Kennedy, Jeffery (Committee member) / Koonce, Frank (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2012
Description
This is a recording of a new piece for Double bass and Guzheng performer Qingfeng Li, who is internationally renowned. The composer composed this audacious and unique chamber work for double bass and traditional Chinese Guzheng zither in November 2021, dedicating it to me and Guzheng virtuoso Prof. Qingfeng Li. The objective of this project is to create a work for the classic Chinese instrument Guzheng that incorporates elements of Chinese folk music. This chamber music will be a duet for double bass and guzheng, with the guzheng's distinctive style and sonic effects blended into the double bass. The project will contain a recording of this new piece, as well as a written research document outlining the work's structure, the composer's collaboration process with me as a performer, and brief analysis of the work. Additionally, the author recorded this piece in a professional audio and video recording made in China, with Guzheng player Qingfeng Li.This is the first combination of a traditional Chinese instrument, the guzheng, and a Western instrument, the double bass. This unusual melodic combination conveys the essence of traditional musical practices unique to the Chinese folk of Jiangnan. To investigate the connections between the pentatonic scale and traditional musical practices, I have studied Jiangnan music manuscripts compiled by ethnomusicologists. To better complement the traditional instrument of the guzheng in the piece, I studied the history of the guzheng and how to use techniques to express emotion in the piece. These connections are discussed in depth in the chapter on structure form, including how to break out of familiar compositional combinations and how to use the unique acoustics and techniques of the double bass to embody the Chinese folk pentatonic scale. I also discuss the process of working with the composer, the rehearsal process, and the incorporation of necessary modifications in this document to make the music effective and idiomatic for the double bass. This new work at the intermedi
ContributorsWu, Yuxin (Author) / Rotaru, Catalin (Thesis advisor) / Solís, Ted (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsYu, Wan-Ting (Performer) / Zhao, Wan (Performer) / Farabee, Carly (Performer) / Cancela, Paula Lastra (Performer) / Rotaru, Catalin (Performer) / ASU Library. Music Library (Publisher)
Created2022-03-20
ContributorsJiang, Danwen (Performer) / McLin, Katherine (Performer) / Swartz, Jonathan (Performer) / Buck, Nancy (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2006-03-26
ContributorsSchuring, Martin (Performer) / Flickinger, Nikolaus (Performer) / Spring, Robert (Performer) / Montilla, Jorge (Performer) / Quamo, Jeff (Performer) / Brown, Sarah (Performer) / Lyman, Jeffrey (Performer) / Veloz, John (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Nelson, Adam A. (Performer) / Bailey, Sally (Performer) / Camacho, Gustavo (Musician) (Performer) / Rotaru, Catalin (Performer) / Bailey, Wayne (Conductor) / ASU Library. Music Library (Publisher)
Created2006-01-27
ContributorsSchildkret, David (Conductor, Narrator) / Ryan, Russell (Performer) / Spring, Robert (Performer) / Campbell, Andrew (Pianist) (Performer) / Buck, Elizabeth (Performer) / Smith, J. B., 1957- (Performer) / Rotaru, Catalin (Performer) / Fincher, Aimee (Performer) / Tetra String Quartet (Performer) / ASU Library. Music Library (Publisher)
Created2014-04-28
ContributorsMines, Kelsey (Performer) / Williams, Matt (Performer) / Hedquist, Ben (Performer) / Pettit, Joey (Performer) / Menefee, Thomas (Performer) / Rotaru, Catalin (Performer) / Lemmelin, Olivia (Performer) / Gebe, Vladimir, 1987- (Performer) / Bingham, Joey (Performer) / Duke, Alex (Performer) / ASU Library. Music Library (Publisher)
Created2016-03-27
Description
Chamber music is a burgeoning part of the modern guitarist’s repertoire, and few instruments compliment the guitar as well as the viola. Through production of an album of music for viola and guitar, this repertoire is showcased. While the duo works together very well, there is still not too much repertoire written for it. By examining each of the recorded works and discussing their successful compositional ideas, as well as some flaws and solutions to those issues, a groundwork for writing for viola and guitar can be laid. Also included is a discussion of general ensemble considerations, a new original composition for the duo, and information regarding recording set-up. The pieces recorded and discussed are Echoes of Autumn by Stephen Dodgson, 5 Fachadas by Javier Farías, One Stops Searching, One Grows Silent by Klaus Hinrich Stahmer, Folklore III by Gilbert Biberian, Sonate by Érik Marchelie, and 2 Pieces After Danielewski by Bill White.
ContributorsWhite, Bill (Author) / Kim, Ji Yeon (Thesis advisor) / Bolanos, Gabriel (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2023
ContributorsSpring, Robert (Performer) / Hamilton, Robert, 1937- (Performer) / Hur, Jiyoun (Performer) / Schuring, Martin (Performer) / Micklich, Albie (Performer) / Gardner, Joshua (Performer) / Creviston, Christopher (Performer) / Rotaru, Catalin (Performer) / Smith, J. B., 1957- (Performer) / Alpizar, Mark (Conductor) / ASU Library. Music Library (Publisher)
Created2017-09-17