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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
Description
I present in this dissertation a theory of moral disillusion. In chapter 1 I explain moral innocence and its loss. I show that becoming morally responsible requires shattering the illusion that one is not an appropriate candidate for the reactive attitudes. The morally responsible individual must understand that she can be an agent of wrongdoing. In chapter 2 I explore the nature of the understanding that accompanies the different phases of disillusion. I show that moral disillusion is an ability, not to follow moral principles, but to question them. In chapter 3 I argue that another phase of disillusion involves an acquaintance with evil. One shatters the illusion that only malicious individuals can be evildoers. Morally good people can also bring about evil. I conclude that evil is the exploitation of the extremely vulnerable. In chapters 4 and 5, I analyze more complex phases of moral disillusion. These stages are characterized by an understanding that one can be an agent of unchosen evil, that one might bring about evil even when pursuing the morally best course of action, and that one can be morally responsible for doing so. In order to understand unchosen evil and the tragedy of inescapable moral wrongdoing, the individual sees that moral responsibility ought to track what we care about, rather than what we believe. In chapter 6 I show that Kierkegaard's conception of the self is a philosophy of moral disillusion. I argue that his prescription that we shatter moral illusions is congruent with Harry Frankfurt's prescription that we ought to care about some things and not others. From this discussion emerges the explicit distinction between moral disillusion and moral goodness. Moreover, I conclude that the morally disillusioned are morally accountable for more than those still harboring moral illusions. Although moral disillusion does not entail becoming morally good, by acquiring the ability to raise questions about moral principles and to affect the content of one's cares, one acquires the ability to take responsibility for, and potentially minimize, evil. To have and understand these abilities, but not to care about them, increases one's moral accountability.
ContributorsGoldberg, Zachary J. (Author) / French, Peter A. (Thesis advisor) / Calhoun, Cheshire (Committee member) / Matustik, Martin (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsDruesedow, Elizabeth (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
In this thesis, I discuss the philosophical problem of evil and, as a response, John Hick's soul making theodicy. First, I discuss the transformation of the problem. I examine how the problem has shifted from logical to evidential in recent history. Next, I offer a faithful rendition of Hick's position - one which states the existence of evil does not provide evidence against the existence of God. After reconstructing his argument, I go on to exposes its logical faults. I present four main contentions to Hick's theodicy. First, I analyze the psychology of dehumanization to question whether we have any evidence that soul making is happening in response to the suffering in the world. Second, I argue that Hick's theodicy is self-defeating if accepted because it undermines the central point on which his argument depends. Third, I claim that Hick's theodicy is self-defeating given his eschatological views. Finally, I discuss how Hick's theodicy does not account for the animal suffering that widely exists in the world now, and that exists in our evolutionary history. My hope is to show that Hick's theodicy fails to solve the problem of evil. I claim that the amount of gratuitous suffering in the world does provide evidence against the existence of God.
ContributorsScarpa, Frank Vincent (Author) / Manninen, Bertha (Thesis advisor) / Kobes, Bernard W. (Committee member) / Pinillos, Angel (Committee member) / Arizona State University (Publisher)
Created2018
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
ContributorsClifton-Armenta, Tyler (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-16
ContributorsMoonitz, Olivia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-13