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ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsWhite, Aaron (Performer) / Kim, Olga (Performer) / Hammond, Marinne (Performer) / Shaner, Hayden (Performer) / Yoo, Katie (Performer) / Shoemake, Crista (Performer) / Gebe, Vladimir, 1987- (Performer) / Wills, Grace (Performer) / McKinch, Riley (Performer) / Freshmen Four (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-27
ContributorsRosenfeld, Albor (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-03
ContributorsCao, Yuchen (Performer) / Chen, Sicong (Performer) / Soberano, Chino (Performer) / Nam, Michelle (Performer) / Collins, Clarice (Performer) / Witt, Juliana (Performer) / Liu, Jingting (Performer) / Chen, Neilson (Performer) / Zhang, Aihua (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-25
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / McLin/Campbell Duo (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-23
Description
Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his popularity among high-ranking political figures during the time of the Mexican Revolution as well as his status in the Mexican music scene.
Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.
In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.
This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.
In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.
This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
ContributorsEkenes, Spencer Arvin (Author) / McLin, Katherine (Thesis advisor) / Feisst, Sabine (Committee member) / Jiang, Danwen (Committee member) / Arizona State University (Publisher)
Created2016
Description
Many models of colonial interaction are build from cases of European colonialism among Native American and African peoples, and, as a result, they are often ill-suited to account for state expansion and decline in non-Western contexts. This dissertation investigates social organization and intraregional interaction in a non-western colonial context to broaden understanding of colonial interaction in diverse sociocultural settings. Drawing on social identity theory, population genetics, and social network analysis, patterns of social organization at the margins of the expansive pre-Hispanic Tiwanaku state (ca. AD 500-1100) are examined.
According to the dual diaspora model of Tiwanaku colonial organization in the Moquegua Valley of southern Peru, Chen Chen-style and Omo-style ethnic communities who colonized the valley maintained distinct ethnic identities in part through endogamous marriage practices. Biodistance analysis of cranial shape data is used to evaluate regional gene flow among Tiwanaku-affiliated communities in Moquegua. Overall, results of biodistance analysis are consistent with the dual diaspora model. Omo- and Chen Chen-style communities are distinct in mean cranial shape, and it appears that ethnic identity structured gene flow between ethnic groups. However, there are notable exceptions to the overall pattern, and it appears that marriage practices were structured by multiple factors, including ethnic affiliation, geographic proximity, and smaller scales of social organization, such as corporate kin groups.
Social network analysis of cranial shape data is used to implement a multi- and mesoscalar approach to social organization to assess family-based organization at a regional level. Results indicate the study sample constituted a social network comprised of a dense main component and a number of isolated actors. Formal approaches for identifying potential family groups (i.e., subgroup analysis) proved more effective than informal approaches. While there is no clear partition of the network into distinct subgroups that could represent extended kin networks or biological lineages, there is a cluster of closely related individuals at the core of the network who integrate a web of less-closely related actors. Subgroup analysis yielded similar results as agglomerative hierarchical cluster analysis, which suggests there is potential for social network analysis to contribute to bioarchaeological studies of social organization and bioarchaeological research in general.
According to the dual diaspora model of Tiwanaku colonial organization in the Moquegua Valley of southern Peru, Chen Chen-style and Omo-style ethnic communities who colonized the valley maintained distinct ethnic identities in part through endogamous marriage practices. Biodistance analysis of cranial shape data is used to evaluate regional gene flow among Tiwanaku-affiliated communities in Moquegua. Overall, results of biodistance analysis are consistent with the dual diaspora model. Omo- and Chen Chen-style communities are distinct in mean cranial shape, and it appears that ethnic identity structured gene flow between ethnic groups. However, there are notable exceptions to the overall pattern, and it appears that marriage practices were structured by multiple factors, including ethnic affiliation, geographic proximity, and smaller scales of social organization, such as corporate kin groups.
Social network analysis of cranial shape data is used to implement a multi- and mesoscalar approach to social organization to assess family-based organization at a regional level. Results indicate the study sample constituted a social network comprised of a dense main component and a number of isolated actors. Formal approaches for identifying potential family groups (i.e., subgroup analysis) proved more effective than informal approaches. While there is no clear partition of the network into distinct subgroups that could represent extended kin networks or biological lineages, there is a cluster of closely related individuals at the core of the network who integrate a web of less-closely related actors. Subgroup analysis yielded similar results as agglomerative hierarchical cluster analysis, which suggests there is potential for social network analysis to contribute to bioarchaeological studies of social organization and bioarchaeological research in general.
ContributorsJohnson, Kent M (Author) / Buikstra, Jane E. (Thesis advisor) / Stojanowski, Christopher M (Thesis advisor) / Knudson, Kelly J. (Committee member) / Goldstein, Paul S (Committee member) / Arizona State University (Publisher)
Created2016