Matching Items (14)
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- All Subjects: performing arts
- Creators: Rockmaker, Jody
Description
Although one finds much scholarship on nineteenth-century music in America, one finds relatively little about music in the post-Civil-War frontier west. Generalities concerning small frontier towns of regional importance remain to be discovered. This paper aims to contribute to scholarship by chronicling musical life in the early years of two such towns in northern Arizona territory: Prescott and Flagstaff. Prescott, adjacent to Fort Whipple, was founded in 1864 to serve as capital of the new territory. Primarily home to soldiers and miners, the town was subject to many challenges of frontier life. Flagstaff, ninety miles to the north-northwest, was founded about two decades later in 1883 during the building of the Atlantic & Pacific Railroad, which connected the town to Albuquerque, New Mexico in the east and southern California in the west. Although the particular resources of each town provided many different musical opportunities, extant newspaper articles from Prescott's Arizona Miner and Flagstaff's Arizona Champion describe communities in which musical concerts, dances and theatrical performances provided entertainment and socializing for its citizens. Furthermore, music was an important part of developing institutions such as the church, schools, and fraternal lodges, and the newspapers of both towns advertised musical instruments and sheet music. Both towns were home to amateur musicians, and both offered the occasional opportunity to learn to dance or play an instrument. Although territorial Arizona was sometimes harsh and resources were limited, music was valued in these communities and was a consistent presence in frontier life.
ContributorsJohnson, Amber V (Author) / Oldani, Robert W. (Thesis advisor) / Holbrook, Amy (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2011
Description
Imitation is the genesis of change. One basic principle of human nature is that people imitate what they see and hear. In the professional choral arena, musicians extend the high art of imitation through fine-tuning, and creative reinterpretation. Stimulated by this cycle, the color of the twenty-first-century professional choir shifted compared to that of professional choirs from the 1950s through 1970s, causing an evolution in choral sound. In a series of interviews with iconic composers and conductors of professional choirs, the subjects involved in the study conveyed comprehensive and personal accounts outlining how professional choirs have refined the standard of choral sound. The paper is organized into three sections: (1) where have we been, (2) where are we now and (3) where are we going? It explores various conductors' perceptions of how and why choirs are unique when compared to earlier generations and what they believe caused the shift in choral tone. Paired with this perspective is the role of modern composers, whose progressive compositional techniques helped shape the modern choral sound. The subjects involved in the study further theorize how current inclinations may potentially shape the future of professional choral music. Although the subjects expressed differing opinions about the quality of the twenty-first-century choral tone, many agree that there have been specific transformations since the 1970s. The shift in choral tone occurred due to developments in vocal technique, exploration of contemporary compositional extended techniques, an adherence to historically informed performance practice, imitation of vocal colors from numerous cultures, incorporation of technology and emulation of sound perceived on recordings. Additionally, choral music subtly became prominent in film scores, and innovative conductors created progressive concert programming, and developed novel approaches to entertain audiences. Samplings of contributors involved in this study include: John Rutter, Harry Christophers, Charles Bruffy, Nigel Short, Craig Hella Johnson, Alice Parker, Michael McGlynn, Phillip Brunelle, Craig Jessop, Libby Larsen, Ola Gjeilo, Cecilia McDowall, Jaakko Mäntyjärvi and Stephen Paulus.
ContributorsRugen, Kira Zeeman (Author) / Rugen, Kira Z (Thesis advisor) / Reber, William (Committee member) / Saucier, Catherine (Committee member) / Doan, Jerry (Committee member) / Bailey, Wayne (Committee member) / Arizona State University (Publisher)
Created2013
Description
Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since the Middle Ages, reflects the dramatic changes in Polish politics throughout the centuries. An understanding of this country's history helps to construct a comprehensive view of how politics influenced the developments in organ building and organ playing. This paper describes the dynamics of the Church, government and art institutions in Poland during the years 1945-2012. A brief summary of the history of Polish organ culture sets the stage for the changes occurring after WWII. The constant struggle between the Church and the communist regime affected music making and organ culture in Poland from 1945-1989. The political détente that occurred after 1989 led to a flowering of new instruments, restorations and performance opportunities for organists. By exploring the relationship between Polish organ culture and prevailing agendas in the 20th century, the author demonstrates how a centuries-old tradition adapted to survive political and economic hardships.
ContributorsKubiaczyk-Adler, Ilona (Author) / Marshall, Kimberly (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
The music of Claude Debussy has its own language. It is challenging for performers who are not familiar with Debussy’s musical style to produce the subtle tone colors or understand the proper atmosphere. There are many scholars, researchers, and pianists who have shown interest in Debussy’s piano music and who provided critical comments and interpretive suggestions. However, the work Pour le piano has varied interpretive suggestions given the consistent presence of the work in popular piano repertoire. This document creates a closer interpretation of Debussy’s piano music, specifically the three movements of Pour le piano, for enthusiastic music students and professionals. The focus of this work is to guide performance and interpretive aspects. A brief introduction of Debussy’s life reveals historical and contemporary influences on Pour le Piano. A closer look at compositional models which form the basis of Pour le piano, helps one recognize these compositional characteristics and correctly create a particular performance atmosphere. This analysis is followed by performance suggestions for fingerings, pedaling, how to isolate difficult passagework, and interpretive suggestions based on two recordings by Magda Tagliaferro and Caio Pagano. A more comprehensive understanding of Pour le piano not only leads to correct performances, but also wider proliferation and study of this piece among pianists
ContributorsPaesaroch, Puripat (Author) / Pagano, Caio (Thesis advisor) / Rockmaker, Jody (Committee member) / Hamilton, Robert (Committee member) / Arizona State University (Publisher)
Created2022
Description
Piano education in China is a complex phenomenon shaped over the past century by many factors: China’s rich history of musical traditions, the influence of missionary piano teachers, the establishment of government-formed music conservatories, rapid changes in a political top-down approach, and the contributions of Russian piano teachers. Globalization and China’s rising economic status in the last four and a half decades have led to more Chinese pianists studying abroad and bringing their education back home. Once a foreign import, the piano is now played by more children in China than anywhere else in the world, and young Chinese pianists are frequently recognized on the world’s most competitive stages. As musicians compete on a global scale and international exchanges grow, understanding piano education in China becomes increasingly important.Three renowned teachers shape today’s piano education in China: Dr. Zhe Tang (唐哲) at Shanghai Conservatory, Dr. Ling Zhao (赵聆) at Central Conservatory, and Dr. Vivian Li (李穗荣) at Xinghai Conservatory. After studying in both China and the West, they train some of China’s best young pianists who are recognized on the world’s most competitive stages. This paper shares the teaching methods and philosophies of Tang, Zhao, and Li through comprehensive interviews and lesson observations. It aims to enhance the teaching and performance of pianists, while offering valuable insights into piano education in China.
The document explores Tang’s methods to inspire characters in the music and achieve balance in timing and sound, Zhao’s techniques to position and move the hands and fingers for effortless control, and Li’s approaches to manipulate natural arm weight to create a variety of tones and sounds. Their teaching presents useful ideas for how to effectively communicate music and guide students to become passionate and independent musicians. Techniques taught by Zhao and Li—such as the finger standing stably on the key, grabbing with the hand, and differing approaches to the high finger technique—encourage pianists to investigate the function of different body parts, the interconnectedness of tension and relaxation, where strength should come from, and how to best support weight with ease. Additionally, Tang, Zhao, and Li describe the unique aspects of piano education in China.
ContributorsBurton, Natalie (Author) / Creviston, Hannah (Thesis advisor) / Meir, Baruch (Thesis advisor) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2023
A Pedagogical Study of Selected Piano Compositions by the "Godfather of Piano Education", Zhaoyi Dan
Description
The purpose of this project is to research the pedagogical, philosophical and compositional ideals of the renowned Chinese pedagogue Zhaoyi Dan and to provide performance and pedagogical suggestions for selected piano works. Zhaoyi Dan (b. 1940) is one of the leading piano educators of the twentieth and twenty-first centuries in China. Over his sixty years of teaching, he has been given the nickname “Godfather of piano education”. He has taught many renowned concert pianists, including Yundi Li, Sa Chen, and Haochen Zhang. Twenty-nine of Dan’s students have collectively won sixty-three prizes at major international competitions. This paper will detail Zhaoyi Dan’s comprehensive teaching philosophy and methods by studying his published academic theses, piano compositions, and online master classes and seminars. The selected piano works composed by Zhaoyi Dan are presented with an introduction of each piece, brief musical description, and pedagogical suggestions. Through the study of Zhaoyi Dan’s pedagogical philosophies and selected piano works, I hope this paper will show his helpful teaching methods and add to the pedagogical piano repertoire for teachers and students.
ContributorsGuan, Ning (Author) / Creviston, Hannah (Thesis advisor) / Hamilton, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2024
Description
This research paper provides a revised version of viola alta compositions by
Hermann Ritter. These original compositions, written for viola alta, were published between 1878 and 1900. Without further reprint, these works are largely unknown by this generation of violists. Yet, these works are precious examples of viola alta repertoire from the late nineteenth century.
The viola alta was designed by Hermann Ritter with an instrumental length between 17 and 19 inches. Another version of this instrument was constructed with five strings, adding a high E-string. Higher pitches could then be played with relative ease in lower positions. Compositions for the viola alta often feature brilliant passages in the treble register and rarely showcase the sonority of the lower strings. Many of Ritter’s scores for the instrument are notated in the alto clef and contain numerous ledger lines. Due to the difficulty of reading the music and handling such a large instrument, the viola alta had a relatively short existence and its repertoire was soon forgotten.
Hermann Ritter actively promoted the viola alta during the late nineteenth century. His compositions featured the range of the instrument and captured the emotion and character of the late Romantic era. Ritter contributed a wealth of repertoire for the viola alta to increase its significance and importance. For today’s violist, it represents a body of work from the nineteenth century, and adds to the repertoire many wonderful, short, character pieces.
This document consists of a brief discussion of Hermann Ritter’s career and his contributions to the viola alta. Six of Ritter’s viola alta works are presented in order of difficulty with bowings and fingerings, along with a performer’s analysis and performance instructions. To aid ensemble issues, the revised version includes simplified piano parts. It is the author’s hope that this volume increases repertoire options for violists and becomes a valuable pedagogical resource.
Hermann Ritter. These original compositions, written for viola alta, were published between 1878 and 1900. Without further reprint, these works are largely unknown by this generation of violists. Yet, these works are precious examples of viola alta repertoire from the late nineteenth century.
The viola alta was designed by Hermann Ritter with an instrumental length between 17 and 19 inches. Another version of this instrument was constructed with five strings, adding a high E-string. Higher pitches could then be played with relative ease in lower positions. Compositions for the viola alta often feature brilliant passages in the treble register and rarely showcase the sonority of the lower strings. Many of Ritter’s scores for the instrument are notated in the alto clef and contain numerous ledger lines. Due to the difficulty of reading the music and handling such a large instrument, the viola alta had a relatively short existence and its repertoire was soon forgotten.
Hermann Ritter actively promoted the viola alta during the late nineteenth century. His compositions featured the range of the instrument and captured the emotion and character of the late Romantic era. Ritter contributed a wealth of repertoire for the viola alta to increase its significance and importance. For today’s violist, it represents a body of work from the nineteenth century, and adds to the repertoire many wonderful, short, character pieces.
This document consists of a brief discussion of Hermann Ritter’s career and his contributions to the viola alta. Six of Ritter’s viola alta works are presented in order of difficulty with bowings and fingerings, along with a performer’s analysis and performance instructions. To aid ensemble issues, the revised version includes simplified piano parts. It is the author’s hope that this volume increases repertoire options for violists and becomes a valuable pedagogical resource.
ContributorsChen, Yen-Fang (Author) / Buck, Nancy (Thesis advisor) / Rockmaker, Jody (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2018
Description
Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques.
The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement.
The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement.
ContributorsVillalta, Kevin (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2016
Description
Miguel de Cervantes Saavedra created the character of Don Quixote in his book El ingenioso hidalgo Don Quijote de la Mancha, published in 1605. Since its creation, stories from the book have been reimagined in art, in literature and in music. Frequently, Cervantes – the man and author – and Quixote – the novel’s protagonist and hero – have been inextricably linked in character. Subsequent adaptors of the novel have been influenced by this connection: composers Jules Massenet (1842-1912), Jacques Ibert (1890-1962) and Mitch Leigh (1928-2014) all wrote their own versions of the Quixote saga. Though their approaches to the story are varied, the basic characteristics of it remain: Love, Life and Dreams. Those themes are reflected in the old knight’s death scene in each of their respective works. Here, the lives of the adaptors are briefly discussed and a dramatic and musical (Schenkerian), analysis of Quixote’s last hours are presented.
ContributorsKim, Se Hoon (Author) / Britton, David (Thesis advisor) / Reber, William (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
This study catalogues symphonies for wind band from the origin of the genre in the late eighteenth century through 2014. Wind bands include any mixed wind group of eight or more players. Works using the word "symphony" or its derivatives in the title are included in the study. A total of 1342 works that fit these criteria were identified. An annotated bibliography (Appendix A) includes detailed information about 695 of these works. Such information was not available for an additional 621 wind band symphonies; consequently, these works are listed in a second appendix that includes a list of sources for each work so that future researchers might investigate them further. The final appendix lists 26 wind band symphonies that are no longer available based on the author's current sources.
The titles included in this study were found by examining many repertoire resources for the wind band, including previous studies of wind band symphonies and more comprehensive repertoire resources like the Heritage Encyclopedia of Band Music and the website "The Wind Repertory Project." Details of each piece in the annotated bibliography were found in their scores whenever possible. Contact with composers and publishers, through both their websites and direct correspondence, played a major role in this part of the study. The classified bibliography in this document sorts all of these sources categorically for easy reference. All parts of this document are intended as tools for conductors wishing to research or program symphonies for wind band.
The titles included in this study were found by examining many repertoire resources for the wind band, including previous studies of wind band symphonies and more comprehensive repertoire resources like the Heritage Encyclopedia of Band Music and the website "The Wind Repertory Project." Details of each piece in the annotated bibliography were found in their scores whenever possible. Contact with composers and publishers, through both their websites and direct correspondence, played a major role in this part of the study. The classified bibliography in this document sorts all of these sources categorically for easy reference. All parts of this document are intended as tools for conductors wishing to research or program symphonies for wind band.
ContributorsPease, Andrew Donald (Author) / Hill, Gary W. (Thesis advisor) / Bailey, Wayne (Committee member) / Reber, William (Committee member) / Saucier, Catherine (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2015