Matching Items (98)
Description
The genre of world music and its market’s reliance on musical exoticism, othering, and the audience’s insatiable quest for musical authenticity have influenced and shaped the way artists construct and negotiate their musical representation. With the popularization of democratized music platforms such as Bandcamp, artists have greater autonomy in terms of artistic representation and musical distribution in the online world. Although the internet has in some ways disrupted the old power structures of the music industry, the old forms of world music marketing have been reinscribed into a new context. Old stereotypes and narratives of authenticity in world music have permeated the digital representation of artists and their music. Music recommendation algorithms also shape the way artists are represented in digital environments. Semantic descriptors such as social tags play a vital role in musical identification and recommendation systems implemented by streaming platforms. The use of social tags such as #worldmusic homogenizes diverse cultural sounds into a single umbrella genre. #World music also creates avenues for old stereotypes and narratives of authenticity to re-emerge. This re-emergence of the old tropes of world music creates less equitable recommendation and representational outcomes for musicians operating within the genre. In the age of streaming, where does world music belong? How do artists negotiate representation online? This thesis explores the dynamics of representation and the projections of “authenticity” between world music artists and record labels inside of Bandcamp’s digital ecosystem. By juxtaposing the traditional framework of “world music” marketing with new and evolving methods of distribution and artistic representation, it is possible to see how digital media are reshaping but also reproducing some of the old paradigms of world music. I also propose that a new framework needs to be established to study the impact digital streaming has on the genre of world music. This new framework, which I call “World Music 3.0,” will encompass how algorithms, tech companies, and the democratization of musical practices interact within a globalized community.
ContributorsCureno, Eric Leonel (Author) / Fossum, Dave (Thesis advisor) / Hayes, Lauren (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2021
ContributorsGardner, Josh (Performer) / Paine, Garth (Performer) / Arizona Contemporary Music Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2021-12-01
ContributorsCampbell, Andrew (Pianist) (Performer) / Mancuso, Simone (Performer) / Fusi, Marco (Performer) / Spring, Robert (Performer) / Buck, Nancy (Performer) / Kuo, Sunny (Performer) / Standley, Eileen (Performer) / Rex, Melissa S. (Performer) / Cosand, Walter, 1950- (Performer) / McAllister, Timothy (Performer) / Mastrian, Stacey (Performer) / Lilly, Stephen (Performer) / Rockmaker, Jody (Speaker) / Levy, Ben (Speaker) / ASU Library. Music Library (Publisher)
Created2012-04-17
Description
A Soldier’s Symphony is a three-movement work for symphony orchestra. The three movements are as follows: I – Sonata Allegro; II – Passacaglia; III – Rondo. A performance at the given metronome markings in the score will last approximately 30 minutes. Instrumentation is piccolo, 2 flutes, 2 oboes, English horn, 2 B-flat clarinets, B-flat bass clarinet, 2 bassoons, contrabassoon, 4 French horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani and strings.In this paper, following introductory material, I write about my combat deployments to Iraq as a U.S. Army soldier and my struggles with psychological war wounds after I returned to the United States, then describe how these experiences and wounds shaped A Soldier’s Symphony. I also write about four composers, Sergei Prokofiev, George Antheil, Daphne Oram and Dennis Smalley, whose music and ideas influenced my approach to composing A Soldier’s Symphony. After presenting an overview analysis of each of my work’s three movements, I conclude by discussing my public and private purposes for composing this work. My public purpose for the work is to raise peoples’ awareness of the true scope of war’s human cost, while my private purpose is to help me bear the personal cost of my own war experiences. The full score of A Soldier’s Symphony is found in Appendix A.
ContributorsPhillips, Jason (Author) / Rockmaker, Jody (Thesis advisor) / Bolanos, Gabriel (Committee member) / Temple, Alex (Committee member) / Arizona State University (Publisher)
Created2024
Description
"Shapeshifting through Words" investigates the history of literature from nonhuman perspectives to determine how people understand animal experiences of the world. I gauge this history through a taxonomy, compiling around 500 stories from nonhuman vantage points to mark trends in publication frequency, as well as number and types of perspectives extracted from the data. A trope and genre analysis follows, along with the hallmarks for what constitutes a nonhuman narrative. Finally, this knowledge is adapted to a framework in the form of a booklet in how to construct a nonhuman perspective based on its cognitive and sensory understanding of the world.
ContributorsLigon, Brandon (Author) / Broglio, Ron (Thesis director) / Paine, Garth (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2024-05
ContributorsKluesener, Joseph (Performer) / Smith, J. B., 1957- (Performer) / Mancuso, Simone (Performer) / Tilburg, Shaun (Performer) / Paine, Garth (Performer) / Moio, Dom (Performer) / ASU Library. Music Library (Publisher)
Created2016-02-21
ContributorsMancuso, Simone (Performer) / Spencer, Andrew (Performer) / Atkinson, Lisa (Performer) / Abdollahi, Arian (Performer) / Hummel, Bryan (Performer) / Schwarz, Diemo (Performer) / Paine, Garth (Performer) / Kennedy, Justin (Performer) / ASU Library. Music Library (Publisher)
Created2015-11-06
ContributorsSmith, J. B., 1957- (Performer) / Mancuso, Simone (Performer) / Moio, Dom (Performer) / Tilburg, Shaun (Performer) / Spring, Robert (Performer) / Jasz, Nada (Performer) / Paine, Garth (Performer) / ASU Library. Music Library (Publisher)
Created2015-02-08
Description
This research paper explores the works of two contemporary Chinese composers: Shuai Zhang's "Three Preludes" and "The Joys and Sorrows of Love and Life," and Wanghua Chu's "Jasmine Flower Fantasia" and "Man Jiang Hong – Prelude for Left Hand." It introduces the composers with their personal and academic background, as well as the sources of influence to their compositions. A descriptive analysis of the composers’ selected works is provided and discussed in detail, examining formal structure, harmonic language, rhythmic and melodic characteristics, and other compositional elements of highlighted sections of the pieces. Finally, a performance guide for pianists is offered on noteworthy segments of each piece and provides detailed interpretations and suggestions of techniques and challenges.
ContributorsGong, Yuerong (Author) / Hamilton, Robert (Thesis advisor) / Meir, Baruch (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2023
Description
The word “nocturne” was first used to describe a piano work by the Irish composer John Field, who also established its basic framework. The genre was expanded and brought to its maturity by Chopin, who wrote twenty-one nocturnes for solo piano over his entire creative life. Among Chopin’s works, it is the nocturnes with their lyrical melodies and improvisational nature that especially provide flexibility and freedom for performers to express inner feelings and individual interpretations. The marked contrast between Chopin’s early and late nocturnes naturally leads to different interpretive results. Accordingly, this project investigates how the stylistic changes in Chopin’s early and late nocturnes are related to their performances. Taking Op. 9, No. 1 and Op. 62, No. 1 as examples of Chopin’s early and late nocturnes respectively, the project compares the recordings of Artur Rubinstein (1965) and Vladimir Ashkenazy (1981) through the lens of descriptive analyses. The introductory chapter covers the influences on Chopin’s nocturnes, Rubinstein’s and Ashkenazy’s playing styles of Chopin’s works, various editions of Chopin’s nocturnes, and the relation of analysis to performance. The main body of the paper alternates descriptive analysis of each section of Nocturnes Op. 9, No. 1 and Op. 62, No. 1 with comparisons between the two pianists’ recordings. The final chapter outlines how the two nocturnes from Chopin’s early and late creative periods differ from one another and how the changes in style affect the two pianists’ interpretations. The goal of this project is to aid in a better understanding of the interpretive choices made by Rubinstein and Ashkenazy in these two nocturnes.
ContributorsTang, Yun Ms. (Author) / Hamilton, Robert (Thesis advisor) / Rockmaker, Jody (Committee member) / Creviston, Hannah (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2023