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ASU Electronic Theses and Dissertations


This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media.

In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the ASU Library Catalog.

Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository ETD Library Guide or contact the ASU Graduate College at gradformat@asu.edu.


Contributor
Date Range
2010 2019


Numerous orchestral reductions for piano are plagued by cumbersome passages that impede pianists from delivering phrases with flow and elegance. The vocal works of George Frideric Handel (1685–1759) and Richard Wagner (1813–1883) are among the more unwieldy of these. While arrangers of the piano vocal scores by these two composers admirably include as much orchestration as possible, their efforts often result in writing that is not idiomatic for the piano. The frustrating difficulties in the orchestral reductions of Handel’s “Empio, dirò, tu sei” (Giulio Cesare), his Messiah chorus “For unto us a child is born” as well as Wagner’s aria …

Contributors
Peterman, Jeremy P., Campbell, Andrew, Fitzpatrick, Carole, et al.
Created Date
2012

Every collaborative pianist encounters unrealistic and unsuccessful piano reductions of orchestral and operatic compositions on a regular basis. In some cases, the reductions were realized by the composers themselves, and therefore may contain all the notes from the full score, but might not be realistic piano reductions. Other times, the reductions may have been made by an editor who might arrange the piano part according to their own physical abilities, experience, or taste, but might ignore essential elements of the original orchestration. Alexander Glazunov’s Concerto for Violin and Orchestra, Op. 82 is frequently performed by students and professional violinists alike. …

Contributors
Kim, Olga, Campbell, Andrew, Ryan, Russell, et al.
Created Date
2019

Playing an orchestral reduction is not always the most joyous of times for pianists. As pianists, we have to express a reduced idea of all the instruments and orchestral textures that are in the full score. However, in many cases, there are often omissions, errors or discrepancies in the existing published reductions. These reductions are made by a variety of people: editors, conductors, pianists, but rarely by the composer, and often do not reflect the composer's true intentions. While many reductions are technically playable, including the reduction of the Sibelius Violin Concerto that will form the basis of this paper, …

Contributors
Lee, Sehee, Campbell, Andrew, Rogers, Rodney, et al.
Created Date
2011

The purpose of this research paper is to discuss John Carter's Cantata, the musical development of this composition, and provide a brief history of this African American musician and composer. Presently, there exists very little research regarding Carter's life and compositions. From a musician's perspective, this paper discusses the challenges of singing and performing the Cantata for future performers and provides a reference for their preparation. This project also examines John Carter's musical style and analyzes the structure of the Cantata. African-American folk songs were an inspiration to Carter's compositions, especially this particular work. As an African-American, his life and …

Contributors
Na, Bora, Britton, David, Bush, Jeffrey, et al.
Created Date
2012

Yuko Uébayashi is a composer who was born in Japan and presently resides in France. She composed Misericordia for Flute and String Quartet for Carol Wincenc in 2013. The National Flute Association (NFA), the most active flute society in America, hosted the Misericordia performance during its annual convention in Chicago in 2014. Uébayashi’s flute works have not only been frequently performed at NFA conventions, but also at other well-known flute festivals since 2006, the year of her U.S. debut. Many current flutists are motivated to learn and play her compositions; however, there is little published literature about her works. Understanding …

Contributors
Ham, Na Young, Buck, Elizabeth, Campbell, Andrew, et al.
Created Date
2019

Composers and performers alike are pushing the limits of expression with an ever-expanding sonic palette. There has also been a great expansion of saxophone repertoire over the past few decades. This has lead to an increasing number of advanced pieces incorporating saxophone extended techniques. As younger saxophonists discover these compositions, they too become inspired to implement these techniques in their own playing. There is a need for broader selections of introductory to intermediate compositions with saxophone extended techniques. It is the goal of this project to expand this repertoire for pre-college and early-college saxophonists. These target-level saxophonists are those who …

Contributors
Charbonneau, Christopher Michael, Creviston, Christopher, Feisst, Sabine, et al.
Created Date
2015

As clarinet compositions created by Taiwanese composers have not been widely discussed and published in academia, this research paper examines three unaccompanied clarinet works by three Taiwanese composers: Ballade by Hsiao-Wen Tseng, Chin Thoughts III by Ling-Huei Tsai, and Pointe de Flame by Chia-Lin Pan, all commissioned by the author in 2007. This research also includes a compact disc with recordings of these works, aiming to document the creativity of Taiwanese composers. This research paper examines these three commissioned works by analyzing their overall musical styles, notations, formal structures, rhythmical and melodic materials, unconventional clarinet techniques as well as the …

Contributors
Chuang, Yenting, Spring, Robert, Schuring, Martin, et al.
Created Date
2011

Owen Middleton (b. 1941) enjoys an established and growing reputation as a composer of classical guitar music, but his works for piano are comparatively little known. The close investigation offered here of Middleton's works for piano reveals the same impressive craftsmanship, compelling character, and innovative spirit found in his works for guitar. Indeed, the only significant thing Middleton's piano music currently lacks is the well-deserved attention of professional players and a wider audience. Middleton's piano music needs to be heard, not just discussed, so one of this document's purposes is to provide a recorded sample of his piano works. While …

Contributors
Moreau, Barton Andrew, Hamilton, Robert, Holbrook, Amy, et al.
Created Date
2011

Our world has become smaller due to globalization and frequent cultural exchange between different countries. As a result, classical music is becoming increasingly global. There are a significant number of Chinese composers, including Tan Dun, Chen Yi, Zhou Long, and Bright Sheng, who have gained international attention. For a modern performer, familiarity with music outside of the Western canon is increasingly important. Bright Sheng is an internationally renowned Chinese-American composer who blends the heritage of traditional Chinese musical elements, traditional instruments, Chinese Opera and folk melodies with Western musical techniques. He infuses Chinese character into his works and introduces Chinese …

Contributors
Jiang, Zhou, Ryan, Russell, Campbell, Andrew, et al.
Created Date
2018

Heinrich Heine’s collection of poems, Lyrisches Intermezzo, is well-known in music circles, largely due to Robert Schumann’s settings of sixteen of these poems in his masterwork Dichterliebe. Because of Dichterliebe’s place of importance in art song literature, many other settings of Heine’s sixty-five poems are often overlooked. Breton-born composer Joseph Guy Marie Ropartz composed Quatre Poèmes d’après l’Intermezzo d’Henri Heine in 1899, after having collaborated on a new French translation of the entire Lyrisches Intermezzo in 1890. This cycle is rarely performed, largely due to Ropartz’s relative obscurity as a composer, as the focus of his career was administration of …

Contributors
Hutchinson, Taylor Grace, Campbell, Andrew, Holbrook, Amy, et al.
Created Date
2019

This project details specific placement and usage of the Clara motive in Robert Schumann’s Dichterliebe. The analysis categorizes the motive according to its different shapes and relationships to the poetry in Dichterliebe. Four main permutations of the motive are discussed in great detail: the original motive, inverted motive, retrograde motive, and retrograde inverted motive. Schumann (1810–1856) composed more than 160 vocal works in 1840, commonly referred to as his Liederjahr. At the time, Schumann and Clara Wieck (1819–1896) were planning to marry, despite the objections of her father Friedrich Wieck (1785–1873). Robert was inspired to write Dichterliebe because of the …

Contributors
Yoo, Jihye, Campbell, Andrew, Rogers, Rodney, et al.
Created Date
2019

Contemporary Chinese composers have a rich palette from which to draw inspirations of the distinctive timbres of ancient instruments, the diverse musical types, and the development of musical instruments. Zhou Long, an internationally recognized Chinese-American composer, has created a compositional style that transfers the sounds and techniques of ancient Chinese musical traditions to modern Western instruments. An examination of Zhou Long’s compositions Secluded Orchid and Spirit of Chimes demonstrates his synthesis of Chinese and Western techniques as well as cross-cultural integration. To gain a better understanding of the compositional process of these two piano trios, the author conducted a personal …

Contributors
Li, Xiaolin, Jiang, Danwen, Campbell, Andrew, et al.
Created Date
2017

Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring …

Contributors
Crane-Waleczek, Jennifer, Hamilton, Robert, Hackbarth, Glenn, et al.
Created Date
2011

Traditional consensus in duos with grand piano has been that issues of balance between piano and the other instrument can be corrected through lowering the lid on the piano, particularly when the other instrument has been thought of as less forceful. The perceived result of lowering the lid on the piano is to quiet the piano enough so as not to overwhelm the other instrument, though the physics of the piano and acoustics suggest that it is incorrect to expect this result. Due to the physics of the piano and natural laws such as the conservation of energy, as well …

Contributors
Lee, Paul Allen, Campbell, Andrew, DeMars, James, et al.
Created Date
2017

Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the …

Contributors
Rodriguez Morales, Luis F., Campbell, Andrew, Buck, Elizabeth, et al.
Created Date
2013

"Play less and listen more" is the prevailing wisdom whenever two musical partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems. However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing …

Contributors
Smith, Brad, Campbell, Andrew, Kopta, Anne, et al.
Created Date
2015

Artistic trends of the mid-nineteenth century demonstrate the popularity of incorporating Asian elements into various artistic media. This paper discusses why the stereotypical Asian female provided an attractive character for operatic librettists, composers and audiences. To support the discussion, six operas from 1885 to 2010 are examined, and the dramatic and musical portrayal of representative female characters is discussed. The familiar character of Cio-cio-san from Giocamo Puccini's Madama Butterfly (1904) provides a foundation to discuss these stereotypical Asian female characteristics, specifically one archetype, that of the naïve, yet sexually desirable female. Prior to Cio-cio-san, Sir W. S. Gilbert and Sir …

Contributors
Lo, Wan-Yi, Campbell, Andrew, Carpenter, Ellon, et al.
Created Date
2013

This doctoral project involves a multi-disciplined analysis concerning Agamemnon's daughters (Iphigenia, Electra, and Chrysothemis) and how these women's gender and virtues were depicted as compared with ideal Greek women in antiquity. Three composers in three different eras adapted the literary and musical depictions of these women based on the composer's society, culture, audience expectations, musical climate and personal goals. George Friedrich Handel's Oreste (1734), Christoph Willibald von Gluck's Iphigénie en Tauride (1779) and Richard Strauss's Elektra (1909) are the main operas used for this analysis. The Mycenaean House of Atreus, a dynasty which the ancient Greeks traced back to the …

Contributors
Rocklein, Robyn Michele, Fitzpatrick, Carole, Campbell, Andrew, et al.
Created Date
2012

There are many passages in the standard collaborative piano repertoire that are best executed with average to larger hands, such as densely voiced chords, fast octave passages, spans of 9ths or 10ths, legato lines with wide ranges, or extended arpeggiated passages. As a petite Asian woman with smaller hands, I am frequently engaged to rehearse and perform such works. Such engagements involve a greater amount of practice and preparation, as I spend time determining how to negotiate passages or avoid mistakes that larger hands could easily solve. Nevertheless, despite my best efforts, it is not always possible for one with …

Contributors
Choi, Hae Ju, Campbell, Andrew, Rogers, Rodney, et al.
Created Date
2017

This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu. Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers …

Contributors
Zhang, Dongfang, Ryan, Russell, Campbell, Andrew, et al.
Created Date
2018