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Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Recent legislation allowing educational agencies to use Response to Intervention (RTI) in determining whether a child has a specific learning disability, coupled with a focus on large-scale testing and accountability resulted in the increasing use of curriculum based measurement (CBM) as a tool for understanding students' progress towards state standards, particularly in reading through the use of oral reading fluency measures. Extensive evidence of oral reading fluency's predictability of reading comprehension exists, but little research on differential effects across racial, gender, and socioeconomic subgroups is available. This study investigated racial, gender, and socioeconomic bias in DIBELS Oral Reading Fluency (DIBELS ORF) probes predictive and concurrent relationship with MAP reading comprehension scores for African American and Caucasian students. Participants were 834 second through fifth grade students in a school district located in a southeastern US state. The dataset consisted of student fall and spring DIBELS ORF scores and spring MAP reading comprehension scores. Concurrent correlation results between spring DIBELS ORF and MAP reading comprehension scores were moderate to large and statistically significant across all grades and demographic groups; however, correlations between fall DIBELS ORF and MAP reading comprehension scores were generally weak. Stepwise multiple regression analyses were used to examine the best variable, or combination of variables, in predicting MAP reading comprehension scores. Models differed for each grade level; however, spring DIBELS ORF scores were always included, whether alone or in combination with demographic variables, in the best prediction model. Potthoff's procedure was used to simultaneously test for slope and intercept differences among regression equations to determine if DIBELS ORF scores from fall and spring differentially predicted MAP reading comprehension scores across demographic groups. Nine of 24 simultaneous contrasts demonstrated a significant effect; seven were related to race, one was related to gender, and one was related to socioeconomic status. Racial bias in predicting MAP reading comprehension performance from spring DIBELS ORF was found. Differential prediction among gender and SES groups was not consistent indicating little to no practical significance. Results are discussed in the context of practical implications of differential validity, both predictive and concurrent, and potential impact on disproportionality.
ContributorsAdkins, Jill (Author) / Caterino, Linda C. (Thesis advisor) / Atkinson, Robert (Committee member) / Nakagawa, Kathryn (Committee member) / Arizona State University (Publisher)
Created2013
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
This study is a discourse analysis and deconstruction of public documents published electronically in connection with the evaluation of the Advanced Placement Language and Composition Examination, found on the educational website: apcentral.collegeboard.com. The subject of this dissertation is how the characteristic of writing identified as Voice functions covertly in the calibration of raters' evaluation of student writing in two sets of electronic commentaries: the Scoring Commentaries and the Student Performance Q&A;'s published between the years 2000-2010. The study is intended to contribute to both socio-linguistic and sociological research in education on the influence of inherited forms of cultural capital in educational attainment, with particular emphasis upon performance on high-stakes examinations. Modeled after Pierre Bourdieu's inquiry into the latent bias revealed in the "euphemized" language of teacher commentary found in The State Nobility, lists of recurrent descriptors and binary oppositions in the texts are deconstructed. The result of the deconstruction is the manifestation of latent class bias in the commentaries. Conclusions: discourse analysis reveals that a particular Voice, expressive of a preferred social class identity, which is initiated to and particularly deft in such academic performances, is rewarded by the test evaluators. Similarly, findings reveal that a low-scoring essay is negatively critiqued for being particularly unaccustomed to the form(s) of knowledge and style of writing required by the test situation. In summation, a high score on the AP Language Examination, rather than a certification of writerly competence, is actually a testament to the performance of cultural capital. Following an analysis of the language of classification and assessment in the electronic documents, the author provides several "tactics" (after de Certeau) or recommendations for writing the AP Language and Composition Examination, conducive to the stylistic performances privileged by the rating system.
ContributorsGraber, Stacy (Author) / Blasingame, James (Thesis advisor) / Tobin, Joseph (Committee member) / Nilsen, Alleen (Committee member) / Adams, Karen (Committee member) / Arizona State University (Publisher)
Created2011
Description
ABSTRACT School districts in the United States have undergone large changes over the last decade to accommodate No Child Left Behind (NCLB). Arizona accommodated NCLB through Arizona's Instrument to Measure Standards (AIMS). Expectations were established for all students, varying by group of students based on grade, special education status, free/reduced lunch status, and English Language Learner (ELL) status. AIMS performance for subgroups has been scrutinized, due to the high stakes for schools and districts to meet expectations. This study is interested in the performance of ELL students, when compared with non-ELL students. The current study investigated AIMS performance of students in grades three through six from a large Arizona school district with predominantly low SES, Hispanic students. Approximately 90% of the students from this district were classified as ELL during their first year in the district. AIMS scores in Math and Reading were compared for ELL and non-ELL students across the years 2008, 2009, and 2010. Results suggest that there are differences in performance for ELL and non-ELL students, with ELL students scoring lower in both Math and Reading than non-ELL students. Additionally, ELL and non-ELL students showed similar performance across time in Math, with an increasing number of students Meeting or Exceeding the standards from year 2008 to 2009 for both ELL and non-ELL students. Student performance in Math for ELL and non-ELL students did not continue to improve from 2009 to 2010. On Reading performance, greater proportions of students scored as Meets or Exceeds across time for ELL students but not for non-ELL students. Non-ELL students scored at Meets or Exceeds at equal proportions across time, although non-ELL students scored at Meets or Exceeds in higher proportions than ELL students for all three years. Results suggest the need for continued research into the appropriateness of the AIMS for ELL students and more detailed comparisons of ELL and non-ELL students within and across districts with high proportions of ELL students.
ContributorsChebultz, Lance (Author) / Appleton, Nicholas (Thesis advisor) / Tighe, Paul (Committee member) / Duplissis, Mark (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsPagano, Caio, 1940- (Performer) / Mechetti, Fabio (Conductor) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Rodrigues, Christiano (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Avanti Festival Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
ContributorsSchuring, Martin (Performer) / Stromberg, Eric (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-08-19
ContributorsDe La Cruz, Nathaniel (Performer) / LoGiudice, Rosa (Contributor) / Tallino, Michael (Performer) / McKinch, Riley (Performer) / Li, Yuhui (Performer) / Armenta, Tyler (Contributor) / Gonzalez, David (Performer) / Jones, Tarin (Performer) / Ryall, Blake (Performer) / Senseman, Stephen (Performer)
Created2018-10-10
Description
The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016