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- All Subjects: Chamber music
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
The aim of this study is to test the feasibility of building a storytelling system for older adults to tell and share their life stories based on email. It is measured by the level of participation and people's acceptance of the system. The central goals were to empower people over 60 years old by providing a platform for them to share their wonderful life experience and perspectives on life and lead social services into the digital age by bridging traditional roundtable interaction and modern digital communication. A prototype was built to test the level of participation of the system and follow-up interviews were conducted in order to deeply understand people's acceptance. Content analysis was used to analyze the stories to ascertain what common themes were present. Key design considerations and key factors that affect the feasibility of storytelling system were discussed. This research expands on current research and implementation of Internet-based storytelling system and shed light on the future of combining storytelling with older adults' existing Internet knowledge. Key findings of this research are :(1) Frequency of reminiscence trigger and the number of active participants affect the level of participation collectively. Frequency is considered to be a key determinant. High frequency indicates high level of participation. (2) Categories of topics do not affect the level of participation significantly but serve as key attractions that enhance people's acceptance of the system. (3) Older adults highly accept and get involved in the new email storytelling system. This storytelling program helps them recall their memories and have a profound effect on their own introspection.
ContributorsLi, Yuanyi (Author) / Giard, Jacques R (Thesis advisor) / Margolis, Eric (Committee member) / Larkin, Kyle (Committee member) / Arizona State University (Publisher)
Created2014
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
Writing instruction poses both cognitive and affective challenges, particularly for adolescents. American teens not only fall short of national writing standards, but also tend to lack motivation for school writing, claiming it is too challenging and that they have nothing interesting to write about. Yet, teens enthusiastically immerse themselves in informal writing via text messaging, email, and social media, regularly sharing their thoughts and experiences with a real audience. While these activities are, in fact, writing, research indicates that teens instead view them as simply "communication" or "being social." Accordingly, the aim of this work was to infuse formal classroom writing with naturally engaging elements of informal social media writing to positively impact writing quality and the motivation to write, resulting in the development and implementation of Sparkfolio, an online prewriting tool that: a) addresses affective challenges by allowing students to choose personally relevant topics using their own social media data; and b) provides cognitive support with a planner that helps develop and organize ideas in preparation for writing a first draft. This tool was evaluated in a study involving 46 eleventh-grade English students writing three personal narratives each, and including three experimental conditions: a) using self-authored social media post data while planning with Sparkfolio; b) using only data from posts authored by one's friends while planning with Sparkfolio; and c) a control group that did not use Sparkfolio. The dependent variables were the change in writing motivation and the change in writing quality that occurred before and after the intervention. A scaled pre/posttest measured writing motivation, and the first and third narratives were used as writing quality pre/posttests. A usability scale, logged Sparkfolio data, and qualitative measures were also analyzed. Results indicated that participants who used Sparkfolio had statistically significantly higher gains in writing quality than the control group, validating Sparkfolio as effective. Additionally, while nonsignificant, results suggested that planning with self-authored data provided more writing quality and motivational benefits than data authored by others. This work provides initial empirical evidence that leveraging students' own social media data (securely) holds potential in fostering meaningful personalized learning.
ContributorsSadauskas, John (Author) / Atkinson, Robert K (Thesis advisor) / Savenye, Wilhelmina (Committee member) / Liu, Huan (Committee member) / Arizona State University (Publisher)
Created2014
Description
This study follows three secondary teachers as they facilitate a digital storytelling project with their students for the first time. All three teachers were not specifically trained in digital storytelling in order to investigate what happens when a digital storytelling novice tries to do a project like this with his or her students. The study follows two high school English teachers and one middle school math teacher. Each teacher's experience is shared in a case study, and all three case studies are compared and contrasted in a cross-case analysis. There is a discussion of the types of projects the teachers conducted and any challenges they faced. Strategies to overcome the challenges are also included. A variety of assessment rubrics are included in the appendix. In the review of literature, the history of digital storytelling is illuminated, as are historical concepts of literacy. There is also an exploration of twenty-first century skills including multiliteracies such as media and technology literacy. Both the teachers and their students offer suggestions to future teachers taking on digital storytelling projects. The dissertation ends with a discussion of future scholarship in educational uses of digital storytelling.
ContributorsGordon, Corrine (Author) / Blasingame, James (Thesis advisor) / Nilsen, Alleen P (Committee member) / Early, Jessica (Committee member) / Marsh, Josephine (Committee member) / Arizona State University (Publisher)
Created2011
Description
This research features a phenomenological investigation of the interactions between adolescent storytellers and audience members during a live storytelling event. The researcher partnered with an English teacher in an urban Southwest high school and a spoken word poet from a youth nonprofit to produce a storytelling workshop and corresponding story slam event for high school students. Fourteen participants, including seven student storytellers and seven student audience members, participated in extensive follow-up interviews where they described the experience of their respective roles during the event. Utilizing a phenomenological design (Moustakas, 1994; Vagle, 2014) and drawing from reception theory (Bennett, 1997; Hall, 1980) as a framework, the researcher used participant descriptions to compose a textural-structural synthesis collectively describing the phenomenon of interaction, connection, and transaction between storytellers and audience members during the live event.
The textural-structural synthesis of participants’ descriptions comprises four major essences of the transactional phenomenon. These include 1) the relational symbiosis of storytellers and audience members, 2) the nature of the story slam as a planned and produced event, 3) the storytellers’ inclusions of specific, personal details which resonated with specific, personal details in audience members’ lives, and 4) the storytellers’ intentional style and content choices which corresponded with reactions from audience members.
These findings provide a platform for fostering conditions for interaction, connection, and transaction in curricular and extra-curricular secondary contexts. For a classroom teacher, they may be helpful in creating principles for optimizing interactions between teachers and students in instruction and between students in collaboration. In extra-curricular contexts, these findings provide a platform for consideration of how to hold space for creative performance once spaces for creative expression have been made for youth.
The textural-structural synthesis of participants’ descriptions comprises four major essences of the transactional phenomenon. These include 1) the relational symbiosis of storytellers and audience members, 2) the nature of the story slam as a planned and produced event, 3) the storytellers’ inclusions of specific, personal details which resonated with specific, personal details in audience members’ lives, and 4) the storytellers’ intentional style and content choices which corresponded with reactions from audience members.
These findings provide a platform for fostering conditions for interaction, connection, and transaction in curricular and extra-curricular secondary contexts. For a classroom teacher, they may be helpful in creating principles for optimizing interactions between teachers and students in instruction and between students in collaboration. In extra-curricular contexts, these findings provide a platform for consideration of how to hold space for creative performance once spaces for creative expression have been made for youth.
ContributorsGriffith, Jason (Author) / Blasingame, James (Thesis advisor) / Graham, Steven (Committee member) / Clark, Shanetia (Committee member) / Durand, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2018
Description
This study explores the online recruitment and mobilization of followers in a social movement. In this study, I identify and analyze how certain narratives were produced, distributed and recirculated online by a social movement organization that depicted players in the movement in ways that engaged followers in actions of advocacy and support. Also, I examine how particular narratives were taken up, negotiated, amplified, and distributed by online supporters who eventually become co-tellers of the narrative and ultimately advocates on behalf of the social movement. By examining a selection of media statements, open letters, protest speeches, blogs, videos and pictures, I show how online practices might contribute to inspiring and mobilizing action or responses from a large number of followers. Data include selected excerpts from an online social movement that began in Norway in 2015 and later gathered momentum and strength outside of Norway and Europe. This multi-modal analysis of digital practices demonstrates how collaboratively produced narratives (e.g., of suffering, sorrow, persecution or resilience) emerge and gain traction in the digital space, the relationship between the temporal and spatial dimensions of narrative, and the role of collective memory in building a sense of community and shared identity. Demonstrating the dialogic and interactional dimensions of meaning-making processes, this case study informs how we might theorize and understand the role of identity and narrative in the emergence and amplification of social movements.
ContributorsPaulesc, Julieta Cristina (Author) / Warriner, Doris S (Thesis advisor) / Matsuda, Aya (Committee member) / Prior, Matthew (Committee member) / Arizona State University (Publisher)
Created2019
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
Description
This ethnography outlines the live storytelling culture in Phoenix, Arizona, and what each of its sub-cultures contributes to the city's community. Phoenix's live storytelling events incorporate elements of an ancient art form into contemporary entertainment and sophisticated platforms for community building. These events are described and delineated by stylistic, structural, and content-based differences into the following categories: open-mic, curated, scripted, non-scripted, micro-culture, and marginalized groups. Research presented in this report was collected by reviewing scholarly materials about the social power of storytelling, attending live storytelling events across all categories, and interviewing event organizers and storytellers. My research developed toward an auto-ethnographic direction when I joined the community of storytellers in Phoenix, shifting the thesis to assume a voice of solidarity with the community. This resulted in a research project framed primarily as an ethnography that also includes my initial, personal experiences as a storyteller. The thesis concludes with the art form's macro-influences on Phoenix's rapidly-expanding community.
ContributorsNorton, Maeve (Author) / Dombrowski, Rosemarie (Thesis director) / McAdams, Charity (Committee member) / School of International Letters and Cultures (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12