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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
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
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
Description
Waste generation in the U.S. has reached new heights, but the exploitation of Native American lands for waste disposal is nothing new. Many of the negative effects of massive waste production and toxic pollution, such as poor health outcomes and decreased property values, disproportionately burden impoverished, minority communities inside and outside the United States (Brulle and Pellow, 2006). Native American communities have long been exploited for their natural resources and land-use, but in recent decades Indian country has also become a common place to store nuclear, hazardous and municipal wastes. This project is a case study of a local Indian reservation, the Salt River Pima-Maricopa Indian Community, and examined the socio-historical context of the landfill operations in terms of five principles of environmental justice. Each principle was defined and key moments from the SRPMIC's landfill history were discussed to demonstrate ways that the situation has improved, stayed the same or worsened with regard to the rights outlined in each principle. It was concluded that there needs to be an acknowledgement by involved municipalities and industries of the historical context that make the SRPMIC and other nearby Native American communities "ideal" contractors for waste management. Additionally, while the SRPMIC could currently benefit from looking into the principles of environmental justice as a guide to manage past and operating landfills, the Community will have a specific opportunity to revisit these issues under closer scrutiny during the closure of the Salt River Landfill in 2032 in order to ensure more environmentally just outcomes. Finally, it was concluded that scholarship at the intersection of environmental justice and Native American communities should continue because looking closer at the ways that local Native American communities are facing and resisting environmental injustice can serve to develop future models for other communities facing similar challenges to achieving environmental justice.
ContributorsScott, Nicole Danielle (Author) / Kinzig, Ann (Thesis director) / Harlan, Sharon (Committee member) / Maienschein, Jane (Committee member) / Barrett, The Honors College (Contributor) / School of Community Resources and Development (Contributor) / School of Social Transformation (Contributor) / School of Human Evolution and Social Change (Contributor)
Created2015-05
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
This thesis, done in a capstone course through the Arizona State University School of Sustainability, examines the current state of sustainability-related processes at all of Major League Baseball's Cactus League sites, with a focus on Salt River Fields. Through this close examination, a final report created of our findings and suggestions were presented to executives from Major League Baseball and the two occupants of Salt River Fields: the Arizona Diamondbacks and the Colorado Rockies. The overall goal is to add value to Cactus League stadiums, clubs, and the fans while promoting sustainable initiatives and creating lasting change. With a team of 11 undergraduate and graduate students from ASU led by Colin Tetreault, research was conducted by examining similar efforts by major sports leagues and comparable organizations. Our team researched reports from organizations such as the National Hockey League to determine how we could implement our ideas on a large scale successfully. Determining that fan engagement is crucial to changing the culture and implementation of sustainability, we also researched ways to interact with fans on social media and cooperated with the social media teams from the Arizona Diamondbacks and the Colorado Rockies. Additionally, we visited every stadium in the Cactus League and met with representatives from each team to determine what sort of processes they have in place, if they have any suggestions or thoughts for our efforts, and we gave each of them advice as consultants. At each site, we also interviewed vendors, cleaning crews, and fans for more information. At Salt River Fields, we engaged the guest service attendants, social media team, vendors, the Jani King custodial team, and staff involved with operations for information and to suggest changes. We started a new initiative in cooperation with these entities known as the "Recycle Rally" where we engaged with fans about recycling information and collected their recyclables. Additionally, we surveyed fans on their personal views on sustainability at each game we attended. We also conducted two waste audits at Salt River Fields, where we examined a large sample size of waste, sorted all of it into categories, and weighed it on a scale to determine how much of each category of waste there was. This data was later plotted and analyzed.
ContributorsLassman, Matthew Joseph (Author) / Tetreault, Colin (Thesis director) / Benaza, Paesly (Committee member) / W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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
ContributorsASU Library. Music Library (Publisher)
Created2018-01-31