Matching Items (174)
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- All Subjects: Chamber music
- All Subjects: Music Education
- Creators: Spring, Robert
- Creators: Campbell, Andrew (Pianist)
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
Pre-collegiate clarinet instructors are often challenged to teach students both fundamental skills and repertoire with limited instructional time. Insufficient time may cause fundamental skills to be addressed at the expense of repertoire or repertoire study may limit time spent on fundamental development. This document provides a suggested repertoire list that categorizes pre-collegiate clarinet literature based on the fundamental skill addressed in each included piece. Teachers can select repertoire that allows students to concurrently refine a fundamental skill while preparing a piece for performance. Addressed fundamental topics include embouchure, expanding the range into the clarion and altissimo registers, articulation, breathing, intonation, finger technique, and musicality.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies.
ContributorsAustermann, Kelly R (Author) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2014
Description
Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous Computing Laboratory. Performance tasks included performing a slurred three-octave chromatic scale in sixteenth notes, at sixty quarter-note beats per minute, three times, with a metronome and a short pause between repetitions, and forming three pedagogical hand postures. Following the CyberGloves® tasks, each subject completed a questionnaire about equipment, playing history, practice routines, health practices, and hand usage during computer and sports activities. CyberGlove® data were analyzed to find average hand/finger postures and differences for each pitch across subjects, subject variance in the performance task and differences in ascending and descending postures of the chromatic scale. The data were also analyzed to describe generalized finger posture characteristics based on hand size, whether right hand thumb position affects finger flexion, and whether professional clarinetists use similar finger/hand postures when performing on clarinet, holding a tennis ball, allowing hands to hang freely by the sides, or form a "C" shape. The findings of this study suggest an individual approach based on hand size is necessary for teaching clarinet hand posture.
ContributorsHarger, Stefanie (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Stauffer, Sandy (Committee member) / Arizona State University (Publisher)
Created2011
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
Armenian music has a rich history. It started as independent, monodic song, and succeeded in keeping its uniqueness from the influences of other countries' musical traditions. During the nineteenth century the great Armenian musicologist and composer Komitas started to travel and write down these songs from Armenian villages. Komitas, who had higher education in Western classical music, was one of the first composers to harmonize Armenian songs and sacred music using Western classical techniques. This was a milestone in the development of Armenian music. Arno Babajanian was a Soviet Armenian composer who, like Komitas, was interested in the combinations of Armenian folk and Western classical traditions. This document provides a formal and harmonic analysis of his Piano Trio in F-Sharp Minor, written in 1952. By identifying Armenian folk tunes used in his trio, I will demonstrate that Babajanian achieved interesting results by inserting exotic Armenian folk melodies, harmonies, and other elements into the Western classical sonata form. This document also points out the influence of other composers of the Soviet era on Babajanian's music. By combining Armenian folk and western classical elements in his Piano Trio, Babajanian created a piece that resonates with native Armenians and classical music lovers and deserves a place in the violin repertoire.
ContributorsTumajyan, Artur (Author) / McLin, Katherine (Thesis advisor) / Carpenter, Ellon (Committee member) / Jiang, Danwen (Committee member) / Arizona State University (Publisher)
Created2016
Mark O'Connor's Fiddle concerto: Texas style fiddling, classical violin, and American string playing
Description
ABSTRACT
Classical violin playing and American fiddle music have traditionally been seen as separate musical worlds. Classical violinists practice and study long hours to master a standard repertoire of concertos and sonatas from the Western European school of art music. Fiddlers pride themselves on a rich tradition passed down through generations of informal jam sessions and innovation through improvisation. Mark O'Connor's Fiddle Concerto, premiered in 1993, sounds like a contradiction at first: a quintessential classical form combined with traditional fiddle playing. Examination of the Fiddle Concerto will show that the piece contains classical and fiddle-style elements simultaneously, creating an effective hybrid of the two styles. This document will explore how the history of the classical violin concerto and American fiddle music converge in Mark O'Connor's Fiddle Concerto. To gain an understanding of O'Connor's composition process, I submitted to him a list of questions, via email, in the summer of 2016. O'Connor’s responses provide a unique insight into the genesis of the Fiddle Concerto and his vision for musical compositions that originate from multiple genres. Chapter four of this document will discuss the melodic themes, formal makeup, and techniques presented in the Fiddle Concerto and show how both classical and fiddle elements coexist in the piece. The result of the mix is an exciting work that appeals to a broad audience of music lovers. The final chapter of this document will explore the growing repertoire of music created by cross-pollinating from different styles to create a new style, including selected O'Connor compositions completed since the Fiddle Concerto, as well as similar works by other composers who combined classical elements with other musical styles.
Classical violin playing and American fiddle music have traditionally been seen as separate musical worlds. Classical violinists practice and study long hours to master a standard repertoire of concertos and sonatas from the Western European school of art music. Fiddlers pride themselves on a rich tradition passed down through generations of informal jam sessions and innovation through improvisation. Mark O'Connor's Fiddle Concerto, premiered in 1993, sounds like a contradiction at first: a quintessential classical form combined with traditional fiddle playing. Examination of the Fiddle Concerto will show that the piece contains classical and fiddle-style elements simultaneously, creating an effective hybrid of the two styles. This document will explore how the history of the classical violin concerto and American fiddle music converge in Mark O'Connor's Fiddle Concerto. To gain an understanding of O'Connor's composition process, I submitted to him a list of questions, via email, in the summer of 2016. O'Connor’s responses provide a unique insight into the genesis of the Fiddle Concerto and his vision for musical compositions that originate from multiple genres. Chapter four of this document will discuss the melodic themes, formal makeup, and techniques presented in the Fiddle Concerto and show how both classical and fiddle elements coexist in the piece. The result of the mix is an exciting work that appeals to a broad audience of music lovers. The final chapter of this document will explore the growing repertoire of music created by cross-pollinating from different styles to create a new style, including selected O'Connor compositions completed since the Fiddle Concerto, as well as similar works by other composers who combined classical elements with other musical styles.
ContributorsYoungblood, Beth (Violinist) (Author) / Jiang, Danwen (Thesis advisor) / Norton, Kay (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsSpring, Robert (Performer) / Gardner, Joshua (Performer) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Micklich, Albie (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Smith, J. B., 1957- (Performer) / Ryan, Russell (Contributor) / ASU Library. Music Library (Publisher)
Created2018-09-16
ContributorsZhu, Shuang (Performer) / Spring, Robert (Performer) / Zhang, Aihua (Performer) / Skinner, Wesley (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-09
ContributorsMcLin, Katherine (Performer) / Buck, Nancy (Performer) / Campbell, Andrew (Pianist) (Performer) / Jiang, Danwen (Performer) / Landschoot, Thomas (Performer) / Spring, Robert (Performer) / Swartz, Jonathan (Performer) / ASU Library. Music Library (Publisher)
Created2003-09-19