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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
ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
The digital forensics community has neglected email forensics as a process, despite the fact that email remains an important tool in the commission of crime. Current forensic practices focus mostly on that of disk forensics, while email forensics is left as an analysis task stemming from that practice. As there is no well-defined process to be used for email forensics the comprehensiveness, extensibility of tools, uniformity of evidence, usefulness in collaborative/distributed environments, and consistency of investigations are hindered. At present, there exists little support for discovering, acquiring, and representing web-based email, despite its widespread use. To remedy this, a systematic process which includes discovering, acquiring, and representing web-based email for email forensics which is integrated into the normal forensic analysis workflow, and which accommodates the distinct characteristics of email evidence will be presented. This process focuses on detecting the presence of non-obvious artifacts related to email accounts, retrieving the data from the service provider, and representing email in a well-structured format based on existing standards. As a result, developers and organizations can collaboratively create and use analysis tools that can analyze email evidence from any source in the same fashion and the examiner can access additional data relevant to their forensic cases. Following, an extensible framework implementing this novel process-driven approach has been implemented in an attempt to address the problems of comprehensiveness, extensibility, uniformity, collaboration/distribution, and consistency within forensic investigations involving email evidence.
ContributorsPaglierani, Justin W (Author) / Ahn, Gail-Joon (Thesis advisor) / Yau, Stephen S. (Committee member) / Santanam, Raghu T (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
In order to catch the smartest criminals in the world, digital forensics examiners need a means of collaborating and sharing information with each other and outside experts that is not prohibitively difficult. However, standard operating procedures and the rules of evidence generally disallow the use of the collaboration software and techniques that are currently available because they do not fully adhere to the dictated procedures for the handling, analysis, and disclosure of items relating to cases. The aim of this work is to conceive and design a framework that provides a completely new architecture that 1) can perform fundamental functions that are common and necessary to forensic analyses, and 2) is structured such that it is possible to include collaboration-facilitating components without changing the way users interact with the system sans collaboration. This framework is called the Collaborative Forensic Framework (CUFF). CUFF is constructed from four main components: Cuff Link, Storage, Web Interface, and Analysis Block. With the Cuff Link acting as a mediator between components, CUFF is flexible in both the method of deployment and the technologies used in implementation. The details of a realization of CUFF are given, which uses a combination of Java, the Google Web Toolkit, Django with Apache for a RESTful web service, and an Ubuntu Enterprise Cloud using Eucalyptus. The functionality of CUFF's components is demonstrated by the integration of an acquisition script designed for Android OS-based mobile devices that use the YAFFS2 file system. While this work has obvious application to examination labs which work under the mandate of judicial or investigative bodies, security officers at any organization would benefit from the improved ability to cooperate in electronic discovery efforts and internal investigations.
ContributorsMabey, Michael Kent (Author) / Ahn, Gail-Joon (Thesis advisor) / Yau, Stephen S. (Committee member) / Huang, Dijiang (Committee member) / Arizona State University (Publisher)
Created2011
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
The Web is one of the most exciting and dynamic areas of development in today’s technology. However, with such activity, innovation, and ubiquity have come a set of new challenges for digital forensic examiners, making their jobs even more difficult. For examiners to become as effective with evidence from the Web as they currently are with more traditional evidence, they need (1) methods that guide them to know how to approach this new type of evidence and (2) tools that accommodate web environments’ unique characteristics.
In this dissertation, I present my research to alleviate the difficulties forensic examiners currently face with respect to evidence originating from web environments. First, I introduce a framework for web environment forensics, which elaborates on and addresses the key challenges examiners face and outlines a method for how to approach web-based evidence. Next, I describe my work to identify extensions installed on encrypted web thin clients using only a sound understanding of these systems’ inner workings and the metadata of the encrypted files. Finally, I discuss my approach to reconstructing the timeline of events on encrypted web thin clients by using service provider APIs as a proxy for directly analyzing the device. In each of these research areas, I also introduce structured formats that I customized to accommodate the unique features of the evidence sources while also facilitating tool interoperability and information sharing.
In this dissertation, I present my research to alleviate the difficulties forensic examiners currently face with respect to evidence originating from web environments. First, I introduce a framework for web environment forensics, which elaborates on and addresses the key challenges examiners face and outlines a method for how to approach web-based evidence. Next, I describe my work to identify extensions installed on encrypted web thin clients using only a sound understanding of these systems’ inner workings and the metadata of the encrypted files. Finally, I discuss my approach to reconstructing the timeline of events on encrypted web thin clients by using service provider APIs as a proxy for directly analyzing the device. In each of these research areas, I also introduce structured formats that I customized to accommodate the unique features of the evidence sources while also facilitating tool interoperability and information sharing.
ContributorsMabey, Michael Kent (Author) / Ahn, Gail-Joon (Thesis advisor) / Doupe, Adam (Thesis advisor) / Yau, Stephen S. (Committee member) / Lee, Joohyung (Committee member) / Zhao, Ziming (Committee member) / Arizona State University (Publisher)
Created2017
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