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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
Description
Basilisk lizards are often studied for their unique ability to run across the surface of
water. Due to the complicated fluid dynamics of this process, the forces applied on the
water’s surface cannot be measured using traditional methods. This thesis presents a
novel technique of measuring the forces using a fluid dynamic force platform (FDFP),
a light, rigid box immersed in water. This platform, along with a motion capture
system, can be used to characterize the kinematics and dynamics of a basilisk lizard
running on water. This could ultimately lead to robots that can run on water in a
similar manner.
water. Due to the complicated fluid dynamics of this process, the forces applied on the
water’s surface cannot be measured using traditional methods. This thesis presents a
novel technique of measuring the forces using a fluid dynamic force platform (FDFP),
a light, rigid box immersed in water. This platform, along with a motion capture
system, can be used to characterize the kinematics and dynamics of a basilisk lizard
running on water. This could ultimately lead to robots that can run on water in a
similar manner.
ContributorsSweeney, Andrew Joseph (Author) / Marvi, Hamidreza (Thesis advisor) / Lentink, David (Committee member) / Lee, Hyunglae (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
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
Introduction: Individuals with rotator cuff tears (RCT) have been found to compensate in their movement patterns by using lower thoracohumeral elevation angles during certain tasks, as well as increased internal rotation of the shoulder (Vidt et al., 2016). The leading joint hypothesis (LJH) suggests there is one leading joint that creates the foundation for the entire limb motion, and there are other subordinate joints that monitor the passive interaction torque (IT) and create a net torque (NT) aiding to limb motions required for the task. This experiment hopes to establish a better understanding of joint control strategies during a wide range of arm movements. Based off of the LJH, we hypothesize that when a subject has a rotator cuff tear, their performance of planar and three- dimensional motions should be altered not only at the shoulder, which is often the leading joint, but also at other joints on the arm such as the elbow and wrist.
Methods: There were 3 groups of participants: healthy younger adults (age 21.74 ± 1.97), healthy older adult controls (age 69.53 ± 6.85), and older adults with a RCT (age 64.33 ± 4.04). All three groups completed strength testing, horizontal drawing and pointing tasks, and three-dimensional (3D) activities of daily living (ADLs). Kinematic and kinetic variables of the arm were obtained during horizontal and 3D tasks using data from 13 reflective markers placed on the arm and trunk, 8 motion capture cameras, and Cortex motion capture software (Motion Analysis Corp., Santa Rosa, CA). During these tasks, electromyography (EMG) electrodes were placed on 12 muscles along the arm that affect shoulder, elbow, and wrist rotation. Strength testing tasks were measured using a dynamometer. All strength testing and 3D tasks were completed for three trials and horizontal tasks were completed for two trials.
Results: Results of the younger adult participants showed that during the forward portion of seven 3D tasks, there were four phases of different joint control mechanics seen in a majority of the movements. These phases included active rotation of both the shoulder and the elbow joint, active rotation of the shoulder with passive rotation of the elbow, passive rotation of the shoulder with active rotation of the elbow, and passive rotation of both the shoulder and the elbow. Passive rotation during movements was a result of gravitational torque (GT) on the different segments of the arm and IT caused as a result the multi-joint structure of human limbs. The number of tested participants for the healthy older adults and RCT older adults groups is not yet high enough to produce significant results and because of this their results are not reported in this article.
Discussion: Through the available results, multiple phases were found where one or both of the joints of the arm moved passively which further supports the LJH and extends it to include 3D movements. This article is a part of a bigger project which hopes to get a better understanding of how older adults adjust to large passive torques acting on the arm during 3D movements and how older adults with RCTs compensate for the decreased strength, the decreased range of motion (ROM), and the pain that accompany these types of tears. Hopefully the results of this experiment lead to more research toward better understanding how to treat patients with RCTs.
Methods: There were 3 groups of participants: healthy younger adults (age 21.74 ± 1.97), healthy older adult controls (age 69.53 ± 6.85), and older adults with a RCT (age 64.33 ± 4.04). All three groups completed strength testing, horizontal drawing and pointing tasks, and three-dimensional (3D) activities of daily living (ADLs). Kinematic and kinetic variables of the arm were obtained during horizontal and 3D tasks using data from 13 reflective markers placed on the arm and trunk, 8 motion capture cameras, and Cortex motion capture software (Motion Analysis Corp., Santa Rosa, CA). During these tasks, electromyography (EMG) electrodes were placed on 12 muscles along the arm that affect shoulder, elbow, and wrist rotation. Strength testing tasks were measured using a dynamometer. All strength testing and 3D tasks were completed for three trials and horizontal tasks were completed for two trials.
Results: Results of the younger adult participants showed that during the forward portion of seven 3D tasks, there were four phases of different joint control mechanics seen in a majority of the movements. These phases included active rotation of both the shoulder and the elbow joint, active rotation of the shoulder with passive rotation of the elbow, passive rotation of the shoulder with active rotation of the elbow, and passive rotation of both the shoulder and the elbow. Passive rotation during movements was a result of gravitational torque (GT) on the different segments of the arm and IT caused as a result the multi-joint structure of human limbs. The number of tested participants for the healthy older adults and RCT older adults groups is not yet high enough to produce significant results and because of this their results are not reported in this article.
Discussion: Through the available results, multiple phases were found where one or both of the joints of the arm moved passively which further supports the LJH and extends it to include 3D movements. This article is a part of a bigger project which hopes to get a better understanding of how older adults adjust to large passive torques acting on the arm during 3D movements and how older adults with RCTs compensate for the decreased strength, the decreased range of motion (ROM), and the pain that accompany these types of tears. Hopefully the results of this experiment lead to more research toward better understanding how to treat patients with RCTs.
ContributorsGarnica, Nicholas (Co-author) / Perrine, Austin (Co-author) / Schalk, Courtney (Co-author) / Dounskaia, Natalia (Thesis director) / Vidt, Meghan (Committee member) / School of Nutrition and Health Promotion (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Central to current conceptions concerning the function of the nervous system is the consideration of how it manages to maintain precise control for repetitive tasks such as reaching, given the extensive observable mechanical degrees of freedom. Especially in the upper extremities, there are an infinite number of orientations (degrees of freedom) that can produce the same ultimate outcome. Consider, for example, a man in a seated position pointing to an object on a table with his index finger: even if we vastly simplify the mechanics involved in that action by considering three principle joints - the shoulder, elbow, and wrist - there are an infinite number of upper arm orientations that would result in the same position of the man's index finger in three-dimensional space. It has been hypothesized that the central nervous system is capable of simplifying reaching tasks by organizing the DOFs; this suggests that repetitive, simple tasks such as reaching can be planned, that the variability in repetitive tasks is minimized, and that the central nervous system is capable of increasing stability by instantaneously resisting perturbations. Previous literature indicates that variability is decreased and stability increased in trained upper extremity movement. In this study, mechanical discrepancies between violinists of varying levels of experience were identified. It was hypothesized that variability in the positional error (deviation from an expected line of motion) and velocity of the bow, as well as the produced variability in resultant elbow angles, would decrease with increasing proficiency, and that training would have no observable effect on average peak bow velocity. Data acquisition was accomplished by constructing LED triads and implementing a PhaseSpace 3D Motion Capture system. While the positional variance and peak velocity magnitude of the bow appeared unaffected by training (p >> 0.05), more advanced players demonstrated significantly higher variability in bow velocity (p << 0.001). As such, it can be concluded that repetitive training does manifest in changes in variability; however, further investigation is required to reveal the nature of these changes.
ContributorsCulibrk, Robert (Author) / Helms Tillery, Stephen (Thesis director) / Tanner, Justin (Committee member) / 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