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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
The majority of Black D/deaf female students who enter college do not obtain college degrees; as many of them drop out of college citing irreconcilable differences with faculty, staff and peers (Barnartt, 2006; Williamson, 2007). Although, many of these inequities are being addressed in current scholarship, traditionally social scientists have analyzed issues of race, gender, class, sexuality or disability by isolating each factor and treating them as if they are independent of each other (Thornton Dill & Zambrana, 2009). This qualitative dissertation study investigates the everyday lives of Black D/deaf female students on a college campus. The study is based on data gathered during four focus group interviews with twenty-two total participants and fifteen individual semi-structured interviews. Interviews were videotaped and conducted in either spoken English or sign language depending on the preference of the participant. Interviews conducted in sign language were then interpreted to spoken English by the researcher, and subsequently transcribed. The study sought to explore identity and individual agency, microaggressions and marginality on campus, and self-determination. Analysis focused critically on the women's understanding of their intersecting identities, their perception of their college experience and their persistence in college. The data revealed a seemingly "invisible" space that women occupied either because of their deafness, race, gender or social class status. Even though the women felt that that they were able to "successfully" navigate space for themselves on their college campus, many experienced more difficulty than their peers who were White, male or hearing. The women developed strategies to negotiate being part of both the deaf and hearing worlds while on their college campus. However, they frequently felt excluded from the Black hearing culture or the White deaf culture.
ContributorsChapple, Reshawna (Author) / Romero, Mary (Thesis advisor) / Artiles, Alfredo J. (Committee member) / Gustavsson, Nora (Committee member) / James, Stanlie M (Committee member) / Arizona State University (Publisher)
Created2012
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
Overt forms of sexism have become less frequent (Swim Hyers, Cohen & Ferguson, 2001; Sue & Capodilupo, 2008). Nonetheless, scholars contend that sexism is still pervasive but often manifests as female microaggressions, which have been defined as often subtle, covert forms of gender discrimination (Capodilupo et al., 2010). Extant sexism scales fail to capture female microaggresions, limiting understanding of the correlates and consequences of women’s experiences of gender discrimination. Thus, the purpose of the current study was to develop the Female Microaggressions Scale (FeMS) based on an existing theoretical taxonomy and content analysis of social media data, which identifies diverse forms of sexism. Two separate studies were conducted for exploratory factor analysis (N = 582) and confirmatory factor analysis (N = 325). Exploratory factor analyses supported an eight-factor, correlated structure and confirmatory factor analyses supported a bifactor model, with eight specific factors and one general FeMS factor. Overall, reliability and validity of the FeMS (general FeMS and subscales) were mostly supported in the two present samples of diverse women. The FeMS’ subscales and body surveillance were significantly positively correlated. Results regarding correlations between the FeMS subscales and anxiety, depression, and life satisfaction were mixed. The FeMS (general FeMS) was significantly positively correlated with anxiety, body surveillance, and another measure of sexism but not depression or life satisfaction. Furthermore, the FeMS (general FeMS) explained variance in anxiety and body surveillance (but not depression, self-esteem, or life satisfaction) above and beyond that explained by an existing sexism measure and explained variance in anxiety and depression (but not self-esteem) above and beyond that explained by neuroticism. Implications for future research are discussed.
ContributorsMiyake, Elisa (Author) / Tran, Giac-Thao Thanh (Thesis advisor) / Bernsten, Bianca (Committee member) / Tracey, Terence (Committee member) / Arizona State University (Publisher)
Created2018
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
Interpersonal racial discrimination is positively associated with poor mental health outcomes in a number of marginalized groups across the United States (Brondolo, et al., 2008). This paper examines how racial discrimination affects the self-esteem, self-worth, and racial pride of Latinas using interview data from a purposive sample of students. The objectives of this study are: (a) to better understand the effects of racial microaggressions on young Latinas’ construction of self, (b) to explicate how these self-perceptions influence deviant behavior and maladaptive thought processes, drawing on strain and discrimination literatures, and (c) to examine the protective mechanisms Latinas employ with friends and family as a response to racial discrimination. Findings indicated that respondents experienced racial discrimination through a variety of channels, from negative stereotypes to feeling a distinct prejudice in academic settings. Participants utilized numerous coping mechanisms to deal with such encounters, most of which emphasized the importance of drawing strength from Hispanic values, culture, and language during times of adversity.
ContributorsBarstow, Callie Elizabeth (Author) / Burt, Callie (Thesis advisor) / Decker, Scott (Committee member) / Wang, Xia (Committee member) / Arizona State University (Publisher)
Created2015
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