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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
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 study examined the effectiveness of a Social Intelligence Intervention (SII) in improving components of social intelligence, and whether neuroticism moderates such associations in 130 participants aged 45-70. We hypothesized that the SII will improve participants' social intelligence across several factors: social awareness, social skills, social information processing, and perspective taking. Furthermore, we examined if neuroticism moderated participants' responsiveness to the intervention. Specifically, we hypothesize that individuals with high levels of neuroticism will have greater improvements in social intelligence. Individuals were randomly assigned to participate in the SII (n=71) or an attention control condition (n=59) that focused on healthy living tips. Individuals provided self-report data prior to participation in the study, and following completion of the intervention or attention control condition. The results were not statistically significant, however there was a trend for social information processing to improve with the SII. Neuroticism and time significantly moderated social awareness. This research suggests that the SII may not be effective in improving social intelligence scores for participants in midlife. Thus, the SII should be enhanced to surpass improvements that could potentially be from common factors in the intervention.
ContributorsEspinosa, Elaina Nicole (Author) / Infurna, Frank (Thesis director) / Glenberg, Arthur (Committee member) / Lemery-Chalfant, Kathryn (Committee member) / School of Film, Dance and Theatre (Contributor, Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
Theoretical models support conceptualizing parent-child relationships as reciprocal and transactional with each person exerting influence on the other’s behaviors and the overall quality and valence of the relationship across time. The goals of this study were twofold: 1) determine whether there were reciprocal relations in maternal hostility and child negativity across early and middle childhood, and 2) investigate whether individual characteristics (i.e., child temperamental anger and frustration and maternal neuroticism) moderated relations found in goal one. Data were from the Study of Early Child Care and Youth Development. Empirical support was found for conceptualizing mother-child interactions as reciprocal. Maternal hostility was related to a decrease in the probability children would exhibit negative behaviors during mother-child interactions measured approximately two years later. Child negativity was also associated with a significant decrease in the probability mothers would display future hostility.
Child temperamental anger and frustration was found to moderate reciprocal relations across all three parent-to-child cross-lagged paths. Children scoring high on a dispositional proclivity to react with anger and frustration were more likely to avoid maternal hostility, via a significant decrease in negativity, across time. Moderation was also supported in two of three child-to-parent lagged paths. Finally, maternal neuroticism moderated the reciprocal effects during early childhood, such that more neurotic mothers were more likely to demonstrate a decrease in the probability of hostility relative to mothers scoring lower on neuroticism. This affect was attenuated in middle childhood, with patterns becoming similar between mothers scoring high and low on neuroticism. Moreover, children of less neurotic mothers were more likely to demonstrate a decrease in the probability of exhibiting negativity from 36 to 54 months compared to children of more neurotic mothers. This effect also attenuated with patterns becoming negative at the grade 1 to grade 3 lag. Overall, the results from this study supported a transactional model of parent-child relationships, were consistent with the motivation literature, did not support a coercive process of interaction when the sample and measurement paradigm were low-risk, and generally suggested parents and children have an equal influence on the relational processes investigated from early to middle childhood.
Child temperamental anger and frustration was found to moderate reciprocal relations across all three parent-to-child cross-lagged paths. Children scoring high on a dispositional proclivity to react with anger and frustration were more likely to avoid maternal hostility, via a significant decrease in negativity, across time. Moderation was also supported in two of three child-to-parent lagged paths. Finally, maternal neuroticism moderated the reciprocal effects during early childhood, such that more neurotic mothers were more likely to demonstrate a decrease in the probability of hostility relative to mothers scoring lower on neuroticism. This affect was attenuated in middle childhood, with patterns becoming similar between mothers scoring high and low on neuroticism. Moreover, children of less neurotic mothers were more likely to demonstrate a decrease in the probability of exhibiting negativity from 36 to 54 months compared to children of more neurotic mothers. This effect also attenuated with patterns becoming negative at the grade 1 to grade 3 lag. Overall, the results from this study supported a transactional model of parent-child relationships, were consistent with the motivation literature, did not support a coercive process of interaction when the sample and measurement paradigm were low-risk, and generally suggested parents and children have an equal influence on the relational processes investigated from early to middle childhood.
ContributorsPennar, Amy LaRae (Author) / Bradley, Robert H (Thesis advisor) / Iida, Masumi (Committee member) / Spinrad, Tracy (Committee member) / Taylor, Michelle (Committee member) / Arizona State University (Publisher)
Created2016
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