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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
Research shows that teachers hold different expectations for different students and these varying expectations influence students’ academic performance (Good & Brophy, 1997; Jussim, Smith, Madon, & Palumbo, 1998; Rubie-Davies, 2007; Rubie-Davies, Hattie, Townsend, & Hamilton, 2007). Teachers form expectations of students based on personal beliefs about individuals’ capabilities (Rubie-Davies, 2015). Teachers’ differential expectations for students can have positive and negative influences on student learning opportunities and their future potential (Weinstein, 2002). The purpose of this action research study was to better understand if gifted second-graders perceive their teachers’ expectations and if there is a difference in their academic performance or classroom behavior. The research focused on observing and interpreting ideas from the perspectives and experiences of the six gifted second-graders. The innovation focused on the voice of the students in making change in their classroom environment. It focuses on classroom observations and reflections of the six participants to discuss their thoughts and feelings about their perceptions about their teachers’ expectations. The greater purpose behind the design of the innovation was to provide a space where students could share their thoughts, feelings, and ideas, without fear of punishment from their teachers. Participants shared their ideas through online selfie videos in order to inform teachers’ practice. Data were available from several sources including the Teacher Treatment Inventory questionnaires, transcriptions from interviews, and videotaped lessons. The study aimed to determine: (1) How do gifted second-graders perceive to understand and respond to the varying expectations of their teachers for their academic success? and, (2) How do the varying expectations of teachers’ impact the classroom learning of gifted second-graders? Findings suggest teachers with low expectations for their students establish a climate of failure, but teachers that value their students’ abilities create a climate of success. Students achieve more when their teachers have purposeful and clear expectations. As indicated by the literature, when teachers listen to student voice in classrooms, it improves students’ morale. Creating an inclusive social learning environment in a gifted classroom requires teachers to build their classrooms around student voice to enhance the supportive and caring environment (Fraser & Gestwicki, 2012).
ContributorsZichichi, Tara (Author) / Dinn-You Liou, Daniel (Thesis advisor) / Lansdowne, Kimberly (Committee member) / Coleman, Karen (Committee member) / Arizona State University (Publisher)
Created2018
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 re-frames learning disabilities (LD) through the emotion-laden talk of four Latina/o students with LD. The research questions included: 1) What are the emotion-laden talk of Latina/o students about being labeled with LD? 2) What are Latina/o students' emotion-laden talk of the idea of LD? I identified master narratives, the "pre-existent sociocultural forms of interpretation. They are meant to delineate and confine the local interpretation strategies and agency constellations in individual subjects as well as in social institutions," (Bamberg, 2004, p. 287) within the following literatures to inform my research questions and conceptual framework: a) historiography and interdisciplinary literature on LD; b) policy (i.e., Individuals with Disabilities Education Act (IDEA)), c) the academic and d) social and emotional dimensions of LD; and e) student voice research with students with LD. Interdisciplinary, critical ethnographic and qualitative research methods such as taking into account issues of power, etic and emic perspectives, in-depth interviewing, field notes were used. Total participants included: four students, three parents and three teachers. More specifically, descriptive coding, identification of emotion-laden talk, a thematic analysis, memoing and intersectional and cultural-historical developmental constructs were used to analyze students’ emotion-laden talk. Emotion-laden talk about being labeled with LD included the hegemony of smartness, disability microaggressions, on the trinity of LD: help + teachers + literacy troubles, on being bullied, embarrassment to ask for assistance from others and help as hope. The emotion-laden talk about the idea of LD included LD as double-edge sword, LDness as X, the meaning of LD as resource, trouble with information processing, speech, and silence, the salience of the intersection of disability, ethnicity and language and other markers of difference, struggles due to lack of understanding and LD myths. This study provides a discussion and implications for theory, research, policy, and practice.
ContributorsHernández-Saca, David Isaac (Author) / Artiles, Alfredo J. (Thesis advisor) / Connor, David J (Committee member) / Prior, Matthew T. (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