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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
In this thesis, I investigate the C*-algebras and related constructions that arise from combinatorial structures such as directed graphs and their generalizations. I give a complete characterization of the C*-correspondences associated to directed graphs as well as results about obstructions to a similar characterization of these objects for generalizations of directed graphs. Viewing the higher-dimensional analogues of directed graphs through the lens of product systems, I give a rigorous proof that topological k-graphs are essentially product systems over N^k of topological graphs. I introduce a "compactly aligned" condition for such product systems of graphs and show that this coincides with the similarly-named conditions for topological k-graphs and for the associated product systems over N^k of C*-correspondences. Finally I consider the constructions arising from topological dynamical systems consisting of a locally compact Hausdorff space and k commuting local homeomorphisms. I show that in this case, the associated topological k-graph correspondence is isomorphic to the product system over N^k of C*-correspondences arising from a related Exel-Larsen system. Moreover, I show that the topological k-graph C*-algebra has a crossed product structure in the sense of Larsen.
ContributorsPatani, Nura (Author) / Kaliszewski, Steven (Thesis advisor) / Quigg, John (Thesis advisor) / Bremner, Andrew (Committee member) / Kawski, Matthias (Committee member) / Spielberg, John (Committee member) / Arizona State University (Publisher)
Created2011
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
The theory of frames for Hilbert spaces has become foundational in the study of wavelet analysis and has far-reaching applications in signal and image-processing. Originally, frames were first introduced in the early 1950's within the context of nonharmonic Fourier analysis by Duffin and Schaeffer. It was then in 2000, when M. Frank and D. R. Larson extended the concept of frames to the setting of Hilbert C*-modules, it was in that same paper where they asked for which C*-algebras does every Hilbert C*-module admit a frame. Since then there have been a few direct answers to this question, one being that every Hilbert A-module over a C*-algebra, A, that has faithful representation into the C*-algebra of compact operators admits a frame. Another direct answer by Hanfeng Li given in 2010, is that any C*-algebra, A, such that every Hilbert C*-module admits a frame is necessarily finite dimensional. In this thesis we give an overview of the general theory of frames for Hilbert C*-modules and results answering the frame admittance property. We begin by giving an overview of the existing classical theory of frames in Hilbert spaces as well as some of the preliminary theory of Hilbert C*-modules such as Morita equivalence and certain tensor product constructions of C*-algebras. We then show how some results of frames can be extended to the case of standard frames in countably generated Hilbert C*-modules over unital C*-algebras, namely the frame decomposition property and existence of the frame transform operator. We conclude by going through some proofs/constructions that answer the question of frame admittance for certain Hilbert C*-modules.
ContributorsJaime, Arturo (Author) / Kaliszewski, Steven (Thesis director) / Spielberg, Jack (Committee member) / Aguilar, Konrad (Committee member) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
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
Description
Higher-rank graphs, or k-graphs, are higher-dimensional analogues of directed graphs, and as with ordinary directed graphs, there are various C*-algebraic objects that can be associated with them. This thesis adopts a functorial approach to study the relationship between k-graphs and their associated C*-algebras. In particular, two functors are given between appropriate categories of higher-rank graphs and the category of C*-algebras, one for Toeplitz algebras and one for Cuntz-Krieger algebras. Additionally, the Cayley graphs of finitely generated groups are used to define a class of k-graphs, and a functor is then given from a category of finitely generated groups to the category of C*-algebras. Finally, functoriality is investigated for product systems of C*-correspondences associated to k-graphs. Additional results concerning the structural consequences of functoriality, properties of the functors, and combinatorial aspects of k-graphs are also included throughout.
ContributorsEikenberry, Keenan (Author) / Quigg, John (Thesis advisor) / Kaliszewski, Steven (Thesis advisor) / Spielberg, John (Committee member) / Arizona State University (Publisher)
Created2016