Matching Items (1,388)
Filtering by
- All Subjects: Chamber music
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
Description
While former New York Yankees pitcher Goose Gossage unleashed his tirade on the deterioration of the unwritten rules of baseball and nerds ruining the sport about halfway through my writing of the paper, sentiments like his were inspiration for my topic: the evolution of statistics and data in baseball. By telling the story of how baseball data and statistics have evolved, my goal was to also demonstrate how they have been intertwined since the beginning—which would essentially mean that nerds have always been ruining the sport (if you subscribe to that kind of thought).
In the quest to showcase this, it was necessary to document how baseball prospers from numbers and numbers prosper from baseball. The relationship between the two is mutualistic. Furthermore, an all-encompassing historical look at how data and statistics in baseball have matured was a critical portion of the paper. With a metric such as batting average going from a radical new measure that posed a threat to the status quo, to a fiercely cherished statistic that was suddenly being unseated by advanced analytics, it shows the creation of new and destruction of old has been incessant. Innovators like Pete Palmer, Dick Cramer and Bill James played a large role in this process in the 1980s. Computers aided their effort and when paired with the Internet, unleashed the ability to crunch data to an even larger sector of the population. The unveiling of Statcast at the commencement of the 2015 season showed just how much potential there is for measuring previously unquantifiable baseball acts.
Essentially, there will always be people who mourn the presence of data and statistics in baseball. Despite this, the evolution story indicates baseball and numbers will be intertwined into the future, likely to an even greater extent than ever before, as technology and new philosophies become increasingly integrated into front offices and clubhouses.
In the quest to showcase this, it was necessary to document how baseball prospers from numbers and numbers prosper from baseball. The relationship between the two is mutualistic. Furthermore, an all-encompassing historical look at how data and statistics in baseball have matured was a critical portion of the paper. With a metric such as batting average going from a radical new measure that posed a threat to the status quo, to a fiercely cherished statistic that was suddenly being unseated by advanced analytics, it shows the creation of new and destruction of old has been incessant. Innovators like Pete Palmer, Dick Cramer and Bill James played a large role in this process in the 1980s. Computers aided their effort and when paired with the Internet, unleashed the ability to crunch data to an even larger sector of the population. The unveiling of Statcast at the commencement of the 2015 season showed just how much potential there is for measuring previously unquantifiable baseball acts.
Essentially, there will always be people who mourn the presence of data and statistics in baseball. Despite this, the evolution story indicates baseball and numbers will be intertwined into the future, likely to an even greater extent than ever before, as technology and new philosophies become increasingly integrated into front offices and clubhouses.
ContributorsGarcia, Jacob Michael (Author) / Kurland, Brett (Thesis director) / Doig, Stephen (Committee member) / Jackson, Victoria (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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
Beginning with the publication of Moneyball by Michael Lewis in 2003, the use of sabermetrics \u2014 the application of statistical analysis to baseball records - has exploded in major league front offices. Executives Billy Beane, Paul DePoedesta, and Theo Epstein are notable figures that have been successful in incorporating sabermetrics to their team's philosophy, resulting in playoff appearances and championship success. The competitive market of baseball, once dominated by the collusion of owners, now promotes innovative thought to analytically develop competitive advantages. The tiered economic payrolls of Major League Baseball (MLB) has created an environment in which large-market teams are capable of "buying" championships through the acquisition of the best available talent in free agency, and small-market teams are pushed to "build" championships through the drafting and systematic farming of high-school and college level players. The use of sabermetrics promotes both models of success \u2014 buying and building \u2014 by unbiasedly determining a player's productivity. The objective of this paper is to develop a regression-based predictive model that can be used by Majors League Baseball teams to forecast the MLB career average offensive performance of college baseball players from specific conferences. The development of this model required multiple tasks: I. Data was obtained from The Baseball Cube, a baseball records database providing both College and MLB data. II. Modifications to the data were applied to adjust for year-to-year formatting, a missing variable for seasons played, the presence of missing values, and to correct league identifiers. III. Evaluation of multiple offensive productivity models capable of handling the obtained dataset and regression forecasting technique. IV. SAS software was used to create the regression models and analyze the residuals for any irregularities or normality violations. The results of this paper find that there is a relationship between Division 1 collegiate baseball conferences and average career offensive productivity in Major Leagues Baseball, with the SEC having the most accurate reflection of performance.
ContributorsBadger, Mathew Bernard (Author) / Goegan, Brian (Thesis director) / Eaton, John (Committee member) / Department of Economics (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Over the past several decades, analytics have become more and more prevalent in the game of baseball. Statistics are used in nearly every facet of the game. Each team develops its own processes, hoping to gain a competitive advantage over the rest of the league. One area of the game that has struggled to produce definitive analytics is amateur scouting. This project seeks to resolve this problem through the creation of a new statistic, Valued Plate Appearance Index (VPI). The problem is identified through analysis that was performed to determine whether any correlation exists between performances at the country's top amateur baseball league, the Cape Cod League, and performances in Major League Baseball. After several stats were analyzed, almost no correlation was determined between the two. This essentially means that teams have no way to statistically analyze Cape Cod League performance and project future statistics. An inherent contextual error in these amateur statistics prevents them from correlating. The project seeks to close that contextual gap and create concrete, encompassing values to illustrate a player's offensive performance in the Cape League. To solve for this problem, data was collected from the 2017 CCBL season. In addition to VPI, Valued Plate Appearance Approach (VPA) and Valued Plate Appearance Result (VPR) were created to better depict a player's all-around performance in each plate appearance. VPA values the quality of a player's approach in each plate appearance. VPR values the quality of the contact result, excluding factors out of the hitter's control. This statistic isolates player performance as well as eliminates luck that cannot normally be taken into account. This paper results in the segmentation of players from the 2017 CCBL into four different groups, which project how they will perform as they transition into professional baseball. These groups and the creation of these statistics could be essential tools in the evaluation and projection of amateur players by Major League clubs for years to come.
ContributorsLothrop, Joseph Kent (Author) / Eaton, John (Thesis director) / McIntosh, Daniel (Committee member) / Department of Information Systems (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
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