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Description
Tempe Terra, Mars, has a complex history marked by volcanism and tectonism. Investigation results presented here build on previous work to better determine the volcanic history of the Tempe volcanic province by identifying and mapping previously undetected vents, characterizing all vents, identifying spatial and temporal trends in eruptive styles, comparing vent density to similar provinces such as the Snake River Plains of Idaho and Syria Planum and determining absolute age relationships among the volcanic features. Crater size-frequency distribution model ages of 120 Ma to 2.4 Ga indicate the province has been active for over half of the planet's history. During that time, age decreases from southwest to northeast, a trend that parallels the dominant orientation of faulting in the region, providing further evidence that volcanic activity in the region is tectonically controlled (or the tectonics is magmatically controlled). Morphological variation with age hints at an evolving magma source (increasing viscosity) or changing eruption conditions (decreasing eruption rate or eruption through thicker lithosphere).
ContributorsManfredi, Leon (Author) / Clarke, Amanda B (Thesis advisor) / Williams, David A. (Thesis advisor) / Reynolds, Stephen J. (Committee member) / Arizona State University (Publisher)
Created2012
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
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
Silicic volcanoes produce many styles of activity over a range of timescales. Eruptions vary from slow effusion of viscous lava over many years to violent explosions lasting several hours. Hazards from these eruptions can be far-reaching and persistent, and are compounded by the dense populations often surrounding active volcanoes. I apply and develop satellite and ground-based remote sensing techniques to document eruptions at Merapi and Sinabung Volcanoes in Indonesia. I use numerical models of volcanic activity in combination with my observational data to describe the processes driving different eruption styles, including lava dome growth and collapse, lava flow emplacement, and transitions between effusive and explosive activity.
Both effusive and explosive eruptions have occurred recently at Merapi volcano. I use satellite thermal images to identify variations during the 2006 effusive eruption and a numerical model of magma ascent to explain the mechanisms that controlled those variations. I show that a nearby tectonic earthquake may have triggered the peak phase of the eruption by increasing the overpressure and bubble content of the magma and that the frequency of pyroclastic flows is correlated with eruption rate. In 2010, Merapi erupted explosively but also shifted between rapid dome-building and explosive phases. I explain these variations by the heterogeneous addition of CO2 to the melt from bedrock under conditions favorable to transitions between effusive and explosive styles.
At Sinabung, I use photogrammetry and satellite images to describe the emplacement of a viscous lava flow. I calculate the flow volume (0.1 km3) and average effusion rate (4.4 m3 s-1) and identify active regions of collapse and advance. Advance rate was controlled by the effusion rate and the flow’s yield strength. Pyroclastic flow activity was initially correlated to the decreasing flow advance rate, but was later affected by the underlying topography as the flow inflated and collapsed near the vent, leading to renewed pyroclastic flow activity.
This work describes previously poorly understood mechanisms of silicic lava emplacement, including multiple causes of pyroclastic flows, and improves the understanding, monitoring capability, and hazard assessment of silicic volcanic eruptions.
Both effusive and explosive eruptions have occurred recently at Merapi volcano. I use satellite thermal images to identify variations during the 2006 effusive eruption and a numerical model of magma ascent to explain the mechanisms that controlled those variations. I show that a nearby tectonic earthquake may have triggered the peak phase of the eruption by increasing the overpressure and bubble content of the magma and that the frequency of pyroclastic flows is correlated with eruption rate. In 2010, Merapi erupted explosively but also shifted between rapid dome-building and explosive phases. I explain these variations by the heterogeneous addition of CO2 to the melt from bedrock under conditions favorable to transitions between effusive and explosive styles.
At Sinabung, I use photogrammetry and satellite images to describe the emplacement of a viscous lava flow. I calculate the flow volume (0.1 km3) and average effusion rate (4.4 m3 s-1) and identify active regions of collapse and advance. Advance rate was controlled by the effusion rate and the flow’s yield strength. Pyroclastic flow activity was initially correlated to the decreasing flow advance rate, but was later affected by the underlying topography as the flow inflated and collapsed near the vent, leading to renewed pyroclastic flow activity.
This work describes previously poorly understood mechanisms of silicic lava emplacement, including multiple causes of pyroclastic flows, and improves the understanding, monitoring capability, and hazard assessment of silicic volcanic eruptions.
ContributorsCarr, Brett B (Author) / Clarke, Amanda B (Thesis advisor) / Arrowsmith, Ramon (Committee member) / Mcnamara, Allen (Committee member) / Shirzaei, Manoochehr (Committee member) / Williams, Stanley (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsASU Library. Music Library (Publisher)
Created2018-01-31