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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
The multibillion dollar fantasy sports industry is comprised of two main groups: traditional fantasy sports (TFS) and daily fantasy sports (DFS). TFS users play in seasonlong leagues while DFS users play in oneday contests. In November 2015, New York Attorney General Eric T. Schneiderman opened an investigation into the DFS businesses FanDuel and DraftKings following allegations of “insider trading” by employees who may have had access to information that was not available to the public. Schneiderman’s investigation generated questions about DFS and how they differed from TFS. It was also the first instance of the differentiation between the two. This study looks at how TFS users and DFS users are similar and different in their motivations to play.
Our study surveyed 43 DFS users to determine how they began playing DFS, what they like about DFS, and what they dislike about DFS. From the data collected, it was determined that TFS and DFS users are similar in their competitive nature, in their increased levels of sports consumption and investment, and in their increased favoritism towards individual players over teams. The main differences between TFS and DFS users were how each felt they were at a disadvantage, the levels of camaraderie within the sport, and their stance on gambling. TFS users felt their disadvantages came from lackluster commissioners while DFS users felt that the companies themselves were setting them at a disadvantage. TFS users placed more value on the camaraderie and social sport while DFS users placed more value on profit and excitement. TFS users felt that TFS was not gambling and that DFS was, while DFS users accepted DFS as gambling.
Our study surveyed 43 DFS users to determine how they began playing DFS, what they like about DFS, and what they dislike about DFS. From the data collected, it was determined that TFS and DFS users are similar in their competitive nature, in their increased levels of sports consumption and investment, and in their increased favoritism towards individual players over teams. The main differences between TFS and DFS users were how each felt they were at a disadvantage, the levels of camaraderie within the sport, and their stance on gambling. TFS users felt their disadvantages came from lackluster commissioners while DFS users felt that the companies themselves were setting them at a disadvantage. TFS users placed more value on the camaraderie and social sport while DFS users placed more value on profit and excitement. TFS users felt that TFS was not gambling and that DFS was, while DFS users accepted DFS as gambling.
ContributorsLandauer, Kevin James (Author) / Ingram-Waters, Mary (Thesis director) / Fette, Donald (Committee member) / W. P. Carey School of Business (Contributor) / School of Molecular Sciences (Contributor) / WPC Graduate Programs (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The concept of branding has been around for centuries, but personal branding is a relatively new concept that has been defined and executed by many public figures. With the rise of technological advancements like social media, professional athletes have ample opportunities to connect with consumers outside of their respective court. Our thesis team conducted research with Dr. John Eaton and Professor Daniel McIntosh to analyze how athletes’ actions and behaviors affect consumers’ opinions about their brand.
We developed multiple surveys that were distributed to Marketing & Business Performance (MKT 300) students at Arizona State University and AWS Mechanical Turk Workers. The goal of obtaining information from both college students and paid survey-takers was to compile a diverse set of opinions regarding how consumers react to athletes’ social media and public behavior. This led us to analyze how consumers interact with athletes on social media platforms based on the sport they play and consequences of their actions. After examining our consumer research, interviewing executives in the legal background, and talking to some of the university’s top-prospective athletes to gain different viewpoints, we created consumer and athlete categories.
We established six main consumer categories and six main athlete social media strategy personas in order to create social media strategy recommendations. With this information, athletes have the opportunity to develop well-thought out social media strategies that are more tailored to their fan base(s). Athletes must be cognizant of how the content on their social media accounts and their public actions will affect consumers’ perceptions about who they are and their personal brand.
We developed multiple surveys that were distributed to Marketing & Business Performance (MKT 300) students at Arizona State University and AWS Mechanical Turk Workers. The goal of obtaining information from both college students and paid survey-takers was to compile a diverse set of opinions regarding how consumers react to athletes’ social media and public behavior. This led us to analyze how consumers interact with athletes on social media platforms based on the sport they play and consequences of their actions. After examining our consumer research, interviewing executives in the legal background, and talking to some of the university’s top-prospective athletes to gain different viewpoints, we created consumer and athlete categories.
We established six main consumer categories and six main athlete social media strategy personas in order to create social media strategy recommendations. With this information, athletes have the opportunity to develop well-thought out social media strategies that are more tailored to their fan base(s). Athletes must be cognizant of how the content on their social media accounts and their public actions will affect consumers’ perceptions about who they are and their personal brand.
ContributorsRishwain, Demetra Nicole (Co-author) / Delgado, Samantha (Co-author) / Sminkey, Marie (Co-author) / Eaton, John (Thesis director) / McIntosh, Daniel (Committee member) / Department of Marketing (Contributor, Contributor) / Department of Information Systems (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
ContributorsASU Library. Music Library (Publisher)
Created2018-01-31