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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
Amphibians have been experiencing a worldwide decline that is in part caused by an infectious disease, chytridiomycosis, specific to frogs and salamanders. Globally many species have declined or gone extinct because of the pathogenic fungus Batrachochytrium dendrobatidis, also known as the amphibian chytrid or Bd. By the time Bd was discovered it was too late to stop the spread and it has now been found on almost every continent. The trade of captive amphibians, used as pets, bait, and educational animals provides an opportunity to spread Bd. Because some amphibians can carry Bd without experiencing symptoms, it is possible for even healthy looking amphibians to spread the amphibian chytrid if they are moved from one location to another. Recently, a new species Batrachochytrium salamandrivorans (Bsal) was found on salamanders. Bsal was identified before it reached the United States, prompting concern regarding its spread and a call for regulation regarding the trade of captive amphibians. There are some regulations in place controlling the trade of amphibians, but they are insufficient to stop the spread of amphibian chytrid in captive populations. A 2016 law prohibits the importation of 201 salamander species. However, there is no central organization to sample or certify if amphibians are free from Bd or Bsal. Although some stores say they test for these pathogens the tests are unregulated and not reported to any central body. If the captive amphibian trade is to go disease free, there would need to be a significant push to coordinate testing efforts. To estimate Bd's prevalence in Arizona captive amphibian populations, I contacted pet stores, bait stores, and sanctuary or educational organizations to ask if I could sample their amphibian collections. My research built on the 2008 work of Angela Picco, who sampled for the amphibian chytrid in Arizona bait shops. I found that amphibian owners were often hesitant and unwilling to participate in this research opportunity. There are multiple reasons for this hesitancy including a fear of increased regulation, the potential for reporting to a government agency (USDA), or the eventual cessation of amphibian trade. The lack of willing participants suggests there may be difficulties in coordinating future sampling efforts for Bd and Bsal.
ContributorsFadlovich, Rachel Maurine (Author) / Collins, James (Thesis director) / Minteer, Ben (Committee member) / Brus, Evan (Committee member) / School of Life Sciences (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Batrachochytrium dendrobatidis (Bd), the amphibian chytrid fungus causing chytridiomycosis, is the cause of massive amphibian die-offs. As with any host-pathogen relationship, it is paramount to understand the growth and reproduction of the pathogen that causes an infectious disease outbreak. The life-cycle of the pathogen, Bd, is strongly influenced by temperature; however, previous research has focused on Bd isolated from limited geographic ranges, and may not be representative of Bd on a global scale. My research examines the relationship between Bd and temperature on the global level to determine the actual thermal maximum of Bd. Six isolates of Bd, from three continents, were incubated at a temperature within the thermal range (21°C) and a temperature higher than the optimal thermal range (27°C). Temperature affected the growth and zoosporangium size of all six isolates of Bd. All six isolates had proliferative growth at 21°C, but at 27°C the amount and quality of growth varied per isolate. My results demonstrate that each Bd isolate has a different response to temperature, and the thermal maximum for growth varies with each isolate. Further understanding of the difference in isolate response to temperature can lead to a better understanding of Bd pathogen dynamics, as well as allow us the ability to identify susceptible hosts and environments before an outbreak.
ContributorsWoodland, Laura Elizabeth (Author) / Collins, James (Thesis director) / Davidson, Elizabeth (Committee member) / Roberson, Robert (Committee member) / School of Politics and Global Studies (Contributor) / School of Molecular Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
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
ContributorsASU Library. Music Library (Publisher)
Created2018-01-31