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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

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
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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

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
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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

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.
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
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Description
Advances in technology are fueling a movement toward ubiquity for beyond-the-desktop systems. Novel interaction modalities, such as free space or full body gestures are becoming more common, as demonstrated by the rise of systems such as the Microsoft Kinect. However, much of the interaction design research for such systems is

Advances in technology are fueling a movement toward ubiquity for beyond-the-desktop systems. Novel interaction modalities, such as free space or full body gestures are becoming more common, as demonstrated by the rise of systems such as the Microsoft Kinect. However, much of the interaction design research for such systems is still focused on desktop and touch interactions. Current thinking in free-space gestures are limited in capability and imagination and most gesture studies have not attempted to identify gestures appropriate for public walk-up-and-use applications. A walk-up-and-use display must be discoverable, such that first-time users can use the system without any training, flexible, and not fatiguing, especially in the case of longer-term interactions. One mechanism for defining gesture sets for walk-up-and-use interactions is a participatory design method called gesture elicitation. This method has been used to identify several user-generated gesture sets and shown that user-generated sets are preferred by users over those defined by system designers. However, for these studies to be successfully implemented in walk-up-and-use applications, there is a need to understand which components of these gestures are semantically meaningful (i.e. do users distinguish been using their left and right hand, or are those semantically the same thing?). Thus, defining a standardized gesture vocabulary for coding, characterizing, and evaluating gestures is critical. This dissertation presents three gesture elicitation studies for walk-up-and-use displays that employ a novel gesture elicitation methodology, alongside a novel coding scheme for gesture elicitation data that focuses on features most important to users’ mental models. Generalizable design principles, based on the three studies, are then derived and presented (e.g. changes in speed are meaningful for scroll actions in walk up and use displays but not for paging or selection). The major contributions of this work are: (1) an elicitation methodology that aids users in overcoming biases from existing interaction modalities; (2) a better understanding of the gestural features that matter, e.g. that capture the intent of the gestures; and (3) generalizable design principles for walk-up-and-use public displays.
ContributorsDanielescu, Lavinia Andreea (Author) / Walker, Erin A (Thesis advisor) / Burleson, Winslow (Thesis advisor) / VanLehn, Kurt (Committee member) / Kuznetsov, Anastasia (Committee member) / Maher, Mary Lou (Committee member) / Arizona State University (Publisher)
Created2019
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Description
Technological advances in the past decade alone are calling for modifications to the usability of various devices. Physical human interaction is becoming a popular method to communicate with user interfaces. This ranges from touch-based devices such as an iPad or tablet to free space gesture systems such as the Microsoft

Technological advances in the past decade alone are calling for modifications to the usability of various devices. Physical human interaction is becoming a popular method to communicate with user interfaces. This ranges from touch-based devices such as an iPad or tablet to free space gesture systems such as the Microsoft Kinect. With the rise in popularity of these types of devices comes the increased amount of them in public areas. Public areas frequently use walk-up-and-use displays, which give many people the opportunity to interact with them. Walk-up-and-use displays are intended to be simple enough that any individual, regardless of experience using similar technology, will be able to successfully maneuver the system. While this should be easy enough for the people using it, it is a more complicated task for the designers who are in charge of creating an interface simple enough to use while also accomplishing the tasks it was built to complete. A serious issue that I'll be addressing in this thesis is how a system designer knows what gestures to program the interface to successfully respond to. Gesture elicitation is one widely used method to discover common, intuitive, gestures that can be used with public walk-up-and-use interactive displays. In this paper, I present a study to extract common intuitive gestures for various tasks, an analysis of the responses, and suggestions for future designs of interactive, public, walk-up-and use interactions.
ContributorsVan Horn, Sarah Elizabeth (Author) / Walker, Erin (Thesis director) / Danielescu, Andreea (Committee member) / Economics Program in CLAS (Contributor) / Department of Finance (Contributor) / Barrett, The Honors College (Contributor)
Created2015-05
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
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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

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.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016