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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
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Description
Separation from a loved one is a highly stressful event. The range and intensity of emotions accompanying such a separation arguably are amplified when one's spouse deploys. This thesis examines at-home spouses (AHSs) of deployed military and how emotion, marital satisfaction, and communication are impacted throughout the deployment cycle. Additionally,

Separation from a loved one is a highly stressful event. The range and intensity of emotions accompanying such a separation arguably are amplified when one's spouse deploys. This thesis examines at-home spouses (AHSs) of deployed military and how emotion, marital satisfaction, and communication are impacted throughout the deployment cycle. Additionally, I explore technology as a possible coping mechanism to help AHSs adapt and overcome stressfulness of deployment. One hundred sixty-six married females with a partner currently deployed, anticipating deployment, or recently returned from deployment completed an on-line survey. It was predicted AHSs would experience specific emotions during each phase, categorized as "anticipatory," (e.g., anger, worry) "absence" (e.g., lonely, sad) or "post" (e.g., happiness, relief); marital satisfaction also was predicted to be higher among spouses whose partner recently returned from deployment versus was deployed or anticipating deployment. Data showed AHSs whose partner was anticipating or currently deployed reported more "anticipatory" and "absence" emotions than AHSs with a recently returned partner. The former two groups did not differ in these emotions. AHSs with a recently returned partner reported more "post" emotions than the other two groups. Marital satisfaction did not differ based on deployment status. It was also predicted that among AHSs with a currently deployed partner, less negative emotion upon deployment would be associated with more frequent communication during deployment. Data showed AHSs who reported less negative emotion upon deployment engaged in more frequent communication with their deployed partner. Lastly, I predicted AHSs whose partners are currently deployed and who prefer modes of communication allowing direct contact (e.g., Skype) will experience less negative emotions than AHSs who prefer indirect contact (e.g., e-mail). Data showed reports of negative emotion did not differ based on preference for direct versus indirect communication. Therefore, negative emotions may develop and persist before and during deployment, but when the partner returns home, spouses do experience a rebound of positive emotions. Additionally, emotions at the time of deployment may be useful in predicting spouses' communication frequency during deployment. Findings aim to provide knowledge of family life during separation and explore technology as a possible coping mechanism for AHSs.
ContributorsPowell, Katrina D (Author) / Roberts, Nicole A. (Thesis advisor) / Burleson, Mary H. (Committee member) / Hall, Deborah (Committee member) / Arizona State University (Publisher)
Created2011
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
In the mid-1970s, social scientists began observing marital dyad conversations in laboratory settings with the hope of determining which observable features best discriminate couples who report being either satisfied or unsatisfied with their relationship. These studies continued until about a decade ago when, in addition to increasing laboratory costs slowing

In the mid-1970s, social scientists began observing marital dyad conversations in laboratory settings with the hope of determining which observable features best discriminate couples who report being either satisfied or unsatisfied with their relationship. These studies continued until about a decade ago when, in addition to increasing laboratory costs slowing the pace of new data collection, researchers realized that distressed couples were easier to quantitatively describe than nondistressed couples. Specifically, distressed couples exhibit rigid patterns of negativity whereas couples who report being maritally satisfied show minimal rigidity in the opposite direction \u2014 positivity. This was, and is, a theoretical dilemma: how can clinicians understand and eventually modify distressed relationships when the behavior of satisfied couples are less patterned, less predictable and more diverse? A recent study by Griffin and Li (2015), using contemporary machine learning techniques, reanalyzed existing marital interaction data and found that, contrary to expectation and existing theory, nondistressed couples should be further subdivided into two groups \u2014 those who are predictably positive or neutral and those who interact using diverse and varying levels of positive and negative behaviors. The latter group is the focus of this thesis. Using these recent findings as discussion points, I review how the unexpected behaviors in this novel group can maintain and possibly perpetuate marital satisfaction.
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
ContributorsEvans, Bartlett R. (Conductor) / Schildkret, David (Conductor) / Glenn, Erica (Conductor) / Concert Choir (Performer) / Chamber Singers (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-16
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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