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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
Description
This thesis uses a white paper to outline a plan that Arizona State University (ASU) can implement to better fight sexual assault in the ASU community. This plan focuses on education, training, and reporting tools for both faculty and students to better prevent and respond to sexual assault. This thesis includes a presentation that is to be used in ASU freshman seminar classes for an in person peer to peer educational experience to assure that the majority of the ASU population is educated on ideas about consent and bystander intervention.
ContributorsChange, Imani Simone (Author) / Vega, Sujey (Thesis director) / McGibbney, Michelle (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Social Transformation (Contributor) / W. P. Carey School of Business (Contributor)
Created2014-12
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
Sexual violence is a problem on college campuses across that United States. In the past few years, federal and state legislation has been drafted in order to address campus sexual violence. A main feature of this legislation addresses an important communicative construct related to students’ sexual behavior: sexual consent. Colleges and universities are adopting an affirmative-standard of consent, which emphasizes that consent for sexual activity be communicated verbally or via unambiguous actions, mutual, voluntary, enthusiastic, and ongoing throughout the sexual encounter. Literature has explored how college students communicate and interpret sexual consent, but antecedents to sexual consent behaviors, particularly affirmative consent, are largely unknown.
The current investigation seeks to longitudinally explore the antecedents to college students’ affirmative sexual consent behaviors (i.e., nonverbal, initiating, verbal). Using the Theory of Planned Behavior (TPB) as a theoretical framework, hypotheses predicted that at Time 1 (T1) attitudes, norms, and perceived behavioral control would positively and significantly predict students’ (T1) intentions to communicate affirmative consent to their partner. Then, it was predicted that at Time 2 (T2)—thirty days later—intentions to communicate consent from T1 would positively and significantly predict college students’ communication of affirmative consent to their partner during their most recent sexual encounter. The final matched (i.e., completed T1 and T2 surveys) sample included two hundred twenty-five (N = 225) college students who had engaged in sexual activity during the 30 days between survey distributions. Results from the path analyses support the theoretically driven hypotheses for all three affirmative consent behaviors, and demonstrate that subjective norms and perceived control are important and strong determinants of students’ communication of affirmative sexual consent. Furthermore, multi-group invariance tested the potential moderating effects of three individual, two dyadic, and two environmental/contextual variables on the strength of path coefficients between TPB constructs for all three sexual consent behaviors. Only individual and environmental/contextual variables significantly moderated relationships within the TPB for the three models. Results are discussed with regard to theoretical implications as well as practical implications for university health educators and other health professionals. Additionally, limitations and future directions are noted.
The current investigation seeks to longitudinally explore the antecedents to college students’ affirmative sexual consent behaviors (i.e., nonverbal, initiating, verbal). Using the Theory of Planned Behavior (TPB) as a theoretical framework, hypotheses predicted that at Time 1 (T1) attitudes, norms, and perceived behavioral control would positively and significantly predict students’ (T1) intentions to communicate affirmative consent to their partner. Then, it was predicted that at Time 2 (T2)—thirty days later—intentions to communicate consent from T1 would positively and significantly predict college students’ communication of affirmative consent to their partner during their most recent sexual encounter. The final matched (i.e., completed T1 and T2 surveys) sample included two hundred twenty-five (N = 225) college students who had engaged in sexual activity during the 30 days between survey distributions. Results from the path analyses support the theoretically driven hypotheses for all three affirmative consent behaviors, and demonstrate that subjective norms and perceived control are important and strong determinants of students’ communication of affirmative sexual consent. Furthermore, multi-group invariance tested the potential moderating effects of three individual, two dyadic, and two environmental/contextual variables on the strength of path coefficients between TPB constructs for all three sexual consent behaviors. Only individual and environmental/contextual variables significantly moderated relationships within the TPB for the three models. Results are discussed with regard to theoretical implications as well as practical implications for university health educators and other health professionals. Additionally, limitations and future directions are noted.
ContributorsBednarchik, Lori A (Author) / Costigan Lederman, Linda (Thesis advisor) / Mongeau, Paul (Thesis advisor) / Roberto, Anthony (Committee member) / Christopher, F Scott (Committee member) / Arizona State University (Publisher)
Created2016
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