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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
Science, Technology, Engineering & Mathematics (STEM) careers have been touted as critical to the success of our nation and also provide important opportunities for access and equity of underrepresented minorities (URM's). Community colleges serve a diverse population and a large number of undergraduates currently enrolled in college, they are well

Science, Technology, Engineering & Mathematics (STEM) careers have been touted as critical to the success of our nation and also provide important opportunities for access and equity of underrepresented minorities (URM's). Community colleges serve a diverse population and a large number of undergraduates currently enrolled in college, they are well situated to help address the increasing STEM workforce demands. Geoscience is a discipline that draws great interest, but has very low representation of URM's as majors. What factors influence a student's decision to major in the geosciences and are community college students different from research universities in what factors influence these decisions? Through a survey-design mixed with classroom observations, structural equation model was employed to predict a student's intent to persist in introductory geology based on student expectancy for success in their geology class, math self-concept, and interest in the content. A measure of classroom pedagogy was also used to determine if instructor played a role in predicting student intent to persist. The targeted population was introductory geology students participating in the Geoscience Affective Research NETwork (GARNET) project, a national sampling of students in enrolled in introductory geology courses. Results from SEM analysis indicated that interest was the primary predictor in a students intent to persist in the geosciences for both community college and research university students. In addition, self-efficacy appeared to be mediated by interest within these models. Classroom pedagogy impacted how much interest was needed to predict intent to persist, in which as classrooms became more student centered, less interest was required to predict intent to persist. Lastly, math self-concept did not predict student intent to persist in the geosciences, however, it did share variance with self-efficacy and control of learning beliefs, indicating it may play a moderating effect on student interest and self-efficacy. Implications of this work are that while community college students and research university students are different in demographics and content preparation, student-centered instruction continues to be the best way to support student's interest in the sciences. Future work includes examining how math self-concept may play a role in longitudinal persistence in the geosciences.
ContributorsKraft, Katrien J. van der Hoeven (Author) / Husman, Jenefer (Thesis advisor) / Semken, Steven (Thesis advisor) / Baker, Dale R. (Committee member) / McConnell, David (Committee member) / Arizona State University (Publisher)
Created2014
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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
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
This correlational study investigated how adolescent's artistic style changed depending on their level of interest in art. The participants were 28 students from the 7th and 8th grade of Zuni Hills Elementary School. A survey was administered which measured, in regards to their artwork, the categories of interest, experimentation in

This correlational study investigated how adolescent's artistic style changed depending on their level of interest in art. The participants were 28 students from the 7th and 8th grade of Zuni Hills Elementary School. A survey was administered which measured, in regards to their artwork, the categories of interest, experimentation in subject, experimentation in material, abstract style, literal style, imagination, identity, emotion and storytelling. It was predicted that interest would have a significant positive relationship with abstract style and experimentation with subject. It was also predicted that interest would have a significant negative relationship with literal style and experimentation with material. Scores for all categories were compared and significant positive relations were found in regards to emotion, identity and storytelling. There was also a significant positive realtionship between interest and imagination as well as interest and emotion. These findings add to research about motivation in adolescent art through the means of expression of the self.
ContributorsAbeyta, Jennifer Lee (Author) / Miller, Paul (Thesis director) / Lewis, Stephen K. (Committee member) / Barrett, The Honors College (Contributor) / School of Social and Behavioral Sciences (Contributor)
Created2014-05
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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