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- Member of: ASU Electronic Theses and Dissertations
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
Description
This dissertation describes an investigation of four students' ways of thinking about functions of two variables and rate of change of those two-variable functions. Most secondary, introductory algebra, pre-calculus, and first and second semester calculus courses do not require students to think about functions of more than one variable. Yet vector calculus, calculus on manifolds, linear algebra, and differential equations all rest upon the idea of functions of two (or more) variables. This dissertation contributes to understanding productive ways of thinking that can support students in thinking about functions of two or more variables as they describe complex systems with multiple variables interacting. This dissertation focuses on modeling the way of thinking of four students who participated in a specific instructional sequence designed to explore the limits of their ways of thinking and in turn, develop a robust model that could explain, describe, and predict students' actions relative to specific tasks. The data was collected using a teaching experiment methodology, and the tasks within the teaching experiment leveraged quantitative reasoning and covariation as foundations of students developing a coherent understanding of two-variable functions and their rates of change. The findings of this study indicated that I could characterize students' ways of thinking about two-variable functions by focusing on their use of novice and/or expert shape thinking, and the students' ways of thinking about rate of change by focusing on their quantitative reasoning. The findings suggested that quantitative and covariational reasoning were foundational to a student's ability to generalize their understanding of a single-variable function to two or more variables, and their conception of rate of change to rate of change at a point in space. These results created a need to better understand how experts in the field, such as mathematicians and mathematics educators, thinking about multivariable functions and their rates of change.
ContributorsWeber, Eric David (Author) / Thompson, Patrick (Thesis advisor) / Middleton, James (Committee member) / Carlson, Marilyn (Committee member) / Saldanha, Luis (Committee member) / Milner, Fabio (Committee member) / Van de Sande, Carla (Committee member) / Arizona State University (Publisher)
Created2012
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
Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
Researchers have documented the importance of seeing a graph as an emergent trace of how two quantities’ values vary simultaneously in order to reason about the graph in terms of quantitative relationships. If a student does not see a graph as a representation of how quantities change together then the student is limited to reasoning about perceptual features of the shape of the graph.
This dissertation reports results of an investigation into the ways of thinking that support and inhibit students from constructing and reasoning about graphs in terms of covarying quantities. I collected data by engaging three university precalculus students in asynchronous teaching experiments. I designed the instructional sequence to support students in making three constructions: first imagine representing quantities’ magnitudes along the axes, then simultaneously represent these magnitudes with a correspondence point in the plane, and finally anticipate tracking the correspondence point to track how the two quantities’ attributes change simultaneously.
Findings from this investigation provide insights into how students come to engage in covariational reasoning and re-present their imagery in their graphing actions. The data presented here suggests that it is nontrivial for students to coordinate their images of two varying quantities. This is significant because without a way to coordinate two quantities’ variation the student is limited to engaging in static shape thinking.
I describe three types of imagery: a correspondence point, Tinker Bell and her pixie dust, and an actor taking baby steps, that supported students in developing ways to coordinate quantities’ variation. I discuss the figurative aspects of the students’ coordination in order to account for the difficulties students had (1) constructing a multiplicative object that persisted under variation, (2) reconstructing their acts of covariation in other graphing tasks, and (3) generalizing these acts of covariation to reason about formulas in terms of covarying quantities.
This dissertation reports results of an investigation into the ways of thinking that support and inhibit students from constructing and reasoning about graphs in terms of covarying quantities. I collected data by engaging three university precalculus students in asynchronous teaching experiments. I designed the instructional sequence to support students in making three constructions: first imagine representing quantities’ magnitudes along the axes, then simultaneously represent these magnitudes with a correspondence point in the plane, and finally anticipate tracking the correspondence point to track how the two quantities’ attributes change simultaneously.
Findings from this investigation provide insights into how students come to engage in covariational reasoning and re-present their imagery in their graphing actions. The data presented here suggests that it is nontrivial for students to coordinate their images of two varying quantities. This is significant because without a way to coordinate two quantities’ variation the student is limited to engaging in static shape thinking.
I describe three types of imagery: a correspondence point, Tinker Bell and her pixie dust, and an actor taking baby steps, that supported students in developing ways to coordinate quantities’ variation. I discuss the figurative aspects of the students’ coordination in order to account for the difficulties students had (1) constructing a multiplicative object that persisted under variation, (2) reconstructing their acts of covariation in other graphing tasks, and (3) generalizing these acts of covariation to reason about formulas in terms of covarying quantities.
ContributorsFrank, Kristin Marianna (Author) / Thompson, Patrick W (Thesis advisor) / Carlson, Marilyn P (Thesis advisor) / Milner, Fabio (Committee member) / Roh, Kyeong Hah (Committee member) / Zandieh, Michelle (Committee member) / Arizona State University (Publisher)
Created2017
Description
The ideas of measurement and measurement comparisons (e.g., fractions, ratios, quotients) are introduced to students in elementary school. However, studies report that students of all ages have difficulty comparing two quantities in terms of their relative size. Students often understand fractions such as 3/7 as part-whole relationships or “three out of seven.” These limited conceptions have been documented to have implications for understanding the quotient as a measure of relative size and when learning other foundational ideas in mathematics (e.g., rate of change). Many scholars have identified students’ ability to conceptualize the relative size of two quantities values as important for learning specific ideas such as constant rate of change, exponential growth, and derivative. However, few researchers have focused on students’ ways of thinking about multiplicatively comparing two quantities’ values as they vary together across select topics in precalculus. Relative size reasoning is a way of thinking one has developed when conceptualizing the comparison of two quantities’ values multiplicatively, as their values vary in tandem. This document reviews literature related to relative size reasoning and presents a conceptual analysis that leverages this research in describing what I mean by a relative size comparison and what it means to engage in relative size reasoning. I further illustrate the role of relative size reasoning in understanding rate of change, multiplicative growth, rational functions, and what a graph’s concavity conveys about how two quantities’ values vary together.
This study reports on three beginning calculus students’ ways of thinking as they completed tasks designed to elicit students’ relative size reasoning. The data revealed 4 ways of conceptualizing the idea of quotient and highlights the affordances of conceptualizing a quotient as a measure of the relative size of two quantities’ values. The study also reports data from investigating the validity of a collection of multiple-choice items designed to assess students’ relative size reasoning (RSR) abilities. Analysis of this data provided insights for refining the questions and answer choices for these assessment items.
ContributorsLock, Kayla Ashley (Author) / Carlson, Marilyn (Thesis advisor) / Apkarian, Naneh (Thesis advisor) / Strom, April (Committee member) / Byerley, Cameron (Committee member) / Roh, Kyeong-Hah (Committee member) / Arizona State University (Publisher)
Created2023
Description
Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
ContributorsBrown, Jr., Fredrick Marcell (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Schmelz, Peter (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
ABSTRACT
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
ContributorsWu, Xuelai (Author) / Campbell, Andrew (Thesis advisor) / DeMars, James (Committee member) / Landschoot, Thomas (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2017