Matching Items (7)
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- All Subjects: performing arts
- All Subjects: Chamber music
- Genre: Doctoral Dissertation
- Creators: Landschoot, Thomas
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
The legacy of the great double bassist and pedagogue Joseph Prunner (1886-1969) includes his scale and arpeggio exercise book, Progressive Studies for the Double Bass, composed in 1955. Progressive Studies was originally written for Prunner's students at the Bucharest Conservatoire and was not intended for a wide publication. In the work Prunner presents major and harmonic and melodic minor scales that are performed in one octave and then extended diatonically through all their modes, progressing through this pattern for three octaves, followed by a series of arpeggio exercises. These exercises are based on a modernized fingering system and are offered in the traditional positions and in what Prunner called "Fixed-Position" scales. A series of chromatic scale exercises are also included that follow the template of the major and minor scales. The study at hand is a revision and expansion of Prunner's work. The edition presented here intends to preserve the information that Prunner provided, fix the errors made in editing, and expand the study greatly by increasing the range of the exercises, providing more arpeggio exercises, creating melodic and harmonic minor "Fixed-Position" scales and arpeggio exercises, and including the study of double-stops. In support of the revised and updated version of Progressive Studies, this study includes a biography of Joseph Prunner and a summary of the importance of the type of scale and arpeggio practice the collection of exercises supports. An explanation of the revisions made to Prunner's work and recommendations for using the exercises also precede the new edition.
ContributorsStotz, Daniel Aaron (Author) / Rotaru, Catalin (Thesis advisor) / Holbrook, Amy (Committee member) / Kennedy, Jeffery (Committee member) / Koonce, Frank (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2012
Description
The two solo violin works by Carl Nielsen (1865-1931) have been largely overlooked since their composition in the 1920s. These pieces are representative of Nielsen's mature style, combining elements of classical form (the Theme and Variations) as well as processes more commonly found in the twentieth century (through-composition and non-tonal harmonic language). This paper is designed to bring these long-neglected works to light and make them more approachable for violin students, teachers and performers. As Denmark's leading composer, Nielsen was well regarded in his lifetime, although his isolation from mainland Europe created obstacles in his path toward international fame. Rather than following trends in post-romantic music, he remained true to his own musical ideals. This choice often isolated him further during his career, but his unique blend of chromatic harmony, driving rhythms and juxtapositions of character captivates modern listeners. Although small in scope compared to his symphonies and other large works, the enthusiastic spirit and indomitable energy of the solo violin works reflect Nielsen's character at its best. Combining a high level of virtuosity with solid structural integrity, textural variety and musical interest, these works deserve a much more prominent place in the standard violin repertoire.
ContributorsVallier, Michelle Mitchell (Author) / McLin, Katherine (Thesis advisor) / Rogers, Rodney (Committee member) / Jiang, Danwen (Committee member) / Bailey, Wayne (Committee member) / Landschoot, Thomas (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
String players have been identified as the most affected group of instrumentalists suffering from musculoskeletal disorders, and most of the problems are related to posture. The high prevalence of injuries among string players suggests that there is room in the music curriculum for a program tailored to this population and that can provide both immediate and long-term solutions. Pilates is a mind-body conditioning method of exercises and a philosophy that shares many similarities with string playing technique and performance, which suggests that its practice can be beneficial to improve not only the posture of string players but also various other areas. Studies about Pilates as a treatment show the varied areas in which Pilates can help, which are all of interest to instrumentalists. However, the application of Pilates into the music curriculum as a way to help string players improve awareness and reduce injuries has not yet been fully explored. This document addresses the similarities between Pilates and string playing, identifies postural tendencies of string players, and demonstrates how specific Pilates exercises can help counteract asymmetries, restore balance, and reduce the number of musculoskeletal injuries of string players. All anatomical drawings included in this document were adapted from other sources, as cited, or originally drawn by the author.
ContributorsGallo, María Luciana (Author) / Norton, Kay (Thesis advisor) / Landschoot, Thomas (Thesis advisor) / Humphreys, Jere T. (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2017
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
Description
This is a recording of a new piece for Double bass and Guzheng performer Qingfeng Li, who is internationally renowned. The composer composed this audacious and unique chamber work for double bass and traditional Chinese Guzheng zither in November 2021, dedicating it to me and Guzheng virtuoso Prof. Qingfeng Li. The objective of this project is to create a work for the classic Chinese instrument Guzheng that incorporates elements of Chinese folk music. This chamber music will be a duet for double bass and guzheng, with the guzheng's distinctive style and sonic effects blended into the double bass. The project will contain a recording of this new piece, as well as a written research document outlining the work's structure, the composer's collaboration process with me as a performer, and brief analysis of the work. Additionally, the author recorded this piece in a professional audio and video recording made in China, with Guzheng player Qingfeng Li.This is the first combination of a traditional Chinese instrument, the guzheng, and a Western instrument, the double bass. This unusual melodic combination conveys the essence of traditional musical practices unique to the Chinese folk of Jiangnan. To investigate the connections between the pentatonic scale and traditional musical practices, I have studied Jiangnan music manuscripts compiled by ethnomusicologists. To better complement the traditional instrument of the guzheng in the piece, I studied the history of the guzheng and how to use techniques to express emotion in the piece. These connections are discussed in depth in the chapter on structure form, including how to break out of familiar compositional combinations and how to use the unique acoustics and techniques of the double bass to embody the Chinese folk pentatonic scale. I also discuss the process of working with the composer, the rehearsal process, and the incorporation of necessary modifications in this document to make the music effective and idiomatic for the double bass. This new work at the intermedi
ContributorsWu, Yuxin (Author) / Rotaru, Catalin (Thesis advisor) / Solís, Ted (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2022