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- Genre: Academic theses
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
We report the synthesis of novel boronic acid-containing metal-organic frameworks (MOFs), which was synthesized via solvothermal synthesis of cobalt nitride with 3,5-Dicarboxyphenylboronic acid (3,5-DCPBC). Powder X-ray diffraction and BET surface area analysis have been used to verify the successful synthesis of this microporous material.
We have also made the attempts of using zinc nitride and copper nitride as metal sources to synthesize the boronic acid-containing MOFs. However, the attempts were not successful. The possible reason is the existence of copper and zinc ions catalyzed the decomposition of 3,5-Dicarboxyphenylboronic acid, forming isophthalic acid. The ended product has been proved to be isophthalic acid crystals by the single crystal X-ray diffraction. The effects of solvents, reaction temperature, and added bases were investigated. The addition of triethylamine has been shown to tremendously improve the sample crystallinity by facilitating ligand deprotonation
We have also made the attempts of using zinc nitride and copper nitride as metal sources to synthesize the boronic acid-containing MOFs. However, the attempts were not successful. The possible reason is the existence of copper and zinc ions catalyzed the decomposition of 3,5-Dicarboxyphenylboronic acid, forming isophthalic acid. The ended product has been proved to be isophthalic acid crystals by the single crystal X-ray diffraction. The effects of solvents, reaction temperature, and added bases were investigated. The addition of triethylamine has been shown to tremendously improve the sample crystallinity by facilitating ligand deprotonation
ContributorsYu, Jiuhao (Author) / Mu, Bin (Thesis advisor) / Forzani, Erica (Committee member) / Nielsen, David (Committee member) / Arizona State University (Publisher)
Created2014
Description
Cardiovascular disease has reached epidemic proportions resulting in its ranking as the number one cause of mortality in the Western world. A key player in the pathophysiology of vascular disease is oxidative stress due to free radical accumulation. This intervention study was conducted to evaluate any potential mediation of oxidative stress using a soil-derived organometallic compound (OMC) with suspected antioxidant properties. A 10-week study was conducted in male Sprague-Dawley rats (n = 42) fed either a high-fat diet (HFD) consisting of 60% kcal from fat or a standard Chow diet containing only 6% kcals from fat. Rats from each diet group were then subdivided into 3 subgroups (n = 6-10 each) that received 0.0 mg/mL, 0.6 mg/mL or 3.0 mg/mL OMC. Neither the diet nor OMC significantly changed protein expression of inducible nitric oxide synthase (iNOS) in isolated aortas. Plasma levels of the inflammatory marker, tumor necrosis factor alpha (TNFα) were below detection after the 10-week trial. Superoxide dismutase (SOD), a scavenger of the free radical, superoxide, was not significantly different following HFD although levels of SOD were significantly higher in Chow rats treated with 0.6 mg/mL OMC compared to HFD rats treated with the same dose (p < 0.05). Lipopolysaccharides (LPS) were significantly increased following 10 weeks of high fat intake (p < 0.05). This increase in endotoxicity was prevented by the high dose of OMC. HFD significantly increased fasting serum glucose levels at both 6 weeks (p < 0.001) and 10 weeks (p < 0.025) compared to Chow controls. The high dose of OMC significantly prevented the hyperglycemic effects of the HFD in rats at 10 weeks (p = 0.021). HFD-fed rats developed hyperinsulinemia after 10 weeks of feeding (p = 0.009), which was not prevented by OMC. The results of this study indicate that OMC may be an effective strategy to help manage diet-induced hyperglycemia and endotoxemia. However, further research is needed to determine the mechanism by which OMC helps prevent hyperglycemia as measures of inflammation (TNFα) and vascular damage (iNOS) were inconclusive.
ContributorsWatson, Deborah F (Author) / Sweazea, Karen L (Thesis advisor) / Johnston, Carol (Committee member) / Mayol-Kreiser, Sandra (Committee member) / Arizona State University (Publisher)
Created2018
Description
Background: Nearly 95% of Americans will develop hypertension, and 67% will not seek treatment. Furthermore, hypertension is the leading risk factor for coronary heart disease. While previous studies have increased the use of blood pressure medication among patients that have received hypertension education, medications may not work for everyone. Due to the life-threatening nature of this condition, it is essential to find an effective alternative for treatment. The purpose of this study was to examine the impact of organometallic complex supplementation on hypertension and left ventricular hypertrophy in 6-week old male Sprague-Dawley rats that were fed either standard rodent chow or a high fat diet for 10 weeks at a university in Arizona.
Methods: Forty-two healthy six-week old male Sprague-Dawley rats were randomly assigned to one of three groups: plain water control, 0.6 mg/ml organometallic complex or 3.0 mg/ml organometallic complex as soon as they arrived. Each rat was then housed individually to prevent the sharing of microbiota through coprophagia. Rats in each treatment group were further divided into two dietary groups that were fed either a high fat diet containing 60% kcal fat that was changed every three days or standard rodent chow. Researchers were not blind to which rat was in each group. At the end of the 10-week study, rats were euthanized with an overdose of sodium pentobarbital (200 mg/kg, i.p.). Heart, left ventricle of the heart, liver, and spleen masses were recorded for each animal. Data were analyzed by two-way ANOVA using SigmaPlot 10.0 software.
Results: At the conclusion of this study, the left ventricle mass of the rats in the high fat diet group were significantly larger than those in the chow group. Neither dose of the organometallic complex supplement prevented these effects induced by high fat feeding.
Conclusion: The organometallic complex supplement was not effective at mitigating the effects of a high fat diet on cardiac hypertrophy in rats. Therefore, this supplement should not be used to treat cardiac hypertrophy.
Methods: Forty-two healthy six-week old male Sprague-Dawley rats were randomly assigned to one of three groups: plain water control, 0.6 mg/ml organometallic complex or 3.0 mg/ml organometallic complex as soon as they arrived. Each rat was then housed individually to prevent the sharing of microbiota through coprophagia. Rats in each treatment group were further divided into two dietary groups that were fed either a high fat diet containing 60% kcal fat that was changed every three days or standard rodent chow. Researchers were not blind to which rat was in each group. At the end of the 10-week study, rats were euthanized with an overdose of sodium pentobarbital (200 mg/kg, i.p.). Heart, left ventricle of the heart, liver, and spleen masses were recorded for each animal. Data were analyzed by two-way ANOVA using SigmaPlot 10.0 software.
Results: At the conclusion of this study, the left ventricle mass of the rats in the high fat diet group were significantly larger than those in the chow group. Neither dose of the organometallic complex supplement prevented these effects induced by high fat feeding.
Conclusion: The organometallic complex supplement was not effective at mitigating the effects of a high fat diet on cardiac hypertrophy in rats. Therefore, this supplement should not be used to treat cardiac hypertrophy.
ContributorsMcCormick, Kelly Ann (Author) / Sweazea, Karen L (Thesis advisor) / Whisner, Corrie M (Committee member) / Alexon, Christy (Committee member) / Arizona State University (Publisher)
Created2019
Description
The search for highly active, inexpensive, and earth abundant replacements for existing transition metal catalysts is ongoing. Our group has utilized several redox non-innocent ligands that feature flexible arms with donor substituents. These ligands allow for coordinative flexibility about the metal centre, while the redox non-innocent core helps to overcome the one electron chemistry that is prevalent in first row transition metals. This dissertation focuses on the use of Ph2PPrDI, which can adopt a κ4-configuration when bound to a metal. One reaction that is industrially useful is hydrosilylation, which allows for the preparation of silicones that are useful in the lubrication, adhesive, and cosmetics industries. Typically, this reaction relies on highly active, platinum-based catalysts. However, the high cost of this metal has inspired the search for base metal replacements. In Chapter One, an overview of existing alkene and carbonyl hydrosilylation catalysts is presented. Chapter Two focuses on exploring the reactivity of (Ph2PPrDI)Ni towards carbonyl hydrosilylation, as well as the development of the 2nd generation catalysts, (iPr2PPrDI)Ni and (tBu2PPrDI)Ni. Chapter Three presents a new C-O bond hydrosilylation reaction for the formation of silyl esters. It was found the (Ph2PPrDI)Ni is the most active catalyst in the literature for this transformation, with turnover frequencies of up to 900 h-1. Chapter Four explores the activity and selectivity of (Ph2PPrDI)Ni for alkene hydrosilylation, including the first large scope of gem-olefins for a nickel-based catalyst. Chapter Five explores the chemistry of (Ph2PPrDI)CoH, first through electronic structure determinations and crystallography, followed by an investigation of its reactivity towards alkyne hydroboration and nitrile dihydroboration. (Ph2PPrDI)CoH is the first reported cobalt nitrile dihydroboration catalyst.
ContributorsRock, Christopher L (Author) / Trovitch, Ryan J (Thesis advisor) / Kouvetakis, John (Committee member) / Pettit, George R. (Committee member) / Arizona State University (Publisher)
Created2018
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
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