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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
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 Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not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
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
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 study investigated the ability to relate a test taker’s non-verbal cues during online assessments to probable cheating incidents. Specifically, this study focused on the role of time delay, head pose and affective state for detection of cheating incidences in a lab-based online testing session. The analysis of a test taker’s non-verbal cues indicated that time delay, the variation of a student’s head pose relative to the computer screen and confusion had significantly statistical relation to cheating behaviors. Additionally, time delay, head pose relative to the computer screen, confusion, and the interaction term of confusion and time delay were predictors in a support vector machine of cheating prediction with an average accuracy of 70.7%. The current algorithm could automatically flag suspicious student behavior for proctors in large scale online courses during remotely administered exams.
ContributorsChuang, Chia-Yuan (Author) / Femiani, John C. (Thesis advisor) / Craig, Scotty D. (Thesis advisor) / Bekki, Jennifer (Committee member) / Arizona State University (Publisher)
Created2015
Description
The work of collaborative pianists can vary widely, requiring a large spectrum of musical and foreign language skills. In addition, many non-musical skills are required of collaborative pianists in order to adapt to various types of work, the roles they assume, and the needs of the people they encounter professionally. Collaborative pianists usually develop good habits for survival on the job, but rarely receive preliminary training in capacities such as facilitation, maintaining objectivity in collaboration, asking good questions, and giving feedback effectively. The emerging field of teaching artistry offers a wealth of information for the development of these non-musical skills in collaborative pianists. The skills necessary for teaching artistry and collaborative piano frequently overlap, which is instructive for collaborative pianists as they prepare for their various musical and leadership roles. This paper explores shared practices between these disciplines, how they can enhance the activities of a collaborative pianist, and also help them develop skills as arts advocates. Advocating techniques for new music and audience engagement are addressed, as well as programming, content development and building teams around projects. The idea of the collaborative pianist becoming a teaching artist is also explored, as the diverse activities and experiences of a collaborative pianist can serve as valuable resources. All of these approaches to non-musical skills focus on building strong processes, leading to creative activities that are process-driven rather than product-driven. This study seeks to enrich activities of collaborative pianists through the application of teaching artist capacities and pave pathways for new, more effective professional collaborations.
ContributorsWitt, Juliana (Author) / Campbell, Andrew (Thesis advisor) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2020
Description
Cancer is a disease involving abnormal growth of cells. Its growth dynamics is perplexing. Mathematical modeling is a way to shed light on this progress and its medical treatments. This dissertation is to study cancer invasion in time and space using a mathematical approach. Chapter 1 presents a detailed review of literature on cancer modeling.
Chapter 2 focuses sorely on time where the escape of a generic cancer out of immune control is described by stochastic delayed differential equations (SDDEs). Without time delay and noise, this system demonstrates bistability. The effects of response time of the immune system and stochasticity in the tumor proliferation rate are studied by including delay and noise in the model. Stability, persistence and extinction of the tumor are analyzed. The result shows that both time delay and noise can induce the transition from low tumor burden equilibrium to high tumor equilibrium. The aforementioned work has been published (Han et al., 2019b).
In Chapter 3, Glioblastoma multiforme (GBM) is studied using a partial differential equation (PDE) model. GBM is an aggressive brain cancer with a grim prognosis. A mathematical model of GBM growth with explicit motility, birth, and death processes is proposed. A novel method is developed to approximate key characteristics of the wave profile, which can be compared with MRI data. Several test cases of MRI data of GBM patients are used to yield personalized parameterizations of the model. The aforementioned work has been published (Han et al., 2019a).
Chapter 4 presents an innovative way of forecasting spatial cancer invasion. Most mathematical models, including the ones described in previous chapters, are formulated based on strong assumptions, which are hard, if not impossible, to verify due to complexity of biological processes and lack of quality data. Instead, a nonparametric forecasting method using Gaussian processes is proposed. By exploiting the local nature of the spatio-temporal process, sparse (in terms of time) data is sufficient for forecasting. Desirable properties of Gaussian processes facilitate selection of the size of the local neighborhood and computationally efficient propagation of uncertainty. The method is tested on synthetic data and demonstrates promising results.
Chapter 2 focuses sorely on time where the escape of a generic cancer out of immune control is described by stochastic delayed differential equations (SDDEs). Without time delay and noise, this system demonstrates bistability. The effects of response time of the immune system and stochasticity in the tumor proliferation rate are studied by including delay and noise in the model. Stability, persistence and extinction of the tumor are analyzed. The result shows that both time delay and noise can induce the transition from low tumor burden equilibrium to high tumor equilibrium. The aforementioned work has been published (Han et al., 2019b).
In Chapter 3, Glioblastoma multiforme (GBM) is studied using a partial differential equation (PDE) model. GBM is an aggressive brain cancer with a grim prognosis. A mathematical model of GBM growth with explicit motility, birth, and death processes is proposed. A novel method is developed to approximate key characteristics of the wave profile, which can be compared with MRI data. Several test cases of MRI data of GBM patients are used to yield personalized parameterizations of the model. The aforementioned work has been published (Han et al., 2019a).
Chapter 4 presents an innovative way of forecasting spatial cancer invasion. Most mathematical models, including the ones described in previous chapters, are formulated based on strong assumptions, which are hard, if not impossible, to verify due to complexity of biological processes and lack of quality data. Instead, a nonparametric forecasting method using Gaussian processes is proposed. By exploiting the local nature of the spatio-temporal process, sparse (in terms of time) data is sufficient for forecasting. Desirable properties of Gaussian processes facilitate selection of the size of the local neighborhood and computationally efficient propagation of uncertainty. The method is tested on synthetic data and demonstrates promising results.
ContributorsHan, Lifeng (Author) / Kuang, Yang (Thesis advisor) / Fricks, John (Thesis advisor) / Kostelich, Eric (Committee member) / Baer, Steve (Committee member) / Gumel, Abba (Committee member) / Arizona State University (Publisher)
Created2020
Description
Cancer is a worldwide burden in every aspect: physically, emotionally, and financially. A need for innovation in cancer research has led to a vast interdisciplinary effort to search for the next breakthrough. Mathematical modeling allows for a unique look into the underlying cellular dynamics and allows for testing treatment strategies without the need for clinical trials. This dissertation explores several iterations of a dendritic cell (DC) therapy model and correspondingly investigates what each iteration teaches about response to treatment.
In Chapter 2, motivated by the work of de Pillis et al. (2013), a mathematical model employing six ordinary differential (ODEs) and delay differential equations (DDEs) is formulated to understand the effectiveness of DC vaccines, accounting for cell trafficking with a blood and tumor compartment. A preliminary analysis is performed, with numerical simulations used to show the existence of oscillatory behavior. The model is then reduced to a system of four ODEs. Both models are validated using experimental data from melanoma-induced mice. Conditions under which the model admits rich dynamics observed in a clinical setting, such as periodic solutions and bistability, are established. Mathematical analysis proves the existence of a backward bifurcation and establishes thresholds for R0 that ensure tumor elimination or existence. A sensitivity analysis determines which parameters most significantly impact the reproduction number R0. Identifiability analysis reveals parameters of interest for estimation. Results are framed in terms of treatment implications, including effective combination and monotherapy strategies.
In Chapter 3, a study of whether the observed complexity can be represented with a simplified model is conducted. The DC model of Chapter 2 is reduced to a non-dimensional system of two DDEs. Mathematical and numerical analysis explore the impact of immune response time on the stability and eradication of the tumor, including an analytical proof of conditions necessary for the existence of a Hopf bifurcation. In a limiting case, conditions for global stability of the tumor-free equilibrium are outlined.
Lastly, Chapter 4 discusses future directions to explore. There still remain open questions to investigate and much work to be done, particularly involving uncertainty analysis. An outline of these steps is provided for future undertakings.
In Chapter 2, motivated by the work of de Pillis et al. (2013), a mathematical model employing six ordinary differential (ODEs) and delay differential equations (DDEs) is formulated to understand the effectiveness of DC vaccines, accounting for cell trafficking with a blood and tumor compartment. A preliminary analysis is performed, with numerical simulations used to show the existence of oscillatory behavior. The model is then reduced to a system of four ODEs. Both models are validated using experimental data from melanoma-induced mice. Conditions under which the model admits rich dynamics observed in a clinical setting, such as periodic solutions and bistability, are established. Mathematical analysis proves the existence of a backward bifurcation and establishes thresholds for R0 that ensure tumor elimination or existence. A sensitivity analysis determines which parameters most significantly impact the reproduction number R0. Identifiability analysis reveals parameters of interest for estimation. Results are framed in terms of treatment implications, including effective combination and monotherapy strategies.
In Chapter 3, a study of whether the observed complexity can be represented with a simplified model is conducted. The DC model of Chapter 2 is reduced to a non-dimensional system of two DDEs. Mathematical and numerical analysis explore the impact of immune response time on the stability and eradication of the tumor, including an analytical proof of conditions necessary for the existence of a Hopf bifurcation. In a limiting case, conditions for global stability of the tumor-free equilibrium are outlined.
Lastly, Chapter 4 discusses future directions to explore. There still remain open questions to investigate and much work to be done, particularly involving uncertainty analysis. An outline of these steps is provided for future undertakings.
ContributorsDickman, Lauren (Author) / Kuang, Yang (Thesis advisor) / Baer, Steven M. (Committee member) / Gardner, Carl (Committee member) / Gumel, Abba B. (Committee member) / Kostelich, Eric J. (Committee member) / Arizona State University (Publisher)
Created2020