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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
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 action research addressed teacher effectiveness in supporting students’ critical thinking skills by implementing differentiated instructional strategies in eight 3rd- and 4th-grade, self-contained, inclusive classrooms. This study addressed how third- and fourth-grade teachers perceived their instructional effectiveness, how differentiated instructional strategies influence third- and fourth-grade teachers, and how third- and fourth-grade teachers make further use of differentiated instruction to support students’ critical thinking skills across cultures, linguistics, and achievement levels to increase student achievement. Out of the enrollment in a southwest Phoenix elementary school, there was a 35% mobility rate; 76%, free and reduced lunches; 35%, Spanish-speaking homes; 10%, ELL services; and 10%, special education. The school was comprised of 52 certified teachers, out of which there were five related arts teachers, and four teachers who served gifted and special education students. Participants included all eight third- and fourth-grade teachers, 75% female and 25% males; 75% identified as Caucasian and 25% Hispanic/Latina, middle-class citizens. Professional development training was provided to these eight individual teachers during four months on differentiated instructional strategies to support students’ critical thinking. At this study’s beginning, these teachers perceived an obstacle to supporting students’ critical thinking as they struggled to learn new curriculums. Persevering through this challenge, teachers discovered success by implementing design-thinking, developing students’ growth mindsets, and utilizing cultural responsive teaching. These teachers identified three differentiated instructional strategies which impacted students’ academic progress: instructional scaffolds, collaborative group work, and project-based learning. Building upon linguistic responsive teaching, cultural responsive teaching, and Vygotsky’s socio-cultural theory, teachers revealed how to support students’ critical thinking through the use of graphic organizers, sentence frames, explicit instructions, growth mindsets, cultural references, and grouping structures. In addition, the outcomes demonstrated teachers can make further use of differentiated instruction by focusing on instructional groups, teachers’ mindsets, and methods for teaching accelerated learners. This study’s results have implications on teachers’ perception toward using differentiated instructional strategies as a viable method to support the multiple ways all students learn.
ContributorsRamos, Richard K (Author) / Liou, Daniel Dinn-You (Thesis advisor) / Dyer, Penelope (Committee member) / Saltmarsh, Sarah (Committee member) / McIntosh, Jason (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsPagano, Caio, 1940- (Performer) / Mechetti, Fabio (Conductor) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Rodrigues, Christiano (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Avanti Festival Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
ContributorsSchuring, Martin (Performer) / Stromberg, Eric (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-08-19
ContributorsDe La Cruz, Nathaniel (Performer) / LoGiudice, Rosa (Contributor) / Tallino, Michael (Performer) / McKinch, Riley (Performer) / Li, Yuhui (Performer) / Armenta, Tyler (Contributor) / Gonzalez, David (Performer) / Jones, Tarin (Performer) / Ryall, Blake (Performer) / Senseman, Stephen (Performer)
Created2018-10-10
Description
This study was conducted to assess the performance of 176 students who received algebra instruction through an online platform presented in one of two experimental conditions to explore the effect of personalized learning paths by comparing it with linearly flowing instruction. The study was designed around eight research questions investigating the effect of personalized learning paths on students’ learning, intrinsic motivation and satisfaction with their experience. Quantitative results were analyzed using Analysis of Variance (ANOVA), Analysis of Covariance (ANCOVA) and split-plot ANOVA methods. Additionally, qualitative feedback data were gathered from students and teachers on their experience to better explain the quantitative findings as well as improve understanding of how to effectively design an adaptive personalized learning platform. Quantitative results of the study showed no statistical difference between students assigned to treatments that compared linear and adaptive personalized instructional flows.
The lack of significant differences was explained by two main factors: (a) low usage and (b) platform and content related issues. Low usage may have prevented students from being exposed to the platforms long enough to create a potential for differences between the groups. Additionally, the reasons for low usage may in part be explained by the qualitative findings, which indicated that unmotivated and tired teachers and students were not very enthusiastic about the study because it occurred near the end of school year. Further, computer access was a challenging issue at the school throughout the study. On the other hand, platform and content related issues worked to inhibit the potential beneficial effects of the platforms. The three prominent issues were: (a) the majority of the students found the content boring or difficult, (b) repeated recommendations from the adaptive platform created frustration, and (c) a barely moving progress bar caused disappointment among participants.
The lack of significant differences was explained by two main factors: (a) low usage and (b) platform and content related issues. Low usage may have prevented students from being exposed to the platforms long enough to create a potential for differences between the groups. Additionally, the reasons for low usage may in part be explained by the qualitative findings, which indicated that unmotivated and tired teachers and students were not very enthusiastic about the study because it occurred near the end of school year. Further, computer access was a challenging issue at the school throughout the study. On the other hand, platform and content related issues worked to inhibit the potential beneficial effects of the platforms. The three prominent issues were: (a) the majority of the students found the content boring or difficult, (b) repeated recommendations from the adaptive platform created frustration, and (c) a barely moving progress bar caused disappointment among participants.
ContributorsBicer, Alpay (Author) / Bitter, Gary G. (Thesis advisor) / Buss, Ray R (Committee member) / Legacy, Jane M. (Committee member) / Arizona State University (Publisher)
Created2015
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
ContributorsASU Library. Music Library (Publisher)
Created2018-01-31