Matching Items (1,937)
Filtering by
- All Subjects: Chamber music
- All Subjects: Clarinet and piano music
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
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (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
ABSTRACT
The absence of the consonant sound /p/ in Libyan Arabic leads Libyan speakers of English to pronounce /p/ as /b/. This study examines how Libyan Arabic speakers distinguish the English /p/ and /b/ in their production of L2 English. The study also examines the effect of the production contexts and the learning environment on two groups of Libyan Arabic speakers' attainment of the English /p/ in the USA and Libya. The study collected voice recordings of word-initial /p/ and /b/ in isolated-words, minimal pairs, and sentences in English from both Libyan Arabic speakers and American English speakers. The study also collected Libyan Arabic stop consonants /b/, /t/, /d/, /k/, and /g/ from the Libyan participants. The voice recording data were collected using the WhatsApp mobile application from all participants and the Libyan Arabic participants were also asked to fill an online survey. Using voice onset time (VOT) as a measurement tool, this study measured the English and Libyan Arabic data through Praat software. The findings show that most Libyan Arabic participants distinguish between /p/ and /b/, but they did not have as high VOT averages as the American participants' /p/. It also reveals that the production context, especially in minimal pairs and sentence contexts, has an effect on their participants' production. However, the learning environment does not have an effect on the Libyan participants' pronunciation of /p/ in this study.
The absence of the consonant sound /p/ in Libyan Arabic leads Libyan speakers of English to pronounce /p/ as /b/. This study examines how Libyan Arabic speakers distinguish the English /p/ and /b/ in their production of L2 English. The study also examines the effect of the production contexts and the learning environment on two groups of Libyan Arabic speakers' attainment of the English /p/ in the USA and Libya. The study collected voice recordings of word-initial /p/ and /b/ in isolated-words, minimal pairs, and sentences in English from both Libyan Arabic speakers and American English speakers. The study also collected Libyan Arabic stop consonants /b/, /t/, /d/, /k/, and /g/ from the Libyan participants. The voice recording data were collected using the WhatsApp mobile application from all participants and the Libyan Arabic participants were also asked to fill an online survey. Using voice onset time (VOT) as a measurement tool, this study measured the English and Libyan Arabic data through Praat software. The findings show that most Libyan Arabic participants distinguish between /p/ and /b/, but they did not have as high VOT averages as the American participants' /p/. It also reveals that the production context, especially in minimal pairs and sentence contexts, has an effect on their participants' production. However, the learning environment does not have an effect on the Libyan participants' pronunciation of /p/ in this study.
ContributorsGarib, Ali A. A (Author) / Pruitt, Kathryn (Thesis advisor) / Renaud, Claire (Committee member) / González López, Verónica (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsBurton, Charlotte (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-08
ContributorsDruesedow, Elizabeth (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Spanish-speaking (SS) dual language learners (DLLs) have shown differential developmental profiles of the native language (L1). The current study examined whether or not the Spanish acquisition profile, specifically accusative clitics, in predominantly SS, Latino children continues to develop in an English-language contact situation. This study examined (1) accuracy rates of clitic production, total substitutions, and total omissions across 5-, 6-, and 7-year-olds; (2) accuracy rates of clitic production, total substitutions, and total omissions across low and high English proficiency groups; and (3) whether or not there was a trend to use the default clitic lo in inappropriate contexts. Seventy-four SS children aged 5;1 to 7;11 participated in a clitic elicitation task. Results indicated non-significant effects of age and proficiency level on the accuracy of clitic production. These results suggest dual language learners are in an environment that does not foster the maintenance of the L1, at least in the accuracy of accusative clitic pronouns.
ContributorsFigueroa, Megan Danielle (Author) / Restrepo, María A (Thesis advisor) / Gelderen, Elly van (Committee member) / Ingram, David (Committee member) / Arizona State University (Publisher)
Created2012
Description
Past research has isolated an extension of the copular verb estar into the domain previously sanctioned for its counterpart, ser. This extension has been found in areas of contact between American English and Spanish speaking Mexican immigrants. A similar situation of contact is in occurrence in Arizona, and this study endeavored to evaluate if this same extension was present, and to what degree. This study also explores the framework of linguistic hegemony in order to relate language attitudes in Arizona to language change in Arizona. The findings revealed minimal extension. This may be due to language maintenance in response to hegemony.
ContributorsBonnell, Jamie (Author) / Gelderen, Elly van (Thesis advisor) / Major, Roy (Committee member) / Ryan, John (Committee member) / Arizona State University (Publisher)
Created2012
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