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Description
This dissertation research investigates both spatial and temporal aspects of Bronze Age land use and land cover in the Eastern Mediterranean using botanical macrofossils of charcoal and charred seeds as sources of proxy data. Comparisons through time and over space using seed and charcoal densities, seed to charcoal ratios, and seed and charcoal identifications provide a comprehensive view of island vs. mainland vegetative trajectories through the critical 1000 year time period from 2500 BC to 1500 BC of both climatic fluctuation and significant anthropogenic forces. This research focuses particularly on the Mediterranean island of Cyprus during this crucial interface of climatic and human impacts on the landscape. Macrobotanical data often are interpreted locally in reference to a specific site, whereas this research draws spatial comparisons between contemporaneous archaeological sites as well as temporal comparisons between non-contemporaneous sites. This larger perspective is particularly crucial on Cyprus, where field scientists commonly assume that botanical macrofossils are poorly preserved, thus unnecessarily limiting their use as an interpretive proxy. These data reveal very minor anthropogenic landscape changes on the island of Cyprus compared to those associated with contemporaneous mainland sites. These data also reveal that climatic forces influenced land use decisions on the mainland sites, and provides crucial evidence pertaining to the rise of early anthropogenic landscapes and urbanized civilization.
ContributorsKlinge, JoAnna M (Author) / Fall, Patricia L. (Thesis advisor) / Falconer, Steven E. (Committee member) / Brazel, Anthony J. (Committee member) / Pigg, Kathleen B (Committee member) / Arizona State University (Publisher)
Created2013
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
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
ContributorsEvans, Bartlett R. (Conductor) / Schildkret, David (Conductor) / Glenn, Erica (Conductor) / Concert Choir (Performer) / Chamber Singers (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-16
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
This study frames research on board games within a body of anthropological theory and method to examine the long-term social changes that effect play and mechanisms through which play may influence societal change. Drawing from ethnographic literature focusing on the performative nature of games and their effectiveness at providing a method for strengthening social bonds through grounding, I examine changes in the places in which people engaged in play over the course of the Bronze Age on Cyprus (circa 2500¬–1050 BCE), a period of increasing social complexity. The purpose of this research is to examine how the changes in social boundaries concomitant with emergent complexity were counteracted or strengthened through the use of games as tools of interaction.
Bronze Age sites on Cyprus have produced the largest dataset of game boards belonging to any ancient culture. Weight and morphological data were gathered from these artifacts to determine the likelihood of their portability and to identify what type of game was present. The presence of fixed and likely immobile games, as well as the presence of clusters of portable games, was used to identify spaces in which games were played. Counts of other types of artifacts found in the same spaces as games were tabulated, and Correspondence Analysis (CA) was performed in order to determine differences in the types of activities present in the same spaces as play.
The results of the CA showed that during the Prehistoric Bronze Age, which has fewer indicators of social complexity, gaming spaces were associated with artifacts related to consumption or specialty, heirloom and imported ceramics, and rarely played in public spaces. During the Protohistoric Bronze Age, when Cyprus was more socially complex, games were more commonly played in public spaces and associated with
artifacts related to consumption. These changes suggest a changing emphasis through time, where the initiation and strengthening of social bonds through the grounding process afforded by play is more highly valued in small-scale society, whereas the social mobility that is enabled by performance during play is exploited more commonly during periods of complexity.
Bronze Age sites on Cyprus have produced the largest dataset of game boards belonging to any ancient culture. Weight and morphological data were gathered from these artifacts to determine the likelihood of their portability and to identify what type of game was present. The presence of fixed and likely immobile games, as well as the presence of clusters of portable games, was used to identify spaces in which games were played. Counts of other types of artifacts found in the same spaces as games were tabulated, and Correspondence Analysis (CA) was performed in order to determine differences in the types of activities present in the same spaces as play.
The results of the CA showed that during the Prehistoric Bronze Age, which has fewer indicators of social complexity, gaming spaces were associated with artifacts related to consumption or specialty, heirloom and imported ceramics, and rarely played in public spaces. During the Protohistoric Bronze Age, when Cyprus was more socially complex, games were more commonly played in public spaces and associated with
artifacts related to consumption. These changes suggest a changing emphasis through time, where the initiation and strengthening of social bonds through the grounding process afforded by play is more highly valued in small-scale society, whereas the social mobility that is enabled by performance during play is exploited more commonly during periods of complexity.
ContributorsCrist, Walter (Author) / Hjorleifur Jonsson (Thesis advisor) / Serwint, Nancy (Thesis advisor) / Michelaki, Konstantina-Eleni (Committee member) / de Voogt, Alex (Committee member) / Arizona State University (Publisher)
Created2016