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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 longitudinal study examined the relations between self-regulation and reading achievement from kindergarten through second grade. In addition to the broader concept of effortful control, this study looked at various sub-components, including attention focusing and inhibitory control. A series of unconditional latent growth curve models were estimated to assess the initial level and growth of children’s parent- and teacher-reported effortful control and reading skills. In addition, parallel-process latent-growth curve models were estimated to examine the relations between the growth parameters (e.g., how the initial level and growth in self-regulation relates to the initial level and growth in reading). Parent-reported inhibitory control and effortful control displayed linear growth over this time period. Teacher-reported self-regulation did not change significantly. Reading achievement increased across all three time points, but the rate of growth was steeper from kindergarten through first grade than from first to second grade. Results from the parallel-process models showed that the kindergarten scores for parent-reported attention focusing and inhibitory control were negatively related to growth in Letter Word abilities from first through second grade, whereas initial teacher-reported attention focusing, inhibitory control, and effortful control were negatively related to growth in Passage Comprehension abilities from first to second grade. This study illustrates important relations between self-regulation and reading abilities throughout the first few years of elementary school.
ContributorsWall, Carla (Author) / Valiente, Carlos (Thesis advisor) / Jahromi, Laudan (Committee member) / Thompson, Marilyn (Committee member) / Arizona State University (Publisher)
Created2015
Description
How hard should the books be in elementary small-group reading? This study explored text difficulty for bilingual students reading below grade level in third grade. Using a convergent parallel mixed methods design, I used qualitative methods to analyze students’ engagement and discussion during small groups and single case design to evaluate students’ fluency and reading comprehension after reading and discussing texts in small groups.
Six Spanish-English bilingual students, split into two groups of three, participated in twelve, 30-minute, small-group reading sessions. Students in Group 1 read approximately one year below grade level, and students in Group 2 read approximately a year and a half below grade level. In six of the twelve sessions, students read and discussed texts matched to their reading levels, and in the other six they read and discussed texts one year ahead of their reading levels. I assigned matched and difficult texts across the twelve days by blocked randomization.
I analyzed video transcripts of each session to understand students’ engagement (focus of engagement, strategies, and interaction) and discussion (inferential vs. literal responses, instances of verbal participation). At the end of each session, students reread and retold the book the group had read and discussed that day to produce a fluency (words correct per minute) and comprehension (ideas correctly retold) score.
Findings were complex and revealed that different levels of texts have both advantages and drawbacks. Key findings included: For fluency, half of the students benefited from matched texts. The other half read difficult texts with similar fluency to matched texts. For comprehension, text difficulty did not matter for anyone except one student, and for him it only had an effect on 3 of 12 days. Group 2 engaged much more with texts and ideas in difficult books and with pictures in matched books. Group 1 had more inferential/interpretive responses with matched texts, and Group 2 had more inferential and interpretive responses with difficult texts. Most students participated evenly regardless of the difficulty of the text under discussion. However, two students talked more when discussing matched texts.
Six Spanish-English bilingual students, split into two groups of three, participated in twelve, 30-minute, small-group reading sessions. Students in Group 1 read approximately one year below grade level, and students in Group 2 read approximately a year and a half below grade level. In six of the twelve sessions, students read and discussed texts matched to their reading levels, and in the other six they read and discussed texts one year ahead of their reading levels. I assigned matched and difficult texts across the twelve days by blocked randomization.
I analyzed video transcripts of each session to understand students’ engagement (focus of engagement, strategies, and interaction) and discussion (inferential vs. literal responses, instances of verbal participation). At the end of each session, students reread and retold the book the group had read and discussed that day to produce a fluency (words correct per minute) and comprehension (ideas correctly retold) score.
Findings were complex and revealed that different levels of texts have both advantages and drawbacks. Key findings included: For fluency, half of the students benefited from matched texts. The other half read difficult texts with similar fluency to matched texts. For comprehension, text difficulty did not matter for anyone except one student, and for him it only had an effect on 3 of 12 days. Group 2 engaged much more with texts and ideas in difficult books and with pictures in matched books. Group 1 had more inferential/interpretive responses with matched texts, and Group 2 had more inferential and interpretive responses with difficult texts. Most students participated evenly regardless of the difficulty of the text under discussion. However, two students talked more when discussing matched texts.
ContributorsKelly, Laura Beth (Author) / Jimenez-Silva, Margarita (Thesis advisor) / Moses, Lindsey (Thesis advisor) / Restrepo, Laida (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
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