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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
ABSTRACT The Phoenix Four Rivers Flora is an inventory of all the vascular plants growing along the Salt, Gila, New and Agua Fria Rivers, and their tributaries in the Phoenix Metropolitan Area during the years of the study (2009-2011). This floristic inventory documents the plant species and habitats that exist currently in the project area, which has changed dramatically from previous times. The data gathered by the flora project thus not only documents how the current flora has been altered by urbanization, but also will provide a baseline for future ecological studies. The Phoenix Metropolitan Area is a large urbanized region in the Sonoran Desert of Central Arizona, and its rivers are important for the region for many uses including flood control, waste water management, recreation, and gravel mining. The flora of the rivers and tributaries within the project area is extremely diverse; the heterogeneity of the systems being caused by urbanization, stream modification for flood control, gravel mining, and escaped exotic species. Hydrological changes include increased runoff in some areas because of impermeable surfaces (e.g. paved streets) and decreased runoff in other areas due to flood retention basins. The landscaping trade has introduced exotic plant species that have escaped into urban washes and riparian areas. Many of these have established with native species to form novel plant associations.
ContributorsJenke, Darin (Author) / Landrum, Leslie R. (Committee member) / Pigg, Kathleen B. (Committee member) / Makings, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2011
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
Description
Riparian systems in the arid southwest are heavily altered and, based on relative land-area, provision a disproportionately high number of native wildlife. Amphibians and reptiles are collectively the most threatened vertebrate taxa and, in the Sonoran Desert, are often reliant on riparian habitat. The link between amphibians and environmental water characteristics, as well as the association between lizards and habitat structure, make herpetofauna good organisms for which to examine the effects of environmental change.
My objective was to relate capture rates of a fossorial anuran and lizard abundance to aspects of native, invaded, and shrub-encroached riparian habitats in order to forecast the potential winners and losers of riparian habitat xerification and invasion.
I measured habitat and monitored herpetofauna at 18 sites near the confluence of the San Pedro River and Gila River in Pinal County, Arizona in 2016 and 2017. Sites were divided into three categories based on dominant tree genus; Populus-Salix, Prosopis, and Tamarix, which represented native riparia, xeric riparia, and invaded riparia, respectively.
Habitat measurements indicated that sites varied significantly in structure, and that dominant tree species was a useful descriptor of habitat physiognomy. Results from herpetofauna trapping demonstrated that Scaphiopus couchii, a fossorial anuran, occupy Prosopis sites at a much higher rate than at Tamarix sites, which were almost completely avoided. S. couchii was also found to be closely tied to xero-riparian habitat components present at Prosopis sites and soil analyses indicate that aspects of soil moisture and texture play an important role in the partitioning of this species across altered riparian habitats. Lizard abundance was found to be significantly lower in Tamarix habitat, with the majority of captures attributed to the generalist whiptail Aspidoscelis tigris. Additionally, more than half of lizard species that were analyzed displayed a negative association to Tamarix habitat. Of the three habitat types considered, Populus-Salix supported the greatest abundance of lizards.
Based on this study, the deleterious effects of xerfication on a riparian herpetofauna community may be lesser than those of Tamarix invasion. These two forms of riparian habitat shift often co-occur, with the ultimate cause being changes in hydrologic regime. This may imply that a bottom-up approach, wherein historic hydrology is restored to restore or maintain native habitats, to riverine management is appropriate for riparian herpetofauna conservation.
My objective was to relate capture rates of a fossorial anuran and lizard abundance to aspects of native, invaded, and shrub-encroached riparian habitats in order to forecast the potential winners and losers of riparian habitat xerification and invasion.
I measured habitat and monitored herpetofauna at 18 sites near the confluence of the San Pedro River and Gila River in Pinal County, Arizona in 2016 and 2017. Sites were divided into three categories based on dominant tree genus; Populus-Salix, Prosopis, and Tamarix, which represented native riparia, xeric riparia, and invaded riparia, respectively.
Habitat measurements indicated that sites varied significantly in structure, and that dominant tree species was a useful descriptor of habitat physiognomy. Results from herpetofauna trapping demonstrated that Scaphiopus couchii, a fossorial anuran, occupy Prosopis sites at a much higher rate than at Tamarix sites, which were almost completely avoided. S. couchii was also found to be closely tied to xero-riparian habitat components present at Prosopis sites and soil analyses indicate that aspects of soil moisture and texture play an important role in the partitioning of this species across altered riparian habitats. Lizard abundance was found to be significantly lower in Tamarix habitat, with the majority of captures attributed to the generalist whiptail Aspidoscelis tigris. Additionally, more than half of lizard species that were analyzed displayed a negative association to Tamarix habitat. Of the three habitat types considered, Populus-Salix supported the greatest abundance of lizards.
Based on this study, the deleterious effects of xerfication on a riparian herpetofauna community may be lesser than those of Tamarix invasion. These two forms of riparian habitat shift often co-occur, with the ultimate cause being changes in hydrologic regime. This may imply that a bottom-up approach, wherein historic hydrology is restored to restore or maintain native habitats, to riverine management is appropriate for riparian herpetofauna conservation.
ContributorsRiddle, Sidney Bishop (Author) / Bateman, Heather L. (Thesis advisor) / Albuquerque, Fabio (Committee member) / Saul, Steven E (Committee member) / Arizona State University (Publisher)
Created2018
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
ABSTRACT
The Sentinel-Arlington Volcanic Field (SAVF) is the Sentinel Plains lava field and associated volcanic edifices of late Cenozoic alkali olivine basaltic lava flows and minor tephra deposits near the Gila Bend and Painted Rock Mountains, 65 km-100km southwest of Phoenix, Arizona. The SAVF covers ~600 km2 and consists of 21+ volcanic centers, primarily low shield volcanoes ranging from 4-6 km in diameter and 30-200 m in height. The SAVF represents plains-style volcanism, an emplacement style and effusion rate intermediate between flood volcanism and large shield-building volcanism. Because of these characteristics, SAVF is a good analogue to small-volume effusive volcanic centers on Mars, such as those seen the southern flank of Pavonis Mons and in the Tempe Terra region of Mars. The eruptive history of the volcanic field is established through detailed geologic map supplemented by geochemical, paleomagnetic, and geochronological analysis.
Paleomagnetic analyses were completed on 473 oriented core samples from 58 sites. Mean inclination and declination directions were calculated from 8-12 samples at each site. Fifty sites revealed well-grouped natural remanent magnetization vectors after applying alternating field demagnetization. Thirty-nine sites had reversed polarity, eleven had normal polarity. Fifteen unique paleosecular variation inclination and declination directions were identified, six were represented by more than one site with resultant vectors that correlated within a 95% confidence interval. Four reversed sites were radiometrically dated to the Matuyama Chron with ages ranging from 1.08 ± 0.15 Ma to 2.37 ± 0.02 Ma; and one normal polarity site was dated to the Olduvai normal excursion at 1.91 ± 0.59 Ma. Paleomagnetic correlations within a 95% confidence interval were used to extrapolate radiogenic dates. Results reveal 3-5 eruptive stages over ~1.5 Ma in the early Pleistocene and that the SAVF dammed and possibly diverted the lower Gila River multiple times. Preliminary modeling of the median clast size of the terrace deposits suggests a maximum discharge of ~11300 cms (~400,000 cfs) was necessary to transport observed sediment load, which is larger than the historically recorded discharge of the modern Gila River.
The Sentinel-Arlington Volcanic Field (SAVF) is the Sentinel Plains lava field and associated volcanic edifices of late Cenozoic alkali olivine basaltic lava flows and minor tephra deposits near the Gila Bend and Painted Rock Mountains, 65 km-100km southwest of Phoenix, Arizona. The SAVF covers ~600 km2 and consists of 21+ volcanic centers, primarily low shield volcanoes ranging from 4-6 km in diameter and 30-200 m in height. The SAVF represents plains-style volcanism, an emplacement style and effusion rate intermediate between flood volcanism and large shield-building volcanism. Because of these characteristics, SAVF is a good analogue to small-volume effusive volcanic centers on Mars, such as those seen the southern flank of Pavonis Mons and in the Tempe Terra region of Mars. The eruptive history of the volcanic field is established through detailed geologic map supplemented by geochemical, paleomagnetic, and geochronological analysis.
Paleomagnetic analyses were completed on 473 oriented core samples from 58 sites. Mean inclination and declination directions were calculated from 8-12 samples at each site. Fifty sites revealed well-grouped natural remanent magnetization vectors after applying alternating field demagnetization. Thirty-nine sites had reversed polarity, eleven had normal polarity. Fifteen unique paleosecular variation inclination and declination directions were identified, six were represented by more than one site with resultant vectors that correlated within a 95% confidence interval. Four reversed sites were radiometrically dated to the Matuyama Chron with ages ranging from 1.08 ± 0.15 Ma to 2.37 ± 0.02 Ma; and one normal polarity site was dated to the Olduvai normal excursion at 1.91 ± 0.59 Ma. Paleomagnetic correlations within a 95% confidence interval were used to extrapolate radiogenic dates. Results reveal 3-5 eruptive stages over ~1.5 Ma in the early Pleistocene and that the SAVF dammed and possibly diverted the lower Gila River multiple times. Preliminary modeling of the median clast size of the terrace deposits suggests a maximum discharge of ~11300 cms (~400,000 cfs) was necessary to transport observed sediment load, which is larger than the historically recorded discharge of the modern Gila River.
ContributorsCave, Shelby Renee (Author) / Clarke, Amanda (Thesis advisor) / Burt, Donald (Committee member) / Reynolds, Stephen (Committee member) / Semken, Steven (Committee member) / Schmeeckle, Mark (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