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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
Counterinsurgency (COIN) is a long process that even great powers struggle with. Nevertheless, South Korea as a middle power was successful with COINs in Vietnam and Iraq. What were the drivers for the Republic of Korea (ROK) military's success? This dissertation maintains that the unusual nature of missions coupled with political/socio-cultural advantages are sufficient conditions for success of the middle power COIN. COIN missions are seen as unusual to middle powers. A rare mission stimulates military forces to fight harder because they recognize this mission as an opportunity to increase their national prestige. COIN mission success is also more probable for middle powers because their forces make the best of their country's political/socio-cultural advantages. The ROK military's COINs are optimal cases to test these hypotheses. The ROK military's COIN in Vietnam was an extremely rare mission, which increased its enthusiasm. This enthusiasm was converted into appropriate capabilities. By identifying battleground dynamics, the ROK forces initially chose an enemy-oriented approach based upon the method of company-led tactical base, and then later introduced a population-led method. South Korea's political/socio-cultural advantages also contributed to its military success in Vietnam. The Confucius culture that South Koreans and Vietnamese shared allowed the ROK forces to win the hearts and minds of the Vietnamese population. The mission in Iraq was also a rare and important one for national prestige. Accordingly, South Korean forces were equipped with pride and were enthusiastic about missions in Arbil. They changed their organization from a rigid one to a more flexible one by strengthening civil-military units. The ROK military possessed the ability to choose a population-centric approach. South Korea's political and cultural climate also served as an advantage to accomplish COIN in Iraq. The culture of Jung allowed ROK soldiers to sincerely help the local Iraqis. This project contributes to developing a theory of the middle power COIN. The findings also generate security policy implications of how to deal with contingent situations led by the collapse of the North Korean regime and how to redefine the ROK military strategy for the future.
ContributorsBan, Kil-Joo (Author) / Simon, Sheldon (Thesis advisor) / Gortzak, Yoav (Committee member) / Mackinnon, Stephen (Committee member) / Arizona State University (Publisher)
Created2011
Description
In 2008, South Korea suffered a great loss of public trust in government. Since May 2, 2008, street protests against U.S. beef imports and the April 2008 beef agreement continued for more than 100 days. These public protests started with peaceful candlelight vigils but some of them turned violent in the end of May. According to a white paper on the protests published by the Seoul Central District Prosecutors' Office, for 106 days from May 2 until Aug. 15, there were 2,398 separate rallies drawing 932,000 people. Among them, 1,476 protesters were indicted for participating in illegal and violent protests. 100 police officers suffered serious injuries and 401 light ones. 88 civilians were seriously injured. The South Korean National Assembly had to remain idle for more than 80 days due to numerous political debates and the approval rating of President Myung-Bak Lee plummeted from 40 percent range to near 20 percent during the protest period. This Dissertation started from a question of why people were so angry against their government. The whole process of the U.S.-South Korea Beef negotiation was reviewed, focusing on whether or not Korean government and its negotiators tried to make a domestic agreement with people. For the purpose, this dissertation developed an integrated framework by the combination of the two level-game theory with the advocacy coalition framework. The framework was also used to investigate the effect of external factors outside the Korean policy-making system of the beef negotiation. The framework reviewed win-set changes of both countries, especially focusing on the change of Korean win-set size. Then, the whole process of the beef negotiation in the dissertation framework was interpreted in the aspect of the New Public Service. This interpretation gave the dissertation the theoretical importance, showing the way in which the interpretation contributed to the decision-making theory. Findings in the dissertation revealed that there was a deep disagreement between what Korean government wanted and what Korean people actually desired. Finally, this dissertation considered how public administrators could increase communication with their people in the Korean policy-making system. Janet and Robert Denhardt's shared values approach to the public interest and the decision-making process would be one answer.
ContributorsJung, Yoon Seok (Author) / Denhardt, Robert B. (Thesis advisor) / Denhardt, Janet V (Committee member) / Lan, Zhiyong G (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
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