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- All Subjects: Chamber 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
Since 9/11 a wide range of violent practices including indefinite detention, torture, and targeted killing have been employed by the United States and the "international community" against "international terrorism." Modern laws of war are portrayed as the bright line that distinguishes the "international community" from "unlawful combatants." The threat posed by unlawful combatants has been portrayed as so exceptionally grave that the international community is justified in the transgression of those very laws of war that constitute the distinction between "us" and "them." In consequence the efficacy of modern laws of war to provide humanitarian protections has been cast into doubt and many characterize humanitarian laws of war as obsolete. Existing work on the politics of exception and the exclusion of Guantánamo Bay detainees from US federal law does not frame the problem of the exception in terms of international law. Though many consider the prerequisites for politics of exception absent in the international system, I argue that a dispersed notion of sovereignty and constructivist approaches to law resolve obstacles to considering the exception at the level of the state system. I explore system level exceptional politics through a critical reading of modern laws of war. Rejecting essentialist historical narratives, I first conduct a genealogical study of laws of war from ancient Greece through the Middle Ages. I then conduct a critical reading of three texts from the War on Terrorism; Barack Obama's 2009 Nobel Peace Prize acceptance speech, John Brennan's "The Ethics and Efficacy of the President's Counterterrorism Strategy," and Medea Benjamin's interruption of John Brennan. I argue that modern narratives of war law venerate codification and textually privilege a "mystical" figure of modern law. This figure empowers a universalized "international community" as law's privileged agent. Violence employed by this archetypal community, even when outside the law, is rendered ethically pure and historically necessary. In consequence modern humanitarian law as a bright line always permits excluded archetypal identities and vast powers of violence are mobilized by the "international community" against discrete individual human bodies who are identified with this excluded archetype, or who simply find themselves in the way.
ContributorsHickman, Peter L (Author) / Doty, Roxanne (Thesis advisor) / Ashley, Richard (Committee member) / Thomas, George (Committee member) / Arizona State University (Publisher)
Created2014
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
Over the past forty years the nonprofit sector has experienced a steady rise in the professionalization of its employees and its operations. Some have argued that this trend is in large part a reaction to the requirements foisted upon the nonprofit sector through the passage of the Tax Reform Act of 1969. While some scholars have detailed a number of unintended consequences that have resulted from this trend toward professionalization, in general scholars and practitioners have accepted it as a necessary step along the path toward ensuring that service is administered in an accountable and responsible manner. I analyze the contemporary trend in professionalization of the nonprofit sector from a different angle--one which seeks to determine how the nonprofit sector came to problematize the nature of its service beginning in the early twentieth century, as well as the consequences of doing so, rather than reinforce the existing normative arguments. To this end, I employ an "analytics of government" from an ethical and political perspective which is informed by Michel Foucault's conception of genealogy, as well as his work on governing rationalities, in order to reveal the historical and political forces that contribute to the nonprofit sector's professionalization and that shape its current processes, institutions, and norms. I ultimately argue that these forces serve to reinforce a broad movement away from the charitable impulse that motivates individuals to engage in personal acts of compassion and toward a philanthropic enterprise by which knowledge is rationally applied toward reforming society rather than aiding individuals. This movement toward institutional philanthropy and away from individual charity supplants the needs of the individual with the needs of the organization. I then apply this analysis to propose an alternate governing model for the nonprofit sector--one that draws on Foucault's exploration of ancient writings on love, self-knowledge, and governance--in order to locate a space for the individual in nonprofit life.
ContributorsSandberg, Billie (Author) / Catlaw, Thomas J (Thesis advisor) / Denhardt, Janet V (Committee member) / Hall, John S. (Committee member) / Arizona State University (Publisher)
Created2011
Description
This dissertation examines the influential relationships between popular culture depictions of superheroes and the substantive, malleable, and real possibilities of human body transformation. Cultural discourses condition and constrain the ways in which identity and bodies are formed and expressed. This includes popular culture texts that, through their evocative narratives, provide guidance or solutions for dealing with real world problems. From the perspective of communication studies, this project involves examining ways people project and perform fantastic future versions of humanity in relation to popular culture artifacts, like superheroes, but also examines how such projections are borne out of and get expressed through our everyday, less than extraordinary experiences. Key theoretical tensions regarding identity and culture are elucidated. These tensions are then developed discursively into a genealogy of body transcendence that features the historicizing of social functions to determine from where such tensions and changes manifest, and how they ultimately affect us. Several key artifacts are introduced to help inform the investigation, including eight specific superhero body types that provide an ideal perspective through which transformative power can be observed. The superhero discourse is particularly relevant because it offers a utopian/dystopian tension regarding how the splendor and seduction of the discourse materializes in both liberating and problematic ways. Another aspect of this embodied approach involves adopting the alternate superhero persona of Ethnography Man. By undertaking my own identity transformations, I am better able to investigate spaces that encourage such identity slippage and play, such as the annual San Diego Comic Con International. The once strongly held perception that our bodies are fixed and stable is fast disappearing. In bridging the body with culture through a genealogy, it becomes much more apparent how body transformations will continue to manifest in the future. Therefore, from the experiences and analysis contained herein, implications regarding powerful discursive conditions and constraints that influence our ability to change take form in revealing, problematic, and sometimes unexpected ways. More specifically, implications of who has power, how it is exercised, and the effects of power will materialize and indicate whether or not everyday humans have the potential to become superheroes.
ContributorsBoras, Scott Daniel (Author) / McDonald, Kelly (Thesis advisor) / Goodall, Jr., H. L. (Committee member) / Gilfillan, Daniel (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
Description
This study is a philosophical genealogy of the term “student engagement” as it has appeared in composition studies. It attempts to account for the fact that student engagement has become something of a virtue in educational and composition studies, despite the fact that the term is problematic due its lack of definitional clarity and circular understanding of pedagogy (explained in greater detail in chapter two). Inspired by Foucault, this study employs a genealogical analytic to create a counterhistory of student engagement, suggesting that its principles have existed long before educational theorists coined the term, tracing its practices back to the 1940s in composition studies. Far from being the humanistic and student-centered practice that it is commonly viewed as, this study situates student engagement practices as emerging from various discursive and political desires
eeds, especially as a way to ideologically counter the rise of Nazism and fascism in pre-World War 2 Europe; in short, rather than evolving out of best practices in education, the concept of student engagement emerged out of an intersection of educational, psychological, and even medical prescriptions set against a specific political backdrop. This study also examines the ways that power dynamics shift and teacher-/student-subjects occupy new roles as engagement becomes a prominent force on the pedagogical landscape, addressing specifically the ways teachers and their assignments enact a disciplinary and pastoral function, all with the intent of molding students into interested, interesting, and democratic subjects. This study closes by considering some of the implications of this new understanding of engagement, and suggests potential directions for the term as well as abandoning the term altogether.
eeds, especially as a way to ideologically counter the rise of Nazism and fascism in pre-World War 2 Europe; in short, rather than evolving out of best practices in education, the concept of student engagement emerged out of an intersection of educational, psychological, and even medical prescriptions set against a specific political backdrop. This study also examines the ways that power dynamics shift and teacher-/student-subjects occupy new roles as engagement becomes a prominent force on the pedagogical landscape, addressing specifically the ways teachers and their assignments enact a disciplinary and pastoral function, all with the intent of molding students into interested, interesting, and democratic subjects. This study closes by considering some of the implications of this new understanding of engagement, and suggests potential directions for the term as well as abandoning the term altogether.
ContributorsCruz, Joshua Michael (Author) / Carlson, David L. (Thesis advisor) / Graham, Steven (Committee member) / Goggin, Maureen D. (Committee member) / Hanna, Mark (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