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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
Galaxies with strong Lyman-alpha (Lya) emission line (also called Lya galaxies or emitters) offer an unique probe of the epoch of reionization - one of the important phases when most of the neutral hydrogen in the universe was ionized. In addition, Lya galaxies at high redshifts are a powerful tool to study low-mass galaxy formation. Since current observations suggest that the reionization is complete by redshift z~ 6, it is therefore necessary to discover galaxies at z > 6, to use their luminosity function (LF) as a probe of reionization. I found five z = 7.7 candidate Lya galaxies with line fluxes > 7x10-18 erg/s/cm/2 , from three different deep near-infrared (IR) narrowband (NB) imaging surveys in a volume > 4x104Mpc3. From the spectroscopic followup of four candidate galaxies, and with the current spectroscopic sensitivity, the detection of only the brightest candidate galaxy can be ruled out at 5 sigma level. Moreover, these observations successfully demonstrate that the sensitivity necessary for both, the NB imaging as well as the spectroscopic followup of z~ 8 Lya galaxies can be reached with the current instrumentation. While future, more sensitive spectroscopic observations are necessary, the observed Lya LF at z = 7.7 is consistent with z = 6.6 LF, suggesting that the intergalactic medium (IGM) is relatively ionized even at z = 7.7, with neutral fraction xHI≤ 30%. On the theoretical front, while several models of Lya emitters have been developed, the physical nature of Lya emitters is not yet completely known. Moreover, multi-parameter models and their complexities necessitates a simpler model. I have developed a simple, single-parameter model to populate dark mater halos with Lya emitters. The central tenet of this model, different from many of the earlier models, is that the star-formation rate (SFR), and hence the Lya luminosity, is proportional to the mass accretion rate rather than the total halo mass. This simple model is successful in reproducing many observable including LFs, stellar masses, SFRs, and clustering of Lya emitters from z~ 3 to z~ 7. Finally, using this model, I find that the mass accretion, and hence the star-formation in > 30% of Lya emitters at z~ 3 occur through major mergers, and this fraction increases to ~ 50% at z~7.
ContributorsShet Tilvi, Vithal (Author) / Malhotra, Sangeeta (Thesis advisor) / Rhoads, James (Committee member) / Scannapieco, Evan (Committee member) / Young, Patrick (Committee member) / Jansen, Rolf (Committee member) / Arizona State University (Publisher)
Created2011
Description
The first part of this dissertation presents the implementation of Bayesian statistics with galaxy surface luminosity (SL) prior probabilities to improve the ac- curacy of photometric redshifts. The addition of the SL prior probability helps break the degeneracy of spectro-photometric redshifts (SPZs) between low redshift 4000 A break galaxies and high redshift Lyman break galaxies which are mostly catas- trophic outliers. For a sample of 1138 galaxies with spectroscopic redshifts in the GOODS North and South fields at z < 1.6, the application of the surface luminosity prior reduces the fraction of galaxies with redshift deviation sigma(z) > 0.2 from 15.0% to 10.4%. The second part of this dissertation presents the study of the chemical evolution of the star-forming galaxies. The Hubble Space Telescope Probing Evolution and Reionization Spectroscopically (PEARS) grism Survey effectively selects emission line galaxies (ELGs) to mAB ~ 27. Follow-up Magellan LDSS3+IMACS spectroscopy of the HST/ACS PEARS ELGs confirms an accuracy of sigma_z = 0.006 for the HST/ACS PEARS grism redshifts. The luminosity-metallicity (L-Z) relation and the mass-metallicity (M-Z) relation of the PEARS ELGs at z ~ 0.6 are offset by ~ - 0.8 dex in metallicity for a given rest-frame B absolute magnitude and stellar mass relative to the local relations from SDSS galaxies. The offsets in both relations are ~ - 0.4 dex larger than that given by other samples at same redshifts, which are demonstrated to be due to the selection of different physical properties of the PEARS ELGs: low metallicities, very blue colors, small sizes, compact disturbed morphologies, high SSFR > 10^-9 yr^-1 , and high gas fraction. The downsizing effect, the tidal interacting induced inflow of metal-poor gas, and the SNe driven galactic winds outflows, may account for the significant offset of the PEARS galaxies in the L-Z and the M-Z relations relative to the local relations. The detection of the emission lines of ELGs down to m ~ 26 mag in the HST/ACS PEARS + HST/WCF3 ERS NIR composit grism spectra enables to extend the study of the evolution of the L-Z and M-Z relations to 0.6 < z < 2.4.
ContributorsXia, Lifang (Author) / Malhotra, Sangeeta (Thesis advisor) / Rhoads, James (Committee member) / Scannapieco, Evan (Committee member) / Jansen, Rolf (Committee member) / Young, Patrick (Committee member) / Arizona State University (Publisher)
Created2012
Description
Lyman-alpha (Lyα) galaxies (LAEs) and Lyα blobs (LABs) are objects identified and studied due to their bright Lyα emission lines. This bright emission allows LAEs and LABs to be studied in the distant universe, providing a glimpse into the physical processes occuring in the early universe. This dissertation presents three complementary studies of LAEs and LABs at z ~ 3.1. The two main foci of this work are (1) to understand the gas kinematics in both classes of objects and (2) to improve spectral energy distribution (SED) fitting processes to better determine the physical characteristics of LAEs. Gas kinematics in this dissertation means looking for signatures of large-scale winds. This is an exciting astrophysical endeavor, because the results can provide insight into how Lyα photons escape distant galaxies and traverse the IGM, and the results have implications for how the epoch of reionization can be studied with the Lyα line and because winds can be a signature of powerful star formation events. In the first two studies we find signatures of winds in three LAEs by measuring the velocity offset between the redshifts of [OIII] and Lyα in these galaxies. The first two LAEs presented here represent the first ever measurements of [OIII] in Lyα-selected field galaxies. The third study reports no velocity offset between [OIII] and Lyα when the methodology is transferred to a z ~ 3.1 LAB. This lack of velocity offset is an interesting result, however, as powerful outflows and star formation events, which should impart a velocity offset, have been hypothesized as power sources for LABs. In addition to understanding the kinematics of these objects, we introduce a new parameter into the SED fitting process typically used to characterize LAEs. This new parameter enables better determination of characteristics like the age, mass, metallicity, dust content and star formation history of the galaxies in our sample. These characteristics provide a snapshot of galaxies in the universe ~ 11 billion years ago and also provide insight into how these characteristics compare to galaxies at other epochs.
ContributorsMcLinden, Emily (Author) / Rhoads, James (Thesis advisor) / Malhotra, Sangeeta (Committee member) / Timmes, Frank (Committee member) / Scowen, Paul (Committee member) / Young, Patrick (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