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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
The Himalayan orogenic system is one of the youngest and most spectacular examples of a continent-continent collision on earth. Although the collision zone has been the subject of extensive research, fundamental questions remain concerning the architecture and evolution of the orogen. Of particular interest are the structures surrounding the 5 km high Tibetan Plateau, as these features record both the collisional and post-collisional evolution of the orogen. In this study we examine structures along the southwestern margin of the Tibetan Plateau, including the Karakoram (KFS) and Longmu Co (LCF) faults, and the Ladakh, Pangong and Karakoram Ranges. New low-temperature thermochronology data collected from across the Ladakh, Pangong and Karakoram Ranges improved the spatial resolution of exhumation patterns adjacent to the edge of the plateau. These data show a southwest to northeast decrease in cooling ages, which is the trailing end of a wave of decreased exhumation related to changes in the overall amount of north-south shortening accommodated across the region. We also posit that north-south shortening is responsible for the orientation of the LCF in India. Previously, the southern end of the LCF was unmapped. We used ASTER remotely sensed images to create a comprehensive lithologic map of the region, which allowed us to map the LCF into India. This mapping shows that this fault has been rotated into parallelism with the Karakoram fault system as a result of N-S shortening and dextral shear on the KFS. Additionally, the orientation and sense of motion along these two systems implies that they are acting as a conjugate fault pair, allowing the eastward extrusion of the Tibet. Finally, we identify and quantify late Quaternary slip on the Tangtse strand of the KFS, which was previously believed to be inactive. Our study found that this fault strand accommodated ca. 6 mm/yr of slip over the last ca. 33-6 ka. Additionally, we speculate that slip is temporally partitioned between the two fault strands, implying that this part of the fault system is more complex than previously believed.
ContributorsBohon, Wendy (Author) / Arrowsmith, Ramon (Thesis advisor) / Hodges, Kip V (Thesis advisor) / Whipple, Kelin X (Committee member) / Heimsath, Arjun (Committee member) / Reynolds, Steven (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
The tectonic significance of the physiographic transition from the low-relief Tibetan plateau to the high peaks, rugged topography and deep gorges of the Himalaya is the source of much controversy. Some workers have suggested the transition may be structurally controlled (e.g. Hodges et al., 2001), and indeed, the sharp change in geomorphic character across the transition strongly suggests differential uplift between the Himalayan realm and the southernmost Tibetan Plateau. Most Himalayan researchers credit the South Tibetan fault system (STFS), a family of predominantly east-west trending, low-angle normal faults with a known trace of over 2,000 km along the Himalayan crest (e.g. Burchfiel et al., 1992), with defining the southern margin of the Tibetan Plateau in the Early Miocene. Inasmuch as most mapped strands of the STFS have not been active since the Middle Miocene (e.g., Searle & Godin, 2003), modern-day control of the physiographic transition by this fault system seems unlikely. However, several workers have documented Quaternary slip on east-west striking, N-directed extensional faults, of a similar structural nature but typically at a different tectonostratigraphic level than the principal STFS strand, in several locations across the range (Nakata, 1989; Wu et al., 1998; Hurtado et al., 2001). In order to explore the nature of the physiographic transition and determine its relationship to potential Quaternary faulting, I examined three field sites: the Kali Gandaki valley in central Nepal (~28˚39'54"N; 83˚35'06"E), the Nyalam region of south-central Tibet (28°03'23.3"N, 86°03'54.08"E), and the Ama Drime Range in southernmost Tibet (87º15'-87º50'E; 27º45'-28º30'N). Research in each of these areas yielded evidence of young faulting on structures with normal-sense displacement in various forms: the structural truncation of lithostratigraphic units, distinctive fault scarps, or abrupt changes in bedrock cooling age patterns. These structures are accompanied by geomorphic changes implying structural control, particularly sharp knickpoints in rivers that drain from the Tibetan Plateau, across the range crest, and down through the southern flank of the Himalaya. Collectively, my structural, geomorphic, and thermochronometric studies confirm the existence of extensional structures near the physiographic transition that have been active more recently than 1.5 Ma in central Nepal, and over the last 3.5 Ma in south-central Tibet. The structural history of the Ama Drime Range is complex and new thermochronologic data suggest multiple phases of E-W extension from the Middle Miocene to the Holocene. Mapping in the accessible portions of the range did not yield evidence for young N-S extension, although my observations do not preclude such deformation on structures south of the study area. In contrast, the two other study areas yielded direct evidence that Quaternary faulting may be controlling the position and nature of the physiographic transition across the central Tibetan Plateau-Himalaya orogenic system.
ContributorsMcDermott, Jeni Amber (Author) / Hodges, Kip V (Thesis advisor) / Whipple, Kelin X (Thesis advisor) / Van Soest, Matthijs C (Committee member) / Arrowsmith, Ramon (Committee member) / Semkin, Steven (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