Matching Items (1,385)
Filtering by
- All Subjects: Chamber music
Description
This study investigates the effectiveness of the use of Concept-Based Instruction (CBI) to facilitate the acquisition of Spanish mood distinctions by second semester second language learners of Spanish. The study focuses on the development of Spanish mood choice and the types of explanations (Rule-of-Thumb vs. Concept-based) used by five students before and after being exposed to Concept-Based Instruction regarding the choice of Spanish mood following various modalities .The students in this study were presented with a pedagogical treatment on Spanish mood choice that included general theoretical concepts based on Gal'perin's (1969, 1992) didactic models and acts of verbalization, which form part of a Concept-Based pedagogical approach. In order to ascertain the effectiveness of the use of concept-based tools to promote the ability to use Spanish mood appropriately over time, a pre and post-test was administered to the group in which students were asked to respond to prompts containing modalities that elicit the indicative and subjunctive moods, indicate their level of confidence in their response, and verbalize in writing a reason for their choice. The development of these abilities in learners exposed to CBI was assessed by comparing pre and post-test scores examining both forms and explanations for the indicative and subjunctive modality prompts given. Results showed that students continued to rely on Rule-of-Thumb explanations of mood choice but they did expand their use of conceptually-based reasoning. Although the quantitative and qualitative analyses of the results indicate that most students did improve their ability to make appropriate mood choices (forms and explanations) after the CBI treatment, the increased use of conceptually-based explanations for their mood choices led to both correct and incorrect responses.
ContributorsBeus, Eric (Author) / Lafford, Barbara (Thesis advisor) / Beas, Omar (Committee member) / Cerron-Palomino, Alvaro (Committee member) / Arizona State University (Publisher)
Created2013
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
A number of studies have been carried out on Spanish pragmatics and the speech act of refusals (Félix-Brasdefer 2006; García 1992). Many studies have also been conducted on the teaching of pragmatics and speech acts in the classroom (García 1996; Koike 1989). However, to date, not many studies have been conducted analyzing the acquisition of Spanish refusals in the classroom. To the author's knowledge, no study has investigated the acquisition of Spanish refusals at the various different levels in a university. Therefore, this study will analyze whether there is a significant effect of the level of Spanish instruction of intermediate and advanced university L2 learners on their ability to carry out appropriate refusals. Through discourse completion tests, data from students at the Spanish 202 and 314 levels will be analyzed to see how closely they compare to native Spanish speakers in their refusals. The results will be compared with previous studies on refusals in order to create a teaching plan for acquiring this speech act.
ContributorsSnider, Derek (Author) / Lafford, Barbara (Thesis advisor) / García, Carmen (Thesis advisor) / Cerron-Palomino, Alvaro (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
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
ABSTRACT
This qualitative study used a survey to investigate the attitudes and experiences of 44 Heritage learners (HLL) and non-Heritage learners (NHLL) in beginning-level Spanish courses with a mixed population (HLLs and NHLLs) in the same classroom. Specifically, the survey elicited data on their attitudes and experiences towards their own language skills in Spanish and English, their mixed beginning-level Spanish course, their personal reactions to mixed classes, and their attitudes toward classmates that belong to the other group (e.g., HLLs view of NHLLs). The findings of this study indicated that HLLs perceived their listening and speaking skills to be better than their literacy (reading and writing) skills, while NHLLs self-assessed their receptive skills (reading and listening) to be higher than their productive skills (speaking and writing). In addition, both groups expressed a positive attitude toward mixed beginning-level Spanish classes and noted specific advantages to learning in such an environment (e.g., the opportunity to learn about each other’s cultures, the fact that each group felt appreciated and valued by the other group) with very few disadvantages (e.g., HLLs had mixed opinions on the effect that a mixed class might have on a teacher’s expectation for how much material is covered and how thoroughly, while NHLLs mostly agreed that a teacher’s expectations would affect the breadth and depth of material covered; NHLLs thought the presence of HLLs in their class might negatively affect their grades). However, both groups indicated they would prefer to be in Spanish classes with members of their own group instead of in mixed classes (NHLLs affirmed this more than HLLs). This study concludes with a discussion of pedagogical implications, limitations of the study, and ideas for future research on this topic.
This qualitative study used a survey to investigate the attitudes and experiences of 44 Heritage learners (HLL) and non-Heritage learners (NHLL) in beginning-level Spanish courses with a mixed population (HLLs and NHLLs) in the same classroom. Specifically, the survey elicited data on their attitudes and experiences towards their own language skills in Spanish and English, their mixed beginning-level Spanish course, their personal reactions to mixed classes, and their attitudes toward classmates that belong to the other group (e.g., HLLs view of NHLLs). The findings of this study indicated that HLLs perceived their listening and speaking skills to be better than their literacy (reading and writing) skills, while NHLLs self-assessed their receptive skills (reading and listening) to be higher than their productive skills (speaking and writing). In addition, both groups expressed a positive attitude toward mixed beginning-level Spanish classes and noted specific advantages to learning in such an environment (e.g., the opportunity to learn about each other’s cultures, the fact that each group felt appreciated and valued by the other group) with very few disadvantages (e.g., HLLs had mixed opinions on the effect that a mixed class might have on a teacher’s expectation for how much material is covered and how thoroughly, while NHLLs mostly agreed that a teacher’s expectations would affect the breadth and depth of material covered; NHLLs thought the presence of HLLs in their class might negatively affect their grades). However, both groups indicated they would prefer to be in Spanish classes with members of their own group instead of in mixed classes (NHLLs affirmed this more than HLLs). This study concludes with a discussion of pedagogical implications, limitations of the study, and ideas for future research on this topic.
ContributorsDones-Herrera, Vilma (Author) / Lafford, Barbara A. (Thesis advisor) / Cerron-Palomino, Alvaro (Committee member) / González, Verónica (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