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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
Preschool children with language delays often struggle to learn new concepts. Proven strategies such as modeling, prompting, reinforcing responses, direct teaching, and hands-on experience matter to young children with language delays. Also important are social interactions and shared experiences with more knowledgeable persons. Within a cultural context Funds of Knowledge, that is the talents, traditions, and abilities families possess and pass down to their children may be a context for these. However, despite their importance the value Funds of Knowledge have has not been explored with parents of children with special needs. This action research study used a mixed-methods design to understand if Funds of Knowledge could be used as context to improve communication between parents and their children and build trust between parents and a teacher. Seven families participated in the study. Quantitative data were gathered with surveys and were analyzed with descriptive statistics. Qualitative data consisted of transcripts from home-visit interviews, parent presentations, and a focus group, and were analyzed with a grounded theory approach. Results indicate parents entered the study with trust in the teacher especially in terms of having competence in her abilities. Data also show that parents used the language strategies provided to improve communication with their children. Data also indicate that the use of a Funds of Knowledge activity allowed parents to share their knowledge and interests with their children and children in the classroom, feel empowered, and express emotions. From these findings, implication for practice and further research are provided.
ContributorsGonzalez, Alissa Quintero (Author) / Zambo, Debby (Committee member) / Hansen, Cory (Committee member) / Villamil-Rubin, Aura (Committee member) / Arizona State University (Publisher)
Created2014
Description
This dissertation examines people's place experiences more fully than has been done by others in the field of education, and in doing so, it opens new ways of thinking about place in place-based education. Place-based education, in its effort to connect educational processes with the local places in which students and teachers carry out their daily lives, has become an increasingly popular reform movement that challenges assumptions about the purpose and meaning of education in a rapidly globalizing world. Though the scholarship on place-based education describes, justifies, and advocates for turning the educational focus toward local places, it does not necessarily bring forth an explicit understanding of how people experience place.
Grounded in phenomenology, this qualitative study explores the place experiences of five individuals who were born and raised in the White Mountains of eastern Arizona. Experiential descriptions were gathered through three, in-depth, iterative interviews with each participant. Documents considered for this study included interview transcriptions as well as photographs, observations, and descriptions of places in the White Mountains that were deemed significant to the individuals. A phenomenological framework, specifically Edward Relph's explications of place and insideness and outsideness, structured the methodological processes, contextualized participant narratives, and facilitated and informed an understanding of participants' place experiences.
Through the coding and analyzing of interviews for common themes and subthemes, as well as through the crafting of individual profiles, participant place experiences emerged as a dialectical relationship between insideness and outsideness and consisted of Part-of-Place (play-and-exploration, cultivation-of-place, stories-of-place, dangerous-endeavors, and care-of-place), Place-Sensations (remarkable-moments, sensory-triggers, and features-marked-in-time), and Ruptures-in-the-Place-World (pivotal-moments, barriers-borders-boundaries, drastic-changes, and injuries).
While the research was exploratory and only investigated a limited number of place experiences, the findings, coupled with theoretical and conceptual understandings of place anchored in phenomenological perspectives, strengthen a discussion in place-based education of place, how place is experienced, and how these experiences matter in people's lives. Furthermore, the findings of this dissertation support a proposed pedagogical method that blends place-based education and culturally relevant practices into a place-responsive pedagogy.
Grounded in phenomenology, this qualitative study explores the place experiences of five individuals who were born and raised in the White Mountains of eastern Arizona. Experiential descriptions were gathered through three, in-depth, iterative interviews with each participant. Documents considered for this study included interview transcriptions as well as photographs, observations, and descriptions of places in the White Mountains that were deemed significant to the individuals. A phenomenological framework, specifically Edward Relph's explications of place and insideness and outsideness, structured the methodological processes, contextualized participant narratives, and facilitated and informed an understanding of participants' place experiences.
Through the coding and analyzing of interviews for common themes and subthemes, as well as through the crafting of individual profiles, participant place experiences emerged as a dialectical relationship between insideness and outsideness and consisted of Part-of-Place (play-and-exploration, cultivation-of-place, stories-of-place, dangerous-endeavors, and care-of-place), Place-Sensations (remarkable-moments, sensory-triggers, and features-marked-in-time), and Ruptures-in-the-Place-World (pivotal-moments, barriers-borders-boundaries, drastic-changes, and injuries).
While the research was exploratory and only investigated a limited number of place experiences, the findings, coupled with theoretical and conceptual understandings of place anchored in phenomenological perspectives, strengthen a discussion in place-based education of place, how place is experienced, and how these experiences matter in people's lives. Furthermore, the findings of this dissertation support a proposed pedagogical method that blends place-based education and culturally relevant practices into a place-responsive pedagogy.
ContributorsNolan, Erin Anacortez (Author) / Mccarty, Teresa (Thesis advisor) / Romero-Little, Mary Eunice (Thesis advisor) / Barnhardt, Ray (Committee member) / Arizona State University (Publisher)
Created2015
Description
This dissertation focuses on traditional arts at the Institute of American Indian Arts (IAIA) as a form of place-based education by asking the question, what is the role of traditional arts at IAIA? Through a qualitative study students, faculty, staff, and alumni were interviewed to gain their perspectives on education, traditional arts, and the role of traditional arts at IAIA. Through analysis of these interviews, it was found that participants viewed traditional arts as a form of place-based education and that these practices should play an important role at IAIA. This study also looks at critical geography and place-based practice as a form of anti-colonial praxis and an exercise of tribal sovereignty. Colonization restructures and transforms relationships with place. Neo-colonialism actively seeks to disconnect people from their relationship with the environment in which they live. A decline in relationship with places represents a direct threat to tribal sovereignty. This study calls on Indigenous people, and especially those who are Pueblo people, to actively reestablish relationships with their places so that inherent sovereignty can be preserved for future generations. This study also looks at the academic organization of IAIA and proposes a restructuring of the Academic Dean and Chief Academic Officer (AD&CAO) position to address issues of transition, efficiency, and innovation. The extensive responsibilities of this position cause several serious concerns. The policy paper proposes that the academic programs be divided thematically into 2 schools that will allow greater flexibility and adaptive practices to emerge out of the academic division at IAIA. The combination of restructuring the academic division at IAIA, my theoretical argument promoting place-based praxis as anti-colonial practice, and my research into the application of place-based programming at IAIA all support my overall goal of supporting Pueblo communities through my own work.
ContributorsSwentzell, Porter (Author) / Sumida-Huaman, Elizabeth (Thesis advisor) / Lomawaima, K. Tsianina (Committee member) / Chhetri, Netra (Committee member) / Arizona State University (Publisher)
Created2018
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