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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
Over the course of more than half a century, Rabbi Dr. Irving Greenberg has developed a distinctive theology of intra- and inter-group relations. Deeply influenced by his experiences in the Christian-Jewish dialogue movement, Greenberg's covenantal theology and image of God idea coalesce into what I refer to as Hybrid Judaism, a conceptualization that anticipated key aspects David Hollinger's notion of Postethnicity. As such, Greenberg's system of thought is mistakenly categorized (by himself, as well as others) as an expression of pluralism. The twentieth century arc of social theories of group life in America, from Melting Pot to Postethnicity by way of Cultural Pluralism, serves to highlight the fact that Greenberg is better located at the latter end of this arc (Postethnicity), rather than in the middle (Pluralism). Central to Greenberg's proto-postethnic theology is the recognition of the transformative power of encounter in an open society. Greenberg's ideas are themselves the product of such encounters. Understood fully, Hybrid Judaism has great relevance for American Jewish identity in the twenty-first century.
ContributorsKleinberg, Darren, 1976- (Author) / Gereboff, Joel (Thesis advisor) / Fessenden, Tracy (Committee member) / Moore, Moses (Committee member) / Arizona State University (Publisher)
Created2014
Description
Since its modern renaissance in the mid-1970s, the Messianic Jewish movement in America has grown from a handful of house churches to a network of hundreds of synagogues and congregations. Mainline American Judaism has unanimously rejected the argument that Jews who believe in Jesus continue to be members of the Jewish community or that their religion is a form of contemporary Judaism. Scholars have accounted for Messianic Judaism as a new religious movement but no consensus has formed on whether to classify Messianic Jewish religion as a sectarian form of Protestant Christianity or American Judaism.
This dissertation uses a polythetic approach to defining Judaism and a comparative approach to studying religions in order to make sense of Hashivenu, a newly emergent community of Messianic Jews, and the claim that their religion is “truly” Judaism and not Christianity. It addresses the question of how scholars of religion can account for Messianic Judaism in the mapping of American religion without succumbing to essentialist definitions of Judaism that religious communities use to set boundaries and differentiate themselves from competing groups.
Following the lead set by Bruce Lincoln on defining religion in four domains and Michael Satlow on defining Judaism through the use of conceptual maps, research on Messianic Judaism suggests that individual beliefs about whether Jesus is or is not the Messiah or part of a Trinitarian theology are less important to the academic classificatory project than is the authorizing religious discourse of the New Testament to which all Messianic Jews, including the Hashivenu group, appeal for creating community, legitimating practice, and constructing a Messianic Jewish worldview. Since Messianic Judaism properly contributes simultaneously to maps of both Judaism and Christianity, Hashivenu’s prescriptive approach to creating Judaism out of characteristics from two historically competitive, even antithetical religious traditions challenges scholars to contend with the limitations of defining Judaism and Christianity within the parameters of an unpopular but still regnant World Religions discourse predicated on the presumption that the two religions have long ago permanently parted ways.
This dissertation uses a polythetic approach to defining Judaism and a comparative approach to studying religions in order to make sense of Hashivenu, a newly emergent community of Messianic Jews, and the claim that their religion is “truly” Judaism and not Christianity. It addresses the question of how scholars of religion can account for Messianic Judaism in the mapping of American religion without succumbing to essentialist definitions of Judaism that religious communities use to set boundaries and differentiate themselves from competing groups.
Following the lead set by Bruce Lincoln on defining religion in four domains and Michael Satlow on defining Judaism through the use of conceptual maps, research on Messianic Judaism suggests that individual beliefs about whether Jesus is or is not the Messiah or part of a Trinitarian theology are less important to the academic classificatory project than is the authorizing religious discourse of the New Testament to which all Messianic Jews, including the Hashivenu group, appeal for creating community, legitimating practice, and constructing a Messianic Jewish worldview. Since Messianic Judaism properly contributes simultaneously to maps of both Judaism and Christianity, Hashivenu’s prescriptive approach to creating Judaism out of characteristics from two historically competitive, even antithetical religious traditions challenges scholars to contend with the limitations of defining Judaism and Christianity within the parameters of an unpopular but still regnant World Religions discourse predicated on the presumption that the two religions have long ago permanently parted ways.
ContributorsPower, Patricia A (Author) / Gereboff, Joel D. (Thesis advisor) / Clay, Eugene (Committee member) / Fessenden, Tracy (Committee member) / Arizona State University (Publisher)
Created2015
Description
Relevant literature was analyzed alongside interview data from participants concerning issues of anti-Semitism, Israel affiliation, and Jewish identity. Qualitative coding and theme identification were used to determine possible relationships among the variables, with special attention to the role anti-Semitism plays in influencing Israel affiliation. Semi-structured interviews were conducted with 9 young American Jews (18-24) currently enrolled as undergraduate students in universities. The results revealed that continuity of the Jewish people is a core value for many American Jews. Anti-Semitism is often under reported by young American Jews, but for some anti-Israel sentiments are conflated with anti-Semitism. It was also observed that knowledge of anti-Semitism plays an integral role in shaping Jewish identity. Finally, it was found that Israel affiliation polarizes the Jewish community, often resulting in the exclusion of left-leaning Jews from the mainstream Jewish community. These results were analyzed within racial, social, and political frameworks.
ContributorsHobbs, Emma Caroline (Author) / Adelman, Madelaine (Thesis advisor) / Shabazz, Rashad (Committee member) / Cohen, Adam (Committee member) / Langille, Timothy (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