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- All Subjects: Chamber music
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
DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014
Description
This dissertation is a cultural history of the frontier stories surrounding an Arizona politician and Indian trader, John Lorenzo Hubbell. From 1878 to 1930, Hubbell operated a trading post in Ganado, Arizona--what is today Hubbell Trading Post National Historic Site. During that time, he played host to hundreds of visitors who trekked into Navajo country in search of scientific knowledge and artistic inspiration as the nation struggled to come to terms with industrialization, immigration, and other modern upheavals. Hubbell became an important mediator between the Native Americans and the Anglos who came to study them, a facilitator of the creation of the Southwestern myth. He lavished hospitality upon some of the Southwest's principle myth-makers, regaling them with stories of his younger days in the Southwest, which his guests remembered and shared face-to-face and in print, from novels to booster literature. By applying place theory to Hubbell's stories, and by placing them in the context of the history of tourism in the Southwest, I explore the relationship between those stories, the visitors who heard and retold them, and the process of place- and myth-making in the Southwest. I argue that the stories operated on two levels. First, they became a kind of folklore for Hubbell's visitors, a cycle of stories that expressed their ties to and understanding of the Navajo landscape and bound them together as a group, despite the fact that they must inevitably leave Navajo country. Second, the stories fit into the broader myth- and image-making processes that transformed the Southwest into a distinctive region in the imaginations of Americans. Based on a close reading of the stories and supporting archival research, I analyze four facets of the Hubbell legend: the courteous Spanish host; the savior of Native American arts and crafts; the fearless conqueror and selfless benefactor of the Navajos; and the thoroughly Western lawman. Each incarnation of the Hubbell legend spoke to travelers' relationships with Navajo country and the Southwest in different ways. I argue, however, that after Hubbell's death, the connection between his stories and travelers' sense of place weakened dramatically.
ContributorsCottam, Erica, 1985- (Author) / Pyne, Stephen (Thesis advisor) / Szuter, Christine (Committee member) / Osburn, Katherine (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project examines the intersections between sexual/cultural cross-dressing and un/documented immigration from the point of view of folklore and immigration studies using Sui Sin Far's short story collection Mrs. Spring Fragrance and Karen Tei Yamashita's novel Tropic of Orange. Using the lenses of folklore theory and cross-dressing highlights aspects of immigration (and its intersection with gender and race) that are otherwise missed; it is necessary to examine the evolving ways in which fictionalized cross-dressers re-craft and occupy the spaces from which they are barred in order to address and redress questions of immigration today. Incorporating anthropology, history, folkloristics, and gender studies, this project shows that historical forms of cross-dressing and immigration lead to the development of unstable identities and pressures to "re-dress" and return to one's original space. More recent studies about gender, however, reveal a historical change in how cross-dressers negotiate their identities and the space(s) they inhabit. Therefore, it is crucial to inspect cross-dressing and immigration as both historical and contemporary phenomena. While Mrs. Spring Fragrance (published in 1912) represents more conventional ideas of cross-dressing and immigration, Tropic of Orange (published in 1997) offers alternative ways to navigate borders, immigration, and identity by using these concepts more playfully and self-consciously. Although sexual/cultural cross-dressing and un/documented immigration are not the same in every case, there are enough similarities between the two to warrant investigating whether some of the solutions reached by modern cross-dressers and gender-ambiguous people might not also help un/documented immigrants to re-negotiate their status, identities, and spaces in the midst of an unstable and at times hostile environment. In fact, an examination of such intersections can address and redress immigration by changing the perceptions of how, and the contexts in which, people view immigration and borders. Thus, this project contends that it is the combination of folkloristics, gender and immigration studies, Mrs. Spring Fragrance, and Tropic of Orange together that precipitates such a reading.
ContributorsZheng, Ding Ding (Author) / Sadowski-Smith, Claudia (Thesis advisor) / Adamson, Joni (Thesis advisor) / Horan, Elizabeth (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
This dissertation examines the use of color in lowrider car customizations. It studies the relationships among car owners, car painters, and car clubs in the process of selection, and manipulation of color. This research studies how color is constructed as an element for individual and community differentiation. Also included is the examination of the influence of car clubs in the design process, the understanding of color by car painters and car owners, and the cultural values associated with color in this community. This research argues that through the use, manipulation, and implementation of color as a visual/design element, lowriders challenge, transgress, and resist the preconceived notions of space, aesthetic hegemony, and social disparity they experience. In this case, color as a cultural expression, becomes a pivotal element to narrate and retell their stories of struggle and endurance, as well as to envision a different world. This research frames Chicana/o vernacular production, and color use as being central to the borderland experience of this community. Finally, this research follows the discourse of taste, as this concept has been used to create social categories of exotic otherness and the perpetuation of specific aesthetic epistemologies. In this context, it presents lowriders as expression of a Chicana/o network of vernacular border knowledge. This dissertation concludes by framing the Low n' Slow movement, in the context of healing and emancipating practices enacted by subjugated communities in order to survive, give sense to their reality, and to envision a more egalitarian world.
ContributorsCalvo, William (Author) / Giard, Jacques (Thesis advisor) / Boradkar, Prasad (Committee member) / Foster, David William (Committee member) / Arizona State University (Publisher)
Created2011
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
Description
In my thesis paper, I examine the gothic elements found in classical gothic fairy tales from European and Japanese tradition, particularly those works by the Brothers Grimm and Yei Theodora Ozaki. By examining the principle gothic elements that are unique to both stories, and further analyzing the commonalities of story, plot, and other major tropes, a better understanding of the message meant to be imparted and other cultural nuances can be ascertained. Gothic literature creates an atmosphere of gloom and suspense, toying with concepts of dread and darkness by employing Gothic elements such as shadows, the supernatural, sinister buildings, and strong-willed villains, all of which affect the rational mind in an irrational way. Fairytales freely use such tropes to their advantage, playing with the many fears of children, while simultaneously painting an idealistic fantasy world. The degree of usage and the application of gothic elements is closely examined in the Grimm works, "Hansel and Gretel," and "The Robber Bridegroom," as well as the Japanese tales, "The Goblin of Adachigahra,""Kintaro the Golden Boy" and "The Monkey and the Crab." These stories have been chosen due for their usage of animal tricksters, themes of control, and aspects of isolation, supernatural entities, and substantial gothic imagery. The gothic elements of death, sinister older women, the supernatural, fears of abandonment, and cunning animals are akin to both Western and Eastern tales, while the concept of gothic setting and the type of monsters prepared to feast on men is significantly different for both cultures, similar lessons are intended to be gleaned by children from these tales, with the intention of generally producing positive results \u2014 while the means differ, the message is strikingly similar, yet there remain cultural differences in terms of central themes and character traits.The effect of re-introducing the darker, gothic elements of traditional fairy tales into modern literature and retellings of the original narratives has been profound.Today, whether it has been at the bequest of the public or simply a new-age movement by modern cinema audience for the "gritty and realistic," fairy tales are returning to their former gothic forms. "Snow White and The Huntsman" is one example of a film which has gone this route, opting for a more gothic, classic telling rather than the chip, cheery, rosy cheeked Disney versions. There is a tendency for most media nowadays to be far less censored and fantastical, aiming for a more realistic, grittier approach \u2014 this bleeds into film and literature likewise, and thus children are impacted by this shift as well. Children seem to be able to handle more, perhaps desensitized at younger and younger ages by the products of our widely consumerist society, or perhaps due to parents raising their children in such a way so that the darkness that tinges these tales doesn't disturb and derail but rather, emphasizes their meaning of teaching certain lessons. Tales such as these are still valuable, and will continue to be so long as we seek a reality greater than our own, where the evil of the world is wiped away, and we all live happily ever after.
ContributorsMoschonas, Jerasimos Theodore (Author) / Ellis, Lawrence (Thesis director) / Hoyt, Heather (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor)
Created2015-05