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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
This study evaluates five different hypotheses potentially accounting for the prehistoric movement of vesicular basalt during the Hohokam occupation of the Salt-Gila Basin (ca. A.D. 700-1450): 1) direct procurement; 2) direct exchange; 3) down-the-line exchange; 4) market exchange; and 5) elite-controlled exchange. The plausibility of each hypothesis is assessed by examining the relative frequency of different vesicular basalt source types at sites as related to the geographic distance from their source; intra-site variance in vesicular basalt source type diversity; inter-site variance in vesicular basalt source type diversity; and temporal specificity and continuity in source preference. The study sample is comprised of 484 vesicular basalt artifacts recovered from nine Hohokam sites: Casa Grande, Gila Crossing, the Hospital Site, La Plaza, Las Colinas, Los Hornos, Lower Santan, Pueblo Grande, and Upper Santan. Geographic provenance data for artifacts are generated by comparing their chemical composition to a geochemical reference database composed of more than 700 vesicular basalt raw material samples from 17 different source areas in the Salt-Gila Basin. Geochemical data for both artifact and raw material samples were collected using a portable X-ray fluorescence spectrometer and a newly developed sampling procedure that provides an efficient, reliable, and nondestructive means of analysis.
The results of the hypothesis testing found that direct procurement is a possible material provisioning practice for perhaps only a small number of households in the Salt-Gila Basin; specifically those located less than 10 km from a vesicular basalt outcrop. Direct exchange is also an unlikely explanation, though it cannot be rejected outright. The other exchange hypotheses, down-the-line, market, and elite-controlled exchange, as defined in this study, are all rejected as possible explanations. From these results, a new model of Hohokam vesicular basalt provisioning practices is developed for future testing. This model posits that vesicular basalt groundstone tools were produced by specialists in a handful of locations during both the Preclassic and Classic periods, and that finished tools were acquired through workshop procurement or local distributers. The implications of these findings for understanding the organization of Hohokam domestic and political economies are also discussed.
The results of the hypothesis testing found that direct procurement is a possible material provisioning practice for perhaps only a small number of households in the Salt-Gila Basin; specifically those located less than 10 km from a vesicular basalt outcrop. Direct exchange is also an unlikely explanation, though it cannot be rejected outright. The other exchange hypotheses, down-the-line, market, and elite-controlled exchange, as defined in this study, are all rejected as possible explanations. From these results, a new model of Hohokam vesicular basalt provisioning practices is developed for future testing. This model posits that vesicular basalt groundstone tools were produced by specialists in a handful of locations during both the Preclassic and Classic periods, and that finished tools were acquired through workshop procurement or local distributers. The implications of these findings for understanding the organization of Hohokam domestic and political economies are also discussed.
ContributorsFertelmes, Craig M (Author) / Abbott, David R. (Thesis advisor) / Simon, Arleyn W (Thesis advisor) / Darling, J Andrew (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
Over the last several years there has been increased enthusiasm surrounding local interests, particularly when it comes to the economic development of local communities (Esteves, Barclay, 2011). This study seeks to identify potential barriers to local sourcing that have not been previously identified in literature. By conducting interviews with organizations in the private and public sectors, this study was able to gain a broad perspective of the sourcing decision making process across these sectors. The study was able to determine three new barriers to local sourcing. First, in the private sector, the lack of personal commitment to local sourcing from the decision maker to source locally is a barrier. Second, in the public sector, the intention behind procurement policies are creating the barrier for local sourcing opportunities. Finally, both private and public sectors experience the same external barriers due to a mismatch of the local supply base and the needs of the organization.
ContributorsKolesar, Katherine Ann (Author) / Kull, Thomas (Thesis director) / Hillman, Amy (Committee member) / Lanning, Kimber (Committee member) / Department of Marketing (Contributor) / Department of Supply Chain Management (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
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