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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 examines the effects of providing persuasive writing and reading comprehension strategy training on source-based essay writing. Strategy training was administered through the use of the Writing Pal and the Interactive Strategy Trainer for Active Reading and Thinking (iSTART). The impact of both individual (writing or reading) and blended strategy training on source-based writing was investigated. A total of 261 participants completed the study; after removing incomplete and second language participants the source-based writing and system performance was assessed for 175 participants (n no instruction = 48, n iSTART =41, n Writing Pal =41, n blended =45).
Results indicated that participants who received blended strategy training produced higher quality source-based essays than participants who received only reading comprehension, writing strategy training, or no training. Furthermore, participants who received only reading comprehension or writing strategy training did not produce higher quality source-based essays than participants in the no-training control group. Time on task was investigated as a potential explanation for the results. Neither total time on task nor practice time were predictive of group differences on source-based essay scores. Analyses further suggested that the impact of strategy training does not differ as a function of prior abilities; however, training does seem to impact the relation between prior abilities and source-based essay scores. Specifically, prior writing ability was unrelated to performance for those who received writing training (i.e., Writing Pal and blended conditions), and prior reading ability was unrelated to performance for those received the full dosage of iSTART training. Overall, the findings suggest that when taught in conjunction with one another, reading comprehension and writing strategy training transfers to source-based writing, providing a positive impact on score. Potential changes to the Writing Pal and iSTART to more closely align training with source-based writing are discussed as methods of further increasing the impact of training on source-based writing.
Results indicated that participants who received blended strategy training produced higher quality source-based essays than participants who received only reading comprehension, writing strategy training, or no training. Furthermore, participants who received only reading comprehension or writing strategy training did not produce higher quality source-based essays than participants in the no-training control group. Time on task was investigated as a potential explanation for the results. Neither total time on task nor practice time were predictive of group differences on source-based essay scores. Analyses further suggested that the impact of strategy training does not differ as a function of prior abilities; however, training does seem to impact the relation between prior abilities and source-based essay scores. Specifically, prior writing ability was unrelated to performance for those who received writing training (i.e., Writing Pal and blended conditions), and prior reading ability was unrelated to performance for those received the full dosage of iSTART training. Overall, the findings suggest that when taught in conjunction with one another, reading comprehension and writing strategy training transfers to source-based writing, providing a positive impact on score. Potential changes to the Writing Pal and iSTART to more closely align training with source-based writing are discussed as methods of further increasing the impact of training on source-based writing.
ContributorsWeston Jennifer L (Author) / McNamara, Danielle S. (Thesis advisor) / Connor, Carol M (Committee member) / Glenberg, Arthur M. (Committee member) / Graham, Steve (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project investigated second language writing teachers’ writing assessment literacy by looking at teachers’ practices of electronic writing portfolios (e-WPs), as well as the sources that shape L2 writing teachers’ knowledge of e-WPs in the context of multilingual First-Year Composition (FYC) classrooms. By drawing on Borg’s (2003) theory of teacher cognition and Crusan, Plakans, and Gebril’s (2016) definition of assessment literacy, I define L2 teachers’ writing assessment literacy as teachers’ knowledge, beliefs and practices of a particular assessment tool, affected by institutional factors. While teachers are the main practitioners who help students create e-WPs (Hilzensauer & Buchberger, 2009), studies on how teachers actually incorporate e-WPs in classes and what sources may influence teachers’ knowledge of e-WPs, are scant. To fill in this gap, I analyzed data from sixteen teachers’ semi-structured interviews. Course syllabi were also collected to triangulate the interview data. The interview results indicated that 37.5 % of the teachers use departmental e-WPs with the goal of guiding students throughout their writing process. 43.7 % of the teachers do not actively use e-WPs and have students upload their writing projects only to meet the writing program’s requirement at the end of the semester. The remaining 18.7 % use an alternative platform other than the departmental e-WP platform, throughout the semester. Sources influencing teachers’ e-WP knowledge included teachers’ educational and work experience, technical difficulties in the e-WP platform, writing program policies and student reactions. The analysis of the course syllabi confirmed the interview results. Based on the findings, I argue that situated in the context of classroom assessment, institutional factors plus teachers’ insufficient knowledge of e-WPs limit the way teachers communicate with students, whose reactions cause teachers to resist e-WPs. Conversely, teachers’ sufficient knowledge of e-WPs enables them to balance the pressure from the institutional factors, generating positive reactions from the students. Students’ positive reactions encourage teachers to accept the departmental e-WPs or use similar alternative e-WP platforms. Pedagogical implications, limitations of the study and suggestions for future research are reported to conclude the dissertation.
ContributorsWu, Tai-Min (Author) / Matsuda, Paul K (Thesis advisor) / James, Mark A (Committee member) / Smith, Bryan (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
ContributorsASU Library. Music Library (Publisher)
Created2018-01-31