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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
Since the Convention on Biological Diversity was established in 1992, more importance has been given to the conservation of genetic resources in the international community. In 2001, the International Treaty on Plant Genetic Resources for Food and Agriculture (PGRFA) focused on conserving plant genetic resources, including crop wild relatives (CWR). Some of these genetic resources hold desirable traits--such as transfer of plant disease resistance, improvement of nutritional content, or increased resistance to climate change--that can improve commercial crops. For many years, ex situex situ conservation was the prevalent form of protecting plant genetic resources. However, after PGRFA was published in 1998, in situ techniques have increasingly been applied to conserve wild relatives and enhance domesticated crops.In situ techniques are preferred when possible, since they allow for continued evolution of traits through natural selection, and viability of seed stock through continuous germination and regeneration. In my research, I identified regions in Bolivia and rated them according to their potential for successful programs of iin situ conservation of wild crop relatives. In particular, I analyzed areas according to the following criteria: a) The prevalence of CWRs. b) The impacts of climate change, land use change, population growth, and economic development on the continued viability of CWRs in an area. c) The socio-political and economic conditions that might impede or facilitate successful conservation programs and outcomes. This work focuses on three genera of particular importance in Bolivia: Peanut (Arachis spp.), Potato (Solanum spp.) and Quinoa (Chenopodium spp.). I analyzed the above factors for each municipality in Bolivia (the smallest scale for which appropriate data were available). The results indicate which municipalities are most likely to successfully engage in CWR conservation projects. Finally, I present guidelines for the creation of conservation projects that pinpoint some of the potential risks and difficulties with in situ conservation programs in Bolivia and more generally.
ContributorsGonzalez-Paredes, Cecilia (Author) / Kinzig, Ann (Thesis advisor) / Aggarwal, Rimjhim (Committee member) / Chhetri, Netra (Committee member) / Arizona State University (Publisher)
Created2011
Description
Background: Obesity is considered one of the most serious public health issues worldwide. Small, feasible lifestyle changes are necessary to obtain and maintain weight loss. Clinical evidence is inconclusive about whether meal preloading is an example of a small change that could potentially increase the likelihood of weight loss and weight maintenance. Objective: The aim of this study is to determine if consuming 23 grams of peanuts, as a meal preload, before a carbohydrate-rich meal will lower post prandial glycemia and insulinemia and increase satiety in the 2 hour period after a carbohydrate-rich meal. Design: 15 healthy, non-diabetic adults without any known peanut or tree nut allergies were recruited from a campus community. A randomized, 3x3 block crossover design was used. The day prior to testing participants refrained from vigorous activity and consumed a standard dinner meal followed by a 10 hour fast. Participants reported to the test site in the fasted state to complete one of three treatment meals: control (CON), peanut (NUT), or grain bar (BAR) followed one hour later by a carbohydrate-rich meal. Satiety, glucose and insulin were measured at different time points throughout the visit. Each participant had a one-week washout period between visits. Results: Glucose curves varied between treatments (p=.023). Blood glucose was significantly higher one hour after ingestion of the grain bar compared to the peanut and control treatments (p<.001). At 30 minutes after the meal, the control glucose was significantly higher than for the peanut or grain bar (p=.048). Insulin did vary significantly between treatments (p<.001). The insulin change one hour after grain bar consumption was significantly higher than after the peanut or control at the same time point (p<.001). The change in insulin one hour after peanut consumption was significantly higher than for the control treatment (p=.002). Overall satiety, expressed as the 180 minute AUC, differed significantly between treatments (p=.001). One hour after preload consumption, peanut and bar consumption was associated with greater satiety than the water control (p<.001). At 30 minutes post-meal, the grain bar was associated with greater satiety versus the water control (p=.049). The bar was also associated with greater satiety versus peanut and control at 60 and 90 minutes post-meal (p=.003 and .034, respectively). At 120 minutes post-meal, the final satiety measurement, the bar was still associated with greater satiety than the peanut preload (p=.023). Total energy intake, including test meal, on treatment days did not differ significantly between treatment (p=.233). Conclusions: Overall satiety, blood glucose and blood insulin levels differed at different time points depending on treatment. Both meal preloads increased overall satiety. However, grain bar ingestion resulted in sustained satiety, greater than the peanut preload. Grain bar ingestion resulted in an immediate glycemic and insulinemic response. However, the response was not sustained after the test meal was ingested. The results of this study suggest that a low-energy, carbohydrate-rich meal preload may have a positive impact on weight maintenance and weight loss by initiating a sustained increase in overall satiety. More research is needed to confirm these findings.
ContributorsFleming, Katie R (Author) / Johnston, Carol (Thesis advisor) / Wharton, Christopher (Christopher Mack), 1977- (Committee member) / Shepard, Christina (Committee member) / Arizona State University (Publisher)
Created2012
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