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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
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
Seismic observations have revealed two large low shear velocity provinces (LLSVPs) in the lowermost mantle beneath Pacific and Africa. One hypothesis for the origin of LLSVPs is that they are caused by accumulation of subducted oceanic crust on the core-mantle boundary (CMB). Here, I perform high resolution geodynamical calculations to test this hypothesis. The result shows that it is difficult for a thin (~ 6 km) subducted oceanic crust to accumulate on the CMB, and the major part of it is viscously stirred into the surrounding mantle. Another hypothesis for the origin of LLSVPs is that they are caused by thermochemical piles of more-primitive material which is remnant of Earth's early differentiation. In such case, a significant part of the subducted oceanic crust would enter the more-primitive reservoir, while other parts are either directly entrained into mantle plumes forming on top of the more-primitive reservoir or stirred into the background mantle. As a result, mantle plumes entrain a variable combination of compositional components including more-primitive material, old oceanic crust which first enters the more-primitive reservoir and is later entrained into mantle plumes with the more-primitive material, young oceanic crust which is directly entrained into mantle plumes without contacting the more-primitive reservoir, and depleted background mantle material. The result reconciles geochemical observation of multiple compositional components and varying ages of oceanic crust in the source of ocean-island basalts. Seismic studies have detected ultra-low velocity zones (ULVZs) in some localized regions on the CMB. Here, I present 3D thermochemical calculations to show that the distribution of ULVZs provides important information about their origin. ULVZs with a distinct composition tend to be located at the edges of LLSVPs, while ULVZs solely caused by partial melting tend to be located inboard from the edges of LLSVPs. This indicates that ULVZs at the edges of LLSVPs are best explained by distinct compositional heterogeneity, while ULVZs located insider of LLSVPs are better explained by partial melting. The results provide additional constraints for the origin of ULVZs.
ContributorsLi, Mingming (Author) / McNamara, Allen K (Thesis advisor) / Garnero, Edward J (Committee member) / Shim, Sang-Heon (Committee member) / Tyburczy, James (Committee member) / Clarke, Amanda (Committee member) / Arizona State University (Publisher)
Created2015
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 research investigates Earth structure in the core-mantle boundary (CMB) region, where the solid rocky mantle meets the molten iron alloy core. At long wavelengths, the lower mantle is characterized by two nearly antipodal large low shear velocity provinces (LLSVPs), one beneath the Pacific Ocean the other beneath Africa and the southern Atlantic Ocean. However, fine-scale LLSVP structure as well as its relationship with plate tectonics, mantle convection, hotspot volcanism, and Earth's outer core remains poorly understood. The recent dramatic increase in seismic data coverage due to the EarthScope experiment presents an unprecedented opportunity to utilize large concentrated datasets of seismic data to improve resolution of lowermost mantle structures. I developed an algorithm that identifies anomalously broadened seismic waveforms to locate sharp contrasts in shear velocity properties across the margins of the LLSVP beneath the Pacific. The result suggests that a nearly vertical mantle plume underlies Hawaii that originates from a peak of a chemically distinct reservoir at the base of the mantle, some 600-900 km above the CMB. Additionally, acute horizontal Vs variations across and within the northern margin of the LLSVP beneath the central Pacific Ocean are inferred from forward modeling of differential travel times between S (and Sdiff) and SKS, and also between ScS and S. I developed a new approach to expand the geographic detection of ultra-low velocity zones (ULVZs) with a new ScS stacking approach that simultaneously utilizes the pre- and post-cursor wavefield.. Strong lateral variations in ULVZ thicknesses and properties are found across the LLSVP margins, where ULVZs are thicker and stronger within the LLSVP than outside of it, consistent with convection model predictions. Differential travel times, amplitude ratios, and waveshapes of core waves SKKS and SKS are used to investigate CMB topography and outermost core velocity structure. 1D and 2D wavefield simulations suggest that the complicated geographic distribution of observed SKKS waveform anomalies might be a result of CMB topography and a higher velocity outermost core. These combined analyses depict a lowermost mantle that is rich in fine-scale structural complexity, which advances our understanding of its integral role in mantle circulation, mixing, and evolution.
ContributorsZhao, Chunpeng (Author) / Garnero, Edward J (Thesis advisor) / Mcnamara, Allen (Committee member) / Tyburczy, James (Committee member) / Fouch, Matthew (Committee member) / Sharp, Thomas (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