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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…

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

Intergenerational narratives: American responses to the Holocaust

Description

This dissertation examines U. S. American intergenerational witnesses to the Holocaust, particularly how addressees turned addressors maintain an ethical obligation to First Generation witnesses while creating an affective relation to this history for new generations. In response to revisionism and the incommunicability of the Holocaust, a focus on (accurate) First…

This dissertation examines U. S. American intergenerational witnesses to the Holocaust, particularly how addressees turned addressors maintain an ethical obligation to First Generation witnesses while creating an affective relation to this history for new generations. In response to revisionism and the incommunicability of the Holocaust, a focus on (accurate) First Generation testimony emerged that marginalizes that of intergenerational witnesses. The risk of such a position is that it paralyzes language, locking the addressee into a movement always into the past. Using examples of intergenerational witnesses (moving from close to more distant relationships), this project argues that there is a possibility for ethical intergenerational response. There are two major discussion arcs that the work follows: self-reflexivity and the use of the Banality of Evil as a theme. Self-reflexivity in intergenerational witnessing calls attention to the role of the author as transgenerational witness, an act that does not seek to appropriate the importance or position of the Holocaust survivor because it calls attention to a subjective site in relation to the survivor and the communities of memory created within the text. The other major discussion arc moves from traditional depictions of the Banality of Evil to ones that challenge the audience to consider the way evil is conceptualized after the Holocaust and its implications in contemporary life. In these ways, intergenerational witnesses move from addressee to addressors, continuing to stress the importance of this history through the imperative to pass Holocaust testimony onward into the future.

ContributorsDean, Sarah C (Author) / Foster, David W (Thesis advisor) / Sadowski-Smith, Claudia (Committee member) / Reyes, Angelita (Committee member) / Arizona State University (Publisher)

Created2012

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