Matching Items (20)
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
Sexual risk taking is prevalent in adolescence, particularly among Latino teens, and can have serious consequences in the form of contraction of STIs, HIV, and increased risk of unintended pregnancy. Family contexts characterized by conflict and lack of support are antecedents of adolescent sexual risk taking, but evidence elucidating the mechanisms underlying this association is lacking. The current study sought to test two potential pathways to sexual risk taking within the framework of social developmental theory, among a sample of 189 Mexican origin adolescents and their caregivers interviewed in the 7th, 8th, and 12th grades. Structural equation modeling was utilized to examine pathways from 7th grade family risk to age of sexual initiation, number of lifetime sexual partners, and condom nonuse reported in the 12th grade. Deviant peer affiliations and academic engagement at 8th grade were tested as mediators of this relationship for boys and girls. Results confirm the importance of the family context, with family risk exerting direct effects on the number of lifetime sexual partners for both genders, and on age of sexual initiation for females only. Deviant peer affiliations serve as a mediator of family risk for males, but not females. When included in a model alongside deviant peers, academic engagement does not play the hypothesized mediating role between family risk and any of the sexual risk outcomes. Future research ought to consider additional mediators that better account for the relation between family risk and sexual risk taking among females.
ContributorsJensen, Michaeline R (Author) / Gonzales, Nancy A. (Thesis advisor) / Lopez, Vera (Committee member) / Millsap, Roger (Committee member) / Arizona State University (Publisher)
Created2012
Description
The reed quintet is an intriguing and innovative chamber ensemble that offers adistinctive soundscape to the genre of chamber music. Through significant efforts to
legitimize the ensemble, the reed quintet now exists as a viable option for chamber
musicians. However, a significant challenge remains in the limited accessibility of
repertoire suitable for developing musicians interested in reed quintets. REED
REVOLUTION: A Fundamental Approach to Reed Quintet represents a comprehensive
solution, offering aspiring student chamber musicians the essential pedagogical tools and
materials needed to excel in a reed quintet setting.
This method book encompasses a wide array of strategies aimed at fostering a
functional and collaborative ensemble, establishing foundational chamber music skills,
and introducing five original compositions commissioned specifically for this project.
With REED REVOLUTION, student reed quintets can begin their chamber music journey
equipped with tools to become a successful ensemble prepared to explore the existing
reed quintet repertoire. Additionally, the method book includes a collection of online
resources and recordings, performed by the Arcane Reed Quintet, produced by Dr.
Joshua Gardner, and recorded by Jin Studios, LLC. These resources include reference
recordings and practice tracks for each instrument and the ensemble, serving as
invaluable aids in the learning process.
ContributorsMacDonald, Benjamin Xavier (Author) / Creviston, Christopher (Thesis advisor) / Gardner, Joshua (Committee member) / Shea, Nicholas (Committee member) / Arizona State University (Publisher)
Created2023
ContributorsPeterson, Trygve (Performer) / Novak, Gail (Pianist) (Performer) / Schuring, Martin (Performer) / Lyman, Jeffrey (Performer) / Koonce, Frank (Performer) / ASU Library. Music Library (Publisher)
Created2000-02-17
ContributorsDoan, Jerry (Performer) / Swaim, Daniel (Performer) / Pendleton, Mary (Performer) / Barroll-Aschaffenburg, Rayna (Performer) / Cosand, Walter, 1950- (Performer) / Hoffer, Warren (Performer) / Stalzer, Frank (Performer) / Koonce, Frank (Performer) / Metz, John (Performer) / Hoover, Eric (Performer) / McLeod, Lois (Performer) / Debenport, Sylvia (Narrator) / ASU Library. Music Library (Publisher)
Created1987-10-06
ContributorsSpinosa, Frank, 1930- (Performer) / Mutschler, Marla (Performer) / Magers, William (Performer) / Atsumi, Takayori (Performer) / Sellheim, Judy May (Performer) / Wytko, Joseph (Performer) / Montgomery, Toni-Marie (Performer) / Metz, John (Performer) / Williamson, Madeline J. (Performer) / Koonce, Frank (Performer) / Spring, Robert (Performer) / Hoover, Eric (Performer) / Patnode, Matthew (Performer) / LaMonica, Michael (Performer) / Anthony, Jeffrey (Performer) / New Art String Quartet (Performer) / Joseph Wytko Saxophone Quartet (Performer) / ASU Library. Music Library (Publisher)
Created1992-10-06
ContributorsDe Kant, Ronald (Performer) / Rausch, Jack (Performer) / Lockwood, Ralph (Performer) / Skoldberg, Phyllis (Performer) / Magers, William (Performer) / Atsumi, Takayori (Performer) / Meyer, Janice (Performer) / Kliewer, Darleen (Performer) / Hoover, Eric (Performer) / Koonce, Frank (Performer) / Hickman, David, 1950- (Performer) / Fleming, Robert C. (Performer) / Wilson, Gail E. (Performer) / Cosand, Walter, 1950- (Performer) / Strange, Richard E. (Richard Eugene) (Performer) / ASU Library. Music Library (Publisher)
Created1986-11-20
Description
Nursing school can be challenging for undergraduate students, largely because they do not know what to expect in terms of the demands of the rigorous academic program. Students who enter the program with unrealistic expectations of the demands, such as underestimated time needed for studying for exams or preparing for clinical and class time, as well as the emotional toll of time away from family and friends are often challenged with being adequately prepared for the day-to-day experience of nursing school. Once students have been in the program a few semesters, they begin to get the flow of the expectation as well as an understanding of how to manage their time. Unfortunately, if their adjustment period is not quick enough, they can academically or voluntarily withdraw due to the pressures of the demanding curriculum. In order to combat this phenomenon and give students a perspective that can assist them in their adjustment period, a Student Navigator Program (SNP) was implemented at a local community college. Data was collected from experimental and control groups using a mixed methods research design - comparing final grade percentage, performance on a standardized exam, and use of support services. The quantitative data suggest there is no statistical significance in participation in the SNP with the exception of a few select cohorts. The qualitative data suggest the SNP program is helpful at the beginning of the first semester of nursing school. Taken together, the data suggest the SNP can be helpful in the beginning of the semester for willing participants to assist with managing the unknown. Data from this study guides nursing programs as they aim to retain current nursing students through the first semester and progress through the program.
ContributorsBednarek, Salina (Author) / Puckett, Kathleen (Thesis advisor) / Albert, Louis (Committee member) / Hosley, Brenda (Committee member) / Arizona State University (Publisher)
Created2019
Description
Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
ContributorsBrown, Jr., Fredrick Marcell (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Schmelz, Peter (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016