Matching Items (380)
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsMatthews, Eyona (Performer) / Yoo, Katie Jihye (Performer) / Roubison, Ryan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsHoeckley, Stephanie (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-24
Description
As a significant level of the reformation and transformation of our society has been provoked by environmental deterioration, ecological approaches in environmental design have drawn much attention from professionals as an alternative world view and also as a practical design approach. Particularly in landscape architecture, ecological understanding has been at the very core of the profession since its emergence and plays an important role in the decision making processes. While ecology supports the profession with an objective rationale, aesthetics plays another major role in providing various understandings about the aesthetic experience of people, which is rather subjective. However, the ways to seek the balance between them are still controversial. Furthermore, the conventional aesthetic value system of landscape appears to have limitations for guiding us to an appropriate appreciation, especially in dealing with newly emerging urban landscape patterns such as regeneration of post-industrial landscapes. Understanding these issues, there have been continuous attempts to describe the relation between ecology and aesthetics, suggesting that a new approach known as "ecological aesthetics," can bring us a new set of viewpoints seeking a reunion of nature and culture, and science and art. It asserts that "there is a type of beauty" in the landscape associated with its ecological health which people could aesthetically appreciate; and therefore, revealing the "hidden" beauty of nature in more visible ways should be the primary concern of today's ecological designers. This research mainly consists of extensive literature research and a case study on two landscape restructuring projects of post-industrial landscapes in Seoul, Korea. The literature research redefines the tasks of landscape architecture based on the idea of ecological aesthetics, and the case study seeks the potentials and limitations of current design projects. This research proposes a framework for landscape perception and reflects on the lessons that would be useful for better practice and research.
ContributorsMin, Byoung Wook (Author) / Cook, Edward (Thesis advisor) / Crewe, Katherine (Committee member) / Pijawka, David (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsMcClain, Katelyn (Performer) / Buringrud, Deanna (Contributor) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
ContributorsHur, Jiyoun (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-01
ContributorsZaleski, Kimberly (Contributor) / Kazarian, Trevor (Performer) / Ryan, Russell (Performer) / IN2ATIVE (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-28
ContributorsDelaney, Erin (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
Description
ABSTRACT Many musicians, both amateur and professional alike, are continuously seeking to expand and explore their performance literature and repertory. Introducing new works into the standard repertory is an exciting endeavor for any active musician. Establishing connections, commissioning new works, and collaborating on performances can all work together toward the acceptance and success of a composer's music within an instrument community. For the flute, one such composer is Daniel Dorff (b. 1956). Dorff, a Philadelphia-based composer, has written for symphony orchestra, clarinet, contrabassoon, and others; however, his award-winning works for flute and piccolo are earning him much recognition. He has written works for such illustrious flutists as Mimi Stillman, Walfrid Kujala, and Gary Schocker; his flute works have been recorded by Laurel Zucker, Pamela Youngblood and Lois Bliss Herbine; and his pieces have been performed and premiered at each of the National Flute Association Conventions from 2004 to 2009. Despite this success, little has been written about Dorff's life, compositional style, and contributions to the flute repertory. In order to further promote the flute works of Daniel Dorff, the primary focus of this study is the creation of a compact disc recording of Dorff's most prominent works for flute: April Whirlwind, 9 Walks Down 7th Avenue, both for flute and piano, and Nocturne Caprice for solo flute. In support of this recording, the study also provides biographical information regarding Daniel Dorff, discusses his compositional methods and ideology, and presents background information, description, and performance notes for each piece. Interviews with Daniel Dorff regarding biographical and compositional details serve as the primary source for this document. Suggestions for the performance of the three flute works were gathered through interviews with prominent flutists who have studied and performed Dorff's pieces. Additional performance suggestions for Nocturne Caprice were gathered through a coaching session between the author and the composer. This project is meant to promote the flute works of Daniel Dorff and to help establish their role in the standard flute repertory.
ContributorsRich, Angela Marie (Contributor) / Novak, Gail (Pianist) (Performer) / Buck, Elizabeth Y (Thesis advisor) / Hill, Gary W. (Committee member) / Holbrook, Amy (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2010
Description
Remote sensing has demonstrated to be an instrumental tool in monitoring land changes as a result of anthropogenic change or natural disasters. Most disaster studies have focused on large-scale events with few analyzing small-scale disasters such as tornadoes. These studies have only provided a damage assessment perspective with the continued need to assess reconstruction. This study attempts to fill that void by examining recovery from the 1999 Moore, Oklahoma Tornado utilizing Landsat TM and ETM+ imagery. Recovery was assessed for 2000, 2001 and 2002 using spectral enhancements (vegetative and urban indices and a combination of the two), a recovery index and different statistical thresholds. Classification accuracy assessments were performed to determine the precision of recovery and select the best results. This analysis proved that medium resolution imagery could be used in conjunction with geospatial techniques to capture recovery. The new indices, Shortwave Infrared Index (SWIRI) and Coupled Vegetation and Urban Index (CVUI), developed for disaster management, were the most effective at discerning reconstruction using the 1.5 standard deviation threshold. Recovery rates for F-scale damages revealed that the most incredibly damaged areas associated with an F5 rating were the slowest to recover, while the lesser damaged areas associated with F1-F3 ratings were the quickest to rebuild. These findings were consistent for 2000, 2001 and 2002 also exposing that complete recovery was never attained in any of the F-scale damage zones by 2002. This study illustrates the significance the biophysical impact has on recovery as well as the effectiveness of using medium resolution imagery such as Landsat in future research.
ContributorsWagner, Melissa A (Author) / Cerveny, Randall S. (Thesis advisor) / Myint, Soe W. (Thesis advisor) / Wentz, Elizabeth (Committee member) / Brazel, Anthony J. (Committee member) / Arizona State University (Publisher)
Created2011