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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

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
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ABSTRACT Many foster children experience numerous placements while in out-of-home care; some up to fifteen in an 18 month period (Newton, Litrownik, & Landsverk, 2000). Placement stability is important for children to find permanent families, and for social, emotional and educational development of children. This study used the National Survey

ABSTRACT Many foster children experience numerous placements while in out-of-home care; some up to fifteen in an 18 month period (Newton, Litrownik, & Landsverk, 2000). Placement stability is important for children to find permanent families, and for social, emotional and educational development of children. This study used the National Survey of Child and Adolescent Well-being (NSCAW) data set to examine foster child and caregiver characteristics, and the caregiver-child relationship as a predictor of placement stability in the long term foster care general sample. Logistic regression was performed with the Complex Samples add-on to appropriately weight the NSCAW sampling. Children who were placed in foster homes or kinship homes and who had not been returned home at the Wave 3 interview were included in the study. The sample consisting of 562 children was divided into three groups based on age: Early Group 1, childhood ages 1to 5, group 1;Group 2, Middle childhood ages 6 to 10, group 2; Group 3, Adolescence ages 11 to 18, group 3. Results are consistent with previous studies in that children in early childhood and middle childhood who were placed in foster homes were 83% and 87% less likely to achieve placement stability than children in kinship homes, respectively. In early childhood, each additional household member reduced the odds of achieving placement stability by 35%.The caregiver-child relationship did not predict placement stability.
ContributorsO'Neill, Marissa (Author) / Risley-Curtiss, Christina (Thesis advisor) / Ayün, Cecilia (Committee member) / Williams, Lela (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
Description

There is no ’typical’ production process for Legally Autonomous Adults (LAD). However, some very general inputs and flows can be assumed: Physical, mental, emotional, and social or cultural inputs are provided by primary caregivers throughout the process. LADs in Arizona in the 21st century are produced in small batches. Inputs

There is no ’typical’ production process for Legally Autonomous Adults (LAD). However, some very general inputs and flows can be assumed: Physical, mental, emotional, and social or cultural inputs are provided by primary caregivers throughout the process. LADs in Arizona in the 21st century are produced in small batches. Inputs tend to be provided by consistent sources according to unique values, and the production process does not actually stop cold at the factory gate, but continues on into the next phase.

Sometimes, due to externalities like substance dependence or domestic violence, the original production process either deprives the product of essential inputs or adds toxic inputs, causing damage. The damage can carry forward into the next phases, or even be so severe that the production process is terminated. When there is a risk of such damage, then the product – the child – is removed from his original production system, taken into the custody of a state-run institution (Child Protective Services), and placed in foster care.

LADs who have experienced a foster care intervention as part of their production process are less likely to have that obligatory property of Legal Autonomy, and more likely to have obligatory properties that are detrimental to society at large. Omitting other variables, they have higher rates of incarceration, homelessness, and substance abuse than LADs who have not been in out-of-home foster care. The financial and societal costs of those dependencies are imposed on the same stakeholders whose efforts and contributions make the foster care system possible.

CPS removal triggers a system expansion that expends energy and resources in an attempt to compensate for the missing inputs and to mitigate the toxic inputs, if any, that the child’s family was adding. In a material production system, it seems illogical to construct a complex system expansion which predictably results in products lacking their most important obligatory property. That contradiction was the impetus for this paper.

The goal of this life cycle analysis is to visualize that system expansion. Then, the project seeks to quantify and compare the difference between this system expansion and the generalized original process, in units of dollars per LAD. Finally, the project assesses the statistical impacts of the system expansion on LADs, and describes further impacts of these LADs on society at large.

Created2013-05
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

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