Matching Items (394)
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
ContributorsMcClain, Katelyn (Performer) / Buringrud, Deanna (Contributor) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
Description
A child’s death evokes intense and long-lasting grief in parents. However, few interventions exist to address the needs of this population. This mixed methods project used secondary data to evaluate the impact of a four-day, grief-focused mindfulness-based retreat on bereaved parents.
A quasi-experimental design with two nonequivalent groups (intervention group n = 25, comparison group n = 41) and three observations (pretest and two posttests) was used. Mixed-model repeated-measures analyses of variance were used to assess change over time for the intervention group and relative to a no-intervention comparison group. Outcome measures were depressive and anxious responses, measured by the Hopkins Symptom Checklist-25 (HSCL-25); trauma responses, measured by the Impact of Event Scale-Revised (IES-R); mindfulness, measured by the Five Facet Mindfulness Questionnaire (FFMQ); and self-compassion, measured by the Self-Compassion Scale-Short Form (SCS-SF). The intervention group was expected to show significant decreases in psychological distress and significant increases in mindfulness and self-compassion over time and relative to the comparison group.
The qualitative component consisted of semi-structured interviews with nineteen retreat participants using a constructivist phenomenological approach in order to obtain a richer understanding of the retreat’s impact on participants’ lives.
There were significant time by condition interactions with small to medium effect sizes for the IES-R and its subscales, the HSCL-25 and its depression subscale, and three FFMQ scales (describe, act with awareness, and nonjudge), all favoring the intervention group. However, not all benefits were maintained at follow-up.
Psychoeducation and relationships emerged as key qualitative themes. Psychoeducation included benefits related to present-moment awareness, fully inhabiting grief, self-compassion, emotional equanimity, and reduced distress or judgment of distress. Relationships included benefits related to giving and receiving social support, emotional expression and sharing, validation and normalization of grief-related experiences, resonance and self-other awareness, self-appraisal, changes in relationships, and connection to a deceased child. Mindfulness seemed to be a key component in reducing trauma responses. Relationship factors, combined with psychoeducation and present-moment awareness, seemed responsible for increasing participants’ capacity for nonjudgmental acceptance of experiences.
The retreat may be an effective intervention for helping parents cope with and express their grief and warrants further study.
A quasi-experimental design with two nonequivalent groups (intervention group n = 25, comparison group n = 41) and three observations (pretest and two posttests) was used. Mixed-model repeated-measures analyses of variance were used to assess change over time for the intervention group and relative to a no-intervention comparison group. Outcome measures were depressive and anxious responses, measured by the Hopkins Symptom Checklist-25 (HSCL-25); trauma responses, measured by the Impact of Event Scale-Revised (IES-R); mindfulness, measured by the Five Facet Mindfulness Questionnaire (FFMQ); and self-compassion, measured by the Self-Compassion Scale-Short Form (SCS-SF). The intervention group was expected to show significant decreases in psychological distress and significant increases in mindfulness and self-compassion over time and relative to the comparison group.
The qualitative component consisted of semi-structured interviews with nineteen retreat participants using a constructivist phenomenological approach in order to obtain a richer understanding of the retreat’s impact on participants’ lives.
There were significant time by condition interactions with small to medium effect sizes for the IES-R and its subscales, the HSCL-25 and its depression subscale, and three FFMQ scales (describe, act with awareness, and nonjudge), all favoring the intervention group. However, not all benefits were maintained at follow-up.
Psychoeducation and relationships emerged as key qualitative themes. Psychoeducation included benefits related to present-moment awareness, fully inhabiting grief, self-compassion, emotional equanimity, and reduced distress or judgment of distress. Relationships included benefits related to giving and receiving social support, emotional expression and sharing, validation and normalization of grief-related experiences, resonance and self-other awareness, self-appraisal, changes in relationships, and connection to a deceased child. Mindfulness seemed to be a key component in reducing trauma responses. Relationship factors, combined with psychoeducation and present-moment awareness, seemed responsible for increasing participants’ capacity for nonjudgmental acceptance of experiences.
The retreat may be an effective intervention for helping parents cope with and express their grief and warrants further study.
ContributorsThieleman, Kara (Author) / Cacciatore, Joanne (Thesis advisor) / Segal, Elizabeth (Committee member) / Hodge, David (Committee member) / Arizona State University (Publisher)
Created2019
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
ContributorsChen, Zuoquan (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-02