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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
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (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
ContributorsBurton, Charlotte (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-08
ContributorsDruesedow, Elizabeth (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
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
By volunteering with a microfinance program in the historic coastal town of Saint-Louis, Senegal in the fall of 2016, I became embedded within the Senegalese culture and gained a unique perspective on the loan process. Coordinated by the for-profit organization, Projects Abroad, the microfinance office aimed to help women and Talibés (young men studying the Quran) gain financial independence through small-scale sustainable entrepreneurship while simultaneously providing its volunteers with meaningful experiences.
The purpose of my thesis is to examine the interactions among the Senegalese staff, international volunteers, and Senegalese loan participants, and the ways in which their constantly evolving reactionary relationships impacted the program. The paper provides a context of Saint-Louis, Senegal as well as the Projects Abroad Organization and outlines the loan process prior to examining the daily activities of the program. I highlight important factors such as religion, education, gender roles, and saving techniques in order to show how juxtaposing values and traditions played key roles in the program’s evolution. Ultimately, I argue that the heterogeneity of values, norms, and expectations among those participating in the program created both obstacles and opportunities for program implementation and the ways in which to gauge its success.
By sharing my personal observations and experiences, I hope to provide the reader with a greater understanding of the complexities of intercultural communication in the microfinance arena. In the words of the American economist and philosopher Tyler Cowen, “Real cultural diversity results from the interchange of ideas, products, and influences, not from the insular development of a single national style.”
The purpose of my thesis is to examine the interactions among the Senegalese staff, international volunteers, and Senegalese loan participants, and the ways in which their constantly evolving reactionary relationships impacted the program. The paper provides a context of Saint-Louis, Senegal as well as the Projects Abroad Organization and outlines the loan process prior to examining the daily activities of the program. I highlight important factors such as religion, education, gender roles, and saving techniques in order to show how juxtaposing values and traditions played key roles in the program’s evolution. Ultimately, I argue that the heterogeneity of values, norms, and expectations among those participating in the program created both obstacles and opportunities for program implementation and the ways in which to gauge its success.
By sharing my personal observations and experiences, I hope to provide the reader with a greater understanding of the complexities of intercultural communication in the microfinance arena. In the words of the American economist and philosopher Tyler Cowen, “Real cultural diversity results from the interchange of ideas, products, and influences, not from the insular development of a single national style.”
ContributorsDavis, Claire Mello (Author) / Sivak, Henry (Thesis director) / Haines, Chad (Committee member) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
ContributorsZaleski, Kimberly (Contributor) / Kazarian, Trevor (Performer) / Ryan, Russell (Performer) / IN2ATIVE (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-28