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- Creators: Arizona State University
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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
This dissertation begins to lay out a small slice of the history of morphological research, and how it has changed, from the late 19th through the close of the 20th century. Investigators using different methods, addressing different questions, holding different assumptions, and coming from different research fields have pursued morphological research programs, i.e. research programs that explore the process of changing form. Subsequently, the way in which investigators have pursued and understood morphology has witnessed significant changes from the 19th century to modern day research. In order to trace this shifting history of morphology, I have selected a particular organ, teeth, and traced a tendril of research on the dentition beginning in the late 19th century and ending at the year 2000. But even focusing on teeth would be impossible; the scope of research on this organ is far too vast. Instead, I narrow this dissertation to investigation of research on a particular problem: explaining mammalian tooth morphology. How researchers have investigated mammalian tooth morphology and what counts as an explanation changed dramatically during this period.
ContributorsMacCord, Katherine (Author) / Maienschein, Jane (Thesis advisor) / Laubichler, Manfred (Thesis advisor) / Laplane, Lucie (Committee member) / Kimbel, William (Committee member) / Creath, Richard (Committee member) / Hurlbut, Benjamin (Committee member) / Arizona State University (Publisher)
Created2017
Description
A dental exam in twenty-first century America generally includes the taking of radiographs, which are x-ray images of the mouth. These images allow dentists to see structures below the gum line and within the teeth. Having a patient's radiographs on file has become a dental standard of care in many states, but x-rays were only discovered a little over 100 years ago. This research analyzes how and why the x-ray image has become a ubiquitous tool in the dental field. Primary literature written by dentists and scientists of the time shows that the x-ray was established in dentistry by the 1950s. Therefore, this thesis tracks the changes in x-ray technological developments, the spread of information and related safety concerns between 1890 and 1955. X-ray technology went from being an accidental discovery to a device commonly purchased by dentists. X-ray information started out in the form of the anecdotes of individuals and led to the formation of large professional groups. Safety concerns of only a few people later became an important facet of new devices. These three major shifts are described by looking at those who prompted the changes; they fall into the categories of people, technological artifacts and institutions. The x-ray became integrated into dentistry as a product of the work of people such as C. Edmund Kells, a proponent of dental x-rays, technological improvements including faster film speed, and the influence of institutions such as Victor X-Ray Company and the American Dental Association. These changes that resulted established a strong foundation of x-ray technology in dentistry. From there, the dental x-ray developed to its modern form.
ContributorsMartinez, Britta (Author) / Ellison, Karin (Thesis advisor) / Maienschein, Jane (Thesis advisor) / Hurlbut, Ben (Committee member) / Arizona State University (Publisher)
Created2013
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