Matching Items (387)
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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
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
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Description
Androgen has been shown to affect functioning of the central nervous system by modulating neural circuitry during in-utero development subsequently affecting parts of the brain implicated in the evaluation of socially relevant stimuli. This can suggest an examination of underlying neurobiological mechanisms that may influence androgen in the brain and

Androgen has been shown to affect functioning of the central nervous system by modulating neural circuitry during in-utero development subsequently affecting parts of the brain implicated in the evaluation of socially relevant stimuli. This can suggest an examination of underlying neurobiological mechanisms that may influence androgen in the brain and likewise human cognition and behavior. Since the index and ring finger ratio is associated with androgen related outcomes, this study sought to identify a relationship between a participant's implicit race association test score and left-handed ring (4D) and index (2D) finger ratio. Specifically, we found that higher androgen exposure in our female subjects equated to a stronger bias for European American faces over African American faces.
ContributorsSaari, Sydney (Author) / Holloway, Steven (Thesis director) / Kim, Linda (Committee member) / Nanez, Jose (Committee member) / Barrett, The Honors College (Contributor)
Created2018-05
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
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Description

The United States’ War on Drugs declared in 1971 by President Richard Nixon and revamped by President Reagan in the 1980s has been an objectively failed initiative with origins based in racism and oppression. After exploring the repercussions of this endeavor for societies and individuals around the world, global researchers

The United States’ War on Drugs declared in 1971 by President Richard Nixon and revamped by President Reagan in the 1980s has been an objectively failed initiative with origins based in racism and oppression. After exploring the repercussions of this endeavor for societies and individuals around the world, global researchers and policymakers have declared that the policies and institutions created to fight the battle have left devastation in their wake. Despite high economic and social costs, missed opportunities in public health and criminal justice sectors, and increasing limits on our personal freedoms, all the measures taken to eradicate drug abuse and trafficking have been unsuccessful. Not only that, but militarized police tactics, mass incarceration, and harsh penalties that stifle opportunities for rehabilitation, growth, and change disproportionately harm poor and minority communities. <br/>Because reform in U.S. drug policy is badly needed, the goals of America’s longest war need to be reevaluated, implications of the initiative reexamined, and alternative strategies reconsidered. Solutions must be propagated from a diverse spectrum of contributors and holistic understanding through scientific research, empirical evidence, innovation, public health, social wellbeing, and measurable outcomes. But before we can know where we should be headed, we need to appreciate how we got to where we are. This preliminary expository investigation will explore and outline the history of drug use and prohibition in the United States before the War on Drugs was officially declared. Through an examination of the different patterns of substance use, evolving civil tolerance of users, racially-charged anti-drug misinformation/propaganda campaigns, and increasingly restrictive drug control policies, a foundation for developing solutions and strengths-based strategies for drug reform will emerge.

ContributorsSherman, Brooke (Author) / Jimenez-Arista, Laura (Thesis director) / Mitchell, Ojmarrh (Committee member) / College of Integrative Sciences and Arts (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05