Matching Items (379)
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
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
Description
Speech nasality disorders are characterized by abnormal resonance in the nasal cavity. Hypernasal speech is of particular interest, characterized by an inability to prevent improper nasalization of vowels, and poor articulation of plosive and fricative consonants, and can lead to negative communicative and social consequences. It can be associated with a range of conditions, including cleft lip or palate, velopharyngeal dysfunction (a physical or neurological defective closure of the soft palate that regulates resonance between the oral and nasal cavity), dysarthria, or hearing impairment, and can also be an early indicator of developing neurological disorders such as ALS. Hypernasality is typically scored perceptually by a Speech Language Pathologist (SLP). Misdiagnosis could lead to inadequate treatment plans and poor treatment outcomes for a patient. Also, for some applications, particularly screening for early neurological disorders, the use of an SLP is not practical. Hence this work demonstrates a data-driven approach to objective assessment of hypernasality, through the use of Goodness of Pronunciation features. These features capture the overall precision of articulation of speaker on a phoneme-by-phoneme basis, allowing demonstrated models to achieve a Pearson correlation coefficient of 0.88 on low-nasality speakers, the population of most interest for this sort of technique. These results are comparable to milestone methods in this domain.
ContributorsSaxon, Michael Stephen (Author) / Berisha, Visar (Thesis director) / McDaniel, Troy (Committee member) / Electrical Engineering Program (Contributor, Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Electromyography (EMG) is an extremely useful tool in extracting control signals from the human body. Needle electromyography is the current standard for obtaining superior quality muscle signals and obtaining signals corresponding to individual muscles. However, needle EMG faces many problems when converting from the laboratory to marketable devices, specifically in home devices. Many patients have issues with needles and the extra care required of needle EMG is prohibitive. Therefore, a surface EMG device that can obtain clear signals from individual muscles would be valuable to many markets in the development of next generation in home devices. Here, signals from surface EMG were analyzed using a low noise EMG evaluation system (RHD 2000; Intan Technologies). The signal to noise ratio (SNR) was calculated using MatLab. The average SNR is 4.447 for the Extensor Carpi Ulnaris, and 7.369 for the Extensor Digitorum Communis. Spectral analysis was performed using the Welch approach in MatLab. The power spectrum indicated that low frequency signals dominate the EMG of small hand muscles. Also, harmonic bands of 60Hz noise were present as part of the signal which should be accounted for with filters in future iterations of the testing method. Provided is evidence that strong, independent signals were acquired and could be used in further application of surface EMG corresponding to lifting of the fingers.
ContributorsSnyder, Joshua Scott (Author) / Muthuswamy, Jit (Thesis director) / Buneo, Christopher (Committee member) / Harrington Bioengineering Program (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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 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