Matching Items (380)
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
The objective of this study was to analyze the auditory feedback system and the pitch-shift reflex in relation to vibrato. 11 subjects (female n = 8, male n = 3) without speech, hearing, or neurological disorders were used. Compensation magnitude, adaptation magnitude, relative response phase, and passive and active perception were recorded when the subjects were subjected to auditory feedback perturbed by phasic amplitude and F0 modulation, or “vibrato”. “Tremolo,” or phasic amplitude modulation, was used as a control. Significant correlation was found between the ability to perceive vibrato and tremolo in active trials and the ability to perceive in passive trials (p=0.01). Passive perceptions were lower (more sensitive) than active perceptions (p< 0.01). Adaptation vibrato trials showed significant modulation magnitude (p=0.031), while tremolo did not. The two conditions were significantly different (p<0.01). There was significant phase change for both tremolo and vibrato, but vibrato phase change was greater, nearly 180° (p<0.01). In the compensation trials, the modulation change from control to vibrato trials was significantly greater than the change from control to tremolo (p=0.01). Vibrato and tremolo also had significantly different average phase change (p<0.01). It can be concluded that the auditory feedback system tries to cancel out dynamic pitch perturbations by cancelling them out out-of-phase. Similar systems must be used to adapt and to compensate to vibrato. Despite the auditory feedback system’s online monitoring, the passive perception was still better than active perception, possibly because it required only one task (perceiving) rather than two (perceiving and producing). The pitch-shift reflex compensates to the sensitivity of the auditory feedback system, as shown by the increased perception of vibrato over tremolo.
ContributorsHiggins, Alexis Brittany (Author) / Daliri, Ayoub (Thesis director) / Liss, Julie (Committee member) / Luo, Xin (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
During speech, the brain is constantly processing and monitoring speech output through the auditory feedback loop to ensure correct and accurate speech. If the speech signal is experimentally altered/perturbed while speaking, the brain compensates for the perturbations by changing speech output in the opposite direction of the perturbations. In this study, we designed an experiment that examined the compensatory responses in response to unexpected vowel perturbations during speech. We applied two types of perturbations. In one condition, the vowel /ɛ/ was perturbed toward the vowel /æ/ by simultaneously shifting both the first formant (F1) and the second formant (F2) at 3 different levels (.5=small, 1=medium, and 1.5=large shifts). In another condition, the vowel /ɛ/ was perturbed by shifting F1 at 3 different levels (small, medium, and large shifts). Our results showed that there was a significant perturbation-type effect, with participants compensating more in response to perturbation that shifted /ɛ/ toward /æ/. In addition, we found that there was a significant level effect, with the compensatory responses to level .5 being significantly smaller than the compensatory responses to levels 1 and 1.5, regardless of the perturbation pathway. We also found that responses to shift level 1 and shift level 1.5 did not differ. Overall, our results highlighted the importance of the auditory feedback loop during speech production and how the brain is more sensitive to auditory errors that change a vowel category (e.g., /ɛ/ to /æ/).
ContributorsFitzgerald, Lacee (Author) / Daliri, Ayoub (Thesis director) / Corianne, Rogalsky (Committee member) / College of Health Solutions (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
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