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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
The purpose of this preliminary study is to determine if sentencing disparities exist between male and female teachers who have been convicted of sexual misconduct with a student in Maricopa County, Arizona over a ten-year period. The hypothesis is that male teachers convicted of sexual misconduct with a student will receive harsher punishment than their female counterparts. In addition, this research will analyze the sentencing decisions of Arizona judges and prosecutors through plea-bargaining when compared with the presumptive sentence set by the Arizona Legislature. Issues that will be addressed include: a brief review of gender disparities in sentencing, sex offender sentencing, Arizona's rules of criminal procedure, and a review of the Arizona Revised Statutes pertaining to sexual crimes as well as the Arizona Supreme Court sentencing guidelines. The data set consists of fifteen different Maricopa County teachers who committed a sexual offense against a student and were convicted of that offense from February 2000 through September 2009. According to the results of this study, male teachers do receive harsher penalties than their female counterparts within Maricopa County.
ContributorsSimmon, Christopher (Author) / Holtfreter, Kristy (Thesis advisor) / Wright, Kevin (Committee member) / Spohn, Cassia (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
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
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
While there is a good amount of research focused on sex offenders as a whole, only a limited number of studies examine variations within these offenders, how people view the variations, and why their opinions may differ. This study focuses on the interconnections among gender norms, rape myth acceptance, and the perception of sex offenders by administering an online student survey. The survey measured rape myth acceptance and adherence to traditional gender roles to see how they affected perceptions of sex offenders. Perceptions were measured using vignettes that were varied by gender and the situation described. Results showed that higher rape myth acceptance would decrease the blameworthiness of the offender, that the offender was seen as more blameworthy when the offender was a male, and that women tended to see the offender as more blameworthy than men did. The type of sexual situation did not have an impact on blameworthiness, nor did adherence to gender roles. The findings support past research that suggests that rape myth acceptance can impact people’s opinions about offenders in sexual situations and specifically that these opinions differ depending on the gender of the offender. With some offenders being viewed as more blameworthy than others, it is necessary to examine sex offense laws to see how they may disproportionately affect some offenders and implement harsher punishments than the public may deem necessary.
ContributorsArenas, Lauren (Author) / Spohn, Cassia (Thesis advisor) / Fradella, Henry F. (Committee member) / Stolzenberg Roosevelt, Stacia (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsHur, Jiyoun (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-01