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
Description
Humans rely on a complex interworking of visual, tactile and proprioceptive feedback to accomplish even the most simple of daily tasks. These senses work together to provide information about the size, weight, shape, density, and texture of objects being interacted with. While vision is highly relied upon for many tasks, especially those involving accurate reaches, people can typically accomplish common daily skills without constant visual feedback, instead relying on tactile and proprioceptive cues. Amputees using prosthetic hands, however, do not currently have access to such cues, making these tasks impossible. This experiment was designed to test whether vibratory haptic cues could be used in replacement of tactile feedback to signal contact for a size discrimination task. Two experiments were run in which subjects were asked to identify changes in block size between consecutive trials using wither physical or virtual blocks to test the accuracy of size discrimination using tactile and haptic feedback, respectively. Blocks randomly increased or decreased in size in increments of 2 to 12 mm between trials for both experiments. This experiment showed that subjects were significantly better at determining size changes using tactile feedback than vibratory haptic cues. This suggests that, while haptic feedback can technically be used to grasp and discriminate between objects of different sizes, it does not lend the same level of input as tactile cues.
ContributorsOlson, Markey Cierra (Author) / Helms-Tilley, Stephen (Thesis director) / Buneo, Christopher (Committee member) / Barrett, The Honors College (Contributor) / Harrington Bioengineering Program (Contributor)
Created2015-05
Description
Skin and muscle receptors in the leg and foot provide able-bodied humans with force and position information that is crucial for balance and movement control. In lower-limb amputees however, this vital information is either missing or incomplete. Amputees typically compensate for the loss of sensory information by relying on haptic feedback from the stump-socket interface. Unfortunately, this is not an adequate substitute. Areas of the stump that directly interface with the socket are also prone to painful irritation, which further degrades haptic feedback. The lack of somatosensory feedback from prosthetic legs causes several problems for lower-limb amputees. Previous studies have established that the lack of adequate sensory feedback from prosthetic limbs contributes to poor balance and abnormal gait kinematics. These improper gait kinematics can, in turn, lead to the development of musculoskeletal diseases. Finally, the absence of sensory information has been shown to lead to steeper learning curves and increased rehabilitation times, which hampers amputees from recovering from the trauma. In this study, a novel haptic feedback system for lower-limb amputees was develped, and studies were performed to verify that information presented was sufficiently accurate and precise in comparison to a Bertec 4060-NC force plate. The prototype device consisted of a sensorized insole, a belt-mounted microcontroller, and a linear array of four vibrotactile motors worn on the thigh. The prototype worked by calculating the center of pressure in the anteroposterior plane, and applying a time-discrete vibrotactile stimulus based on the location of the center of pressure.
ContributorsKaplan, Gabriel Benjamin (Author) / Abbas, James (Thesis director) / McDaniel, Troy (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
ContributorsZaleski, Kimberly (Contributor) / Kazarian, Trevor (Performer) / Ryan, Russell (Performer) / IN2ATIVE (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-28
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