Matching Items (385)
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
The role of robotics mobility is essential in the world of research because it allows humans to perform jobs that are dull, dirty, or dangerous without being physically present. A typical robot environment is one that is smooth and predictable. Screw-powered vehicles (SPV's) have commonly been used in these predictable environment situations such as terrestrial applications like mud and snow. However, a gap remains in SPV's traversing complex environments, particularly debris and granular material. The goal is to study the characteristics of how a SPV might move and generate force in such a granular environment for Earth and space. In our study, the chosen granular environment is soda-lime glass beads for easy characterization. This study with glass beads focuses on two separate approaches. The first approach is using a single screw rotating while the apparatus remains static and analyzing the forces that impact the screw. The second approach includes using a full body craft with two double helix screws and analyzing the translational velocity of the craft. This study presents both experimental and computational results using simulations with Multi-Body Dynamics (MBD) and Discrete Element Method (DEM) software packages to investigate the trends of SPV's in a granular environment.
ContributorsRamirez, Sierra Monique (Author) / Marvi, Hamid (Thesis director) / Emady, Heather (Committee member) / Thoesen, Andrew (Committee member) / Mechanical and Aerospace Engineering Program (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
Description
Traditional wheeled robots struggle to traverse granular media such as sand or mud which has inspired the use of continuous tracks, legged, and various bio-inspired designs in recent robotics research. Animals can navigate the natural world with relative ease and one animal, the Basilisk lizard, can perform the amazing feat of bipedal water and land running. Through the observation and study of basilisk lizards of the common and plumed variety, inspiration and development of a robotic platform was completed. After fabricating the bio-inspired robot, parameters unchanged by the animals were varied to characterize the combined effects of stride length and frequency on average velocity. It was found that animals increased stride length at higher saturation levels of sand to increase their velocity rather than increase their step frequency. The BasiliskBot version one was unable to change its stride length as the wheel-legs or "whegs" of this version were set at four spokes. Bipedal running of the robot was slower than quadrupedal running due to sand reaction forces and tail drag. BasiliskBot version two was lighter than the first version and had a range of stride lengths tested with increasing spoke numbers from 3-7. At lower step frequencies and lower wheg numbers, higher average velocity could be achieved compared to higher wheg numbers despite the highest maximum velocity being achieved by the highest number of spokes. A comparison of transition strategies for common and plumed basilisks showed both species chose to jump and swim through water more often than jump and run across water which achieved the highest average velocity. Results of transition strategies study pertain to future developments of the robot for amphibious purposes. Weight experiments were performed to assess the ability of the robot to carry sensors and other payloads. Added weight increased the highest frequency allowable before failure, but also caused failure at low step frequencies that had not displayed failure previously.
ContributorsBurch, Hailey (Author) / Marvi, Hamidreza (Thesis director) / Bagheri, Hosain (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / 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 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