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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
Literature on the undocumented population in the United States is rich, and is growing in the area of the 1.5 generation (which refers to undocumented individuals, typically under age 30, who have grown up in the U.S.), but is scant regarding the health of this population, how they alleviate illnesses and what resources they have to do so. While Deferred Action for Childhood Arrivals (DACA) provides temporary benefits to undocumented youth, a DACA health gap persists. Even for those who are awarded DACA, when compared to their citizen counterparts, resources are still unequal. The 1.5 generation faces unique health challenges and even with policy progress, circumstances tied to their documentation status leave them reverting back to limited resources. In this study, ten members of this generation were interviewed. Findings show that they suffer from minor physical health challenges, but significant mental and emotional health challenges without the means to access adequate healthcare comparable to their citizen counterparts.
ContributorsDay, Elinor Gabriela (Author) / Estrada, Emir (Thesis director) / Perez, Marisol (Committee member) / School of Human Evolution and Social Change (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
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
Description
The Bedside Box of Play is a kit of play activities designed specifically for children experiencing hospitalization. 30 kits were delivered to the Child Life unit at a local hospital with materials provided in English and Spanish. It is a free resource informed by research to maximize the potential for healthy coping during a time that may be stressful or overwhelming. Activities were created intentionally to allow for creativity, direction of the activity by the child, and family engagement. My hope for the Bedside Box of play is that it provides children and families with an easy way to incorporate play into the hospital environment, while also promoting healthy child development and building coping skills to be used post-discharge. This creative project also outlines a potential framework for helping professionals to make play effective and accessible in a variety of settings.
ContributorsCywinski, Morgan (Author) / Krysik, Judy (Thesis director) / Kelly, Cara (Committee member) / Barrett, The Honors College (Contributor) / School of Social Work (Contributor)
Created2023-12