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
Description
The Colorado River is the lifeblood for seven Basin States including Colorado, Utah, Wyoming, New Mexico, Arizona, California and Nevada. This water source aided westward expansion and allowed the arid Southwest to grow. Today, the river is over-allocated resulting in reduced flows. This could lead to water challenges in Arizona and the other Basin states. This river is the single largest entity from which Arizona receives water. Despite this, Arizona is still better situated for water cutbacks than other states like California. Arizona has more than nine million acre-feet of banked underground water and access to other water sources including the Salt and Verde rivers. Government officials are making decisions now that will affect water usage in Arizona for decades and generations to come. Digital media, such as iPad magazines are a good way to reach this technologically savvy generation and engage them concerning important issues. Designing for digital platforms presents unique opportunities. This platform requires solid content and visually appealing design to attract a Millennial audience born between the years 1981 and 1996, according to Pew Research Center. Digital magazines currently present a small segment of the media market, however this segment is growing exponentially. A study by Pew Research Center reports that this slice of the population is interested in consuming the news and emerging technologies such as digital magazines. These are good ways to reach and interest a digitally engaged readership. Reaching this age group is important because the Millennial generation will need to determine the future of the Colorado River and water use in Arizona. To ensure the future of water in the West, this generation needs to "learn about the reality of our water supply, what our real water challenges are and then get engaged and have a voice in what we do about our water planning for the future" (Porter, 2015). DISCLAIMER: The digital magazine was created in InDesign with interactive PDFs, which are best viewed on tablets. Screenshots of the magazine are included to demonstrate the magazine.
ContributorsPrice, Mallory Jeanne (Author) / Matera, Fran (Thesis director) / Hill, Retha (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Sustainability (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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
For this dissertation, three separate papers explore the study areas of the western Grand Canyon, the Grand Staircase (as related to Grand Canyon) and Desolation Canyon on the Green River in Utah.
In western Grand Canyon, I use comparative geomorphology between the Grand Canyon and the Grand Wash Cliffs (GWC). We propose the onset of erosion of the GWC is caused by slip on the Grand Wash Fault that formed between 18 and 12 million years ago. Hillslope angle and channel steepness are higher in Grand Canyon than along the Grand Wash Cliffs despite similar rock types, climate and base level fall magnitude. These experimental controls allow inference that the Grand Canyon is younger and eroding at a faster rate than the Grand Wash Cliffs.
The Grand Staircase is the headwaters of some of the streams that flow into Grand Canyon. A space-for-time substitution of erosion rates, supported by landscape simulations, implies that the Grand Canyon is the result of an increase in base level fall rate, with the older, slower base level fall rate preserved in the Grand Staircase. Our data and analyses also support a younger, ~6-million-year estimate of the age of Grand Canyon that is likely related to the integration of the Colorado River from the Colorado Plateau to the Basin and Range. Complicated cliff-band erosion and its effect on cosmogenic erosion rates are also explored, guiding interpretation of isotopic data in landscapes with stratigraphic variation in quartz and rock strength.
Several hypotheses for the erosion of Desolation Canyon are tested and refuted, leaving one plausible conclusion. I infer that the Uinta Basin north of Desolation Canyon is eroding slowly and that its form represents a slow, stable base level fall rate. Downstream of Desolation Canyon, the Colorado River is inferred to have established itself in the exhumed region of Canyonlands and to have incised to near modern depths prior to the integration of the Green River and the production of relief in Desolation Canyon. Analysis of incision and erosion rates in the region suggests integration is relatively recent.
In western Grand Canyon, I use comparative geomorphology between the Grand Canyon and the Grand Wash Cliffs (GWC). We propose the onset of erosion of the GWC is caused by slip on the Grand Wash Fault that formed between 18 and 12 million years ago. Hillslope angle and channel steepness are higher in Grand Canyon than along the Grand Wash Cliffs despite similar rock types, climate and base level fall magnitude. These experimental controls allow inference that the Grand Canyon is younger and eroding at a faster rate than the Grand Wash Cliffs.
The Grand Staircase is the headwaters of some of the streams that flow into Grand Canyon. A space-for-time substitution of erosion rates, supported by landscape simulations, implies that the Grand Canyon is the result of an increase in base level fall rate, with the older, slower base level fall rate preserved in the Grand Staircase. Our data and analyses also support a younger, ~6-million-year estimate of the age of Grand Canyon that is likely related to the integration of the Colorado River from the Colorado Plateau to the Basin and Range. Complicated cliff-band erosion and its effect on cosmogenic erosion rates are also explored, guiding interpretation of isotopic data in landscapes with stratigraphic variation in quartz and rock strength.
Several hypotheses for the erosion of Desolation Canyon are tested and refuted, leaving one plausible conclusion. I infer that the Uinta Basin north of Desolation Canyon is eroding slowly and that its form represents a slow, stable base level fall rate. Downstream of Desolation Canyon, the Colorado River is inferred to have established itself in the exhumed region of Canyonlands and to have incised to near modern depths prior to the integration of the Green River and the production of relief in Desolation Canyon. Analysis of incision and erosion rates in the region suggests integration is relatively recent.
ContributorsDarling, Andrew Lee (Author) / Whipple, Kelin (Thesis advisor) / Semken, Steven (Committee member) / Arrowsmith, Ramon (Committee member) / DeVecchio, Duane (Committee member) / Heimsath, Arjun (Committee member) / Arizona State University (Publisher)
Created2016
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