Matching Items (378)
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
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
Description
The purpose of this paper is to examine the negative effects Abercrombie & Fitch, a pricey retail store aimed at trendy teens to young adults, has on consumers. It analyzes the identity politics and rhetorical elements of the A&F brand. Specifically, it critiques their three issues in advertising, the store's space/layout, and comments made by their former Chief Executive Officer, Mike Jeffries, in order to explain the type of identity the brand invites consumers to become.
ContributorsLeon, Ileana Maria (Author) / Quinlivan, Raena (Thesis director) / Edson, Belle (Committee member) / Atkin, Suzanne (Committee member) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The Guantánamo Bay detention center received its first detainees on January 11, 2002, four months after the 9/11 attacks that precipitated the facility’s creation. According to the rhetoric of Bush Administration officials, the detention facility’s purpose after 9/11 was simple and obvious: it was there to keep ordinary Americans safe by keeping the most dangerous terrorists the United States military and intelligence communities could find under lock and key. But the administration’s reasons for creating the Guantánamo Bay facility, and the legal and political foundations on which they did so, were far more complicated.
That detention center was at the center of two conflicting responses to 9/11, which the Bush Administration tried to pursue simultaneously. One response was to investigate the 9/11 attacks in order to find the terrorists responsible for their planning and execution, detain those individuals, and try them for violations of law. The second response was to initiate an armed conflict against terrorist organizations and their state sponsors more broadly, including against those with loose or no ties to the individuals responsible for the 9/11 attacks. However, administration officials conflated these different responses and failed to develop a coherent strategy for fighting terrorism that would further either objective. The Guantánamo Bay detention program embodied that failure. The legal, political, and moral crisis that it has represented for fifteen years serves as evidence of the dangers of responding to national tragedies outside the bounds of established policy and legal frameworks.
That detention center was at the center of two conflicting responses to 9/11, which the Bush Administration tried to pursue simultaneously. One response was to investigate the 9/11 attacks in order to find the terrorists responsible for their planning and execution, detain those individuals, and try them for violations of law. The second response was to initiate an armed conflict against terrorist organizations and their state sponsors more broadly, including against those with loose or no ties to the individuals responsible for the 9/11 attacks. However, administration officials conflated these different responses and failed to develop a coherent strategy for fighting terrorism that would further either objective. The Guantánamo Bay detention program embodied that failure. The legal, political, and moral crisis that it has represented for fifteen years serves as evidence of the dangers of responding to national tragedies outside the bounds of established policy and legal frameworks.
ContributorsLoucks, Andrew Glennon (Author) / Simon, Sheldon (Thesis director) / Herrera, Richard (Committee member) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05