Matching Items (761)
ContributorsWard, Geoffrey Harris (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
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
ContributorsBolari, John (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-04
Description
Determining the characteristics of an object during a grasping task requires a combination of mechanoreceptors in the muscles and fingertips. The width of a person's finger aperture during the grasp may affect the accuracy of how that person determines hardness, as well. These experiments aim to investigate how an individual perceives hardness amongst a gradient of varying hardness levels. The trend in the responses is assumed to follow a general psychometric function. This will provide information about subjects' abilities to differentiate between two largely different objects, and their tendencies towards guess-chances upon the presentation of two similar objects. After obtaining this data, it is then important to additionally test varying finger apertures in an object-grasping task. This will allow an insight into the effect of aperture on the obtained psychometric function, thus ultimately providing information about tactile and haptic feedback for further application in neuroprosthetic devices. Three separate experiments were performed in order to test the effect of finger aperture on object hardness differentiation. The first experiment tested a one-finger pressing motion among a hardness gradient of ballistic gelatin cubes. Subjects were asked to compare the hardness of one cube to another, which produced the S-curve that accurately portrayed the psychometric function. The second experiment utilized the Phantom haptic device in a similar setup, using the precision grip grasping motion, instead. This showed a more linear curve; the percentage reported harder increased as the hardness of the second presented cube increased, which was attributed to both the experimental setup limitations and the scale of the general hardness gradient. The third experiment then progressed to test the effect of three finger apertures in the same experimental setup. By providing three separate testing scenarios in the precision grip task, the experiment demonstrated that the level of finger aperture has no significant effect on an individual's ability to perceive hardness.
ContributorsMaestas, Gabrielle Elise (Author) / Helms Tillery, Stephen (Thesis director) / Tanner, Justin (Committee member) / Barrett, The Honors College (Contributor) / Harrington Bioengineering Program (Contributor)
Created2015-05
ContributorsOftedahl, Paul (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-29
ContributorsZaleski, Kimberly (Contributor) / Kazarian, Trevor (Performer) / Ryan, Russell (Performer) / IN2ATIVE (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-28