Matching Items (377)
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
One of the salient challenges of sustainability is the Tragedy of the Commons, where individuals acting independently and rationally deplete a common resource despite their understanding that it is not in the group's long term best interest to do so. Hardin presents this dilemma as nearly intractable and solvable only by drastic, government-mandated social reforms, while Ostrom's empirical work demonstrates that community-scale collaboration can circumvent tragedy without any elaborate outside intervention. Though more optimistic, Ostrom's work provides scant insight into larger-scale dilemmas such as climate change. Consequently, it remains unclear if the sustainable management of global resources is possible without significant government mediation. To investigate, we conducted two game theoretic experiments that challenged students in different countries to collaborate digitally and manage a hypothetical common resource. One experiment involved students attending Arizona State University and the Rochester Institute of Technology in the US and Mountains of the Moon University in Uganda, while the other included students at Arizona State and the Management Development Institute in India. In both experiments, students were randomly assigned to one of three production roles: Luxury, Intermediate, and Subsistence. Students then made individual decisions about how many units of goods they wished to produce up to a set maximum per production class. Luxury players gain the most profit (i.e. grade points) per unit produced, but they also emit the most externalities, or social costs, which directly subtract from the profit of everybody else in the game; Intermediate players produce a medium amount of profit and externalities per unit, and Subsistence players produce a low amount of profit and externalities per unit. Variables influencing and/or inhibiting collaboration were studied using pre- and post-game surveys. This research sought to answer three questions: 1) Are international groups capable of self-organizing in a way that promotes sustainable resource management?, 2) What are the key factors that inhibit or foster collective action among international groups?, and 3) How well do Hardin's theories and Ostrom's empirical models predict the observed behavior of students in the game? The results of gameplay suggest that international cooperation is possible, though likely sub-optimal. Statistical analysis of survey data revealed that heterogeneity and levels of trust significantly influenced game behavior. Specific traits of heterogeneity among students found to be significant were income, education, assigned production role, number of people in one's household, college class, college major, and military service. Additionally, it was found that Ostrom's collective action framework was a better predictor of game outcome than Hardin's theories. Overall, this research lends credence to the plausibility of international cooperation in tragedy of the commons scenarios such as climate change, though much work remains to be done.
ContributorsStanton, Albert Grayson (Author) / Clark, Susan Spierre (Thesis director) / Seager, Thomas (Committee member) / Civil, Environmental and Sustainable Engineering Programs (Contributor) / Barrett, The Honors College (Contributor)
Created2014-12
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
ContributorsChen, Zuoquan (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-02