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
Description
Very little experimental work has been done to investigate the psychological underpinnings of perceptions of privacy. This issue is especially pressing with the advent of powerful and inexpensive technologies that allow access to all but our most private thoughts -and these too are at risk (Farah, Smith, Gawuga, Lindsell, &Foster;, 2009). Recently the Supreme Court ruled that the use of a global positioning system (GPS) device to covertly follow a criminal suspect, without first obtaining a search warrant, is a violation of a suspect's fourth amendment right to protection from unlawful search and seizure (United States v. Jones, 2012). However, the Court has also ruled in the past that a law enforcement officer can covertly follow a suspect's vehicle and collect the same information without a search warrant and this is not considered a violation of the suspect's rights (Katz v. United States). In the case of GPS surveillance the Supreme Court Justices did not agree on whether the GPS device constituted a trespassing violation because it was placed on the suspect's vehicle (the majority) or if it violated a person's reasonable expectation of privacy. This incongruence is an example of how the absence of a clear and predictable model of privacy makes it difficult for even the country's highest moral authority to articulate when and why privacy has been violated. This research investigated whether public perceptions of support for the use of each surveillance technique also vary across different monitoring types that collect the same information and whether these differences are mediated by similar factors as argued by the Supreme Court. Results suggest that under some circumstances participants do demonstrate differential support and this is mediated by a general privacy concern. However, under other circumstances differential support is the result of an interaction between the type of monitoring and its cost to employ -not simply type; this differential support was mediated by both perceived violations of private-space and general privacy. Results are discussed in terms of how these findings might contribute to understanding the psychological foundation of perceived privacy violations and how they might inform policy decision.
ContributorsBaker, Denise, M.S (Author) / Schweitzer, Nicholas J (Thesis advisor) / Newman, Matt (Committee member) / Risko, Evan (Committee member) / Arizona State University (Publisher)
Created2012
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
Edward Snowden's publishing classified information about the existence of the Section 215 bulk collection metadata program set in motion the largest debate about potential abuse in by spying agencies since the Watergate Scandal in the 1970's. This paper will examine the metadata program by: First, the relevant background which includes the establishment of the 20th century intelligence community, intelligence reforms in the wake of the Watergate scandal, and the changes stemming from the 9/11 attacks. Second, the Section 215 metadata program itself will be discussed, including its lawfulness. Third and finally, an analysis of potential reforms will be discussed, including ones advanced by government commissions. Ultimately, the Section 215 program has demonstrated compelling legal authority, positive benefits to national security, and a minimal need for reform. This conclusion is based on the program being consistent with the legal spirit of the Watergate Reforms, the language of the post-9/11 laws, the nature of the program, and the robust oversight protocols imposed upon the program.
ContributorsRicci, Anthony James (Author) / Gartner, David (Thesis director) / Longley, Kyle (Committee member) / Barrett, The Honors College (Contributor) / W. P. Carey School of Business (Contributor) / School of Politics and Global Studies (Contributor)
Created2014-05
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
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