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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
Description
There are three known materials that readily undergo fission, allowing their use as a base for nuclear fuel: uranium-235, a naturally-occurring but uncommon isotope; plutonium, created from irradiated natural uranium; and uranium-233, produced from thorium. Of the three, uranium-235 and plutonium feature heavily in the modern nuclear industry, while uranium-233 and the thorium fuel cycle have failed to have significant presence in the field. Historically, nuclear energy development in the United States, and thorium development in particular, has been tied to the predominant societal outlook on the field, and thorium was only pursued seriously as an option during a period when nuclear energy was heavily favored, and resources seemed scarce. Recently, thorium-based energy has been experiencing a revival in interest in response to pollution concerns regarding fossil fuels. While public opinion is still wary of uranium, thorium-based designs could reduce reliance on fossil fuels while avoiding traditional drawbacks of nuclear energy. The thorium fuel cycle is more protected against proliferation, but is also much more expensive than the uranium-plutonium cycle in a typical reactor setup. Liquid-fueled molten salt reactor designs, however, bypass the prohibitive expense of U-233 refabrication by avoiding the stage entirely, keeping the chain reaction running with nothing but thorium input required. MSRs can use any fissile material as fuel, and are relatively safe to operate, due to passive features inherent to the design.
ContributorsGalbiati, Joseph Nicco (Author) / Martin, Thomas (Thesis director) / Foy, Joseph (Committee member) / Barrett, The Honors College (Contributor) / School of Sustainability (Contributor)
Created2014-05