Matching Items (379)
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
In recent years, the length of time people use and keep belongings has decreased. With the acceptance of short-lived furniture and inexpensive replacements, the American mentality has shifted to thinking that discarding furniture is normal, often in the guise of recycling. Americans are addicted to landfills. The high cost of landfill real estate and other considerable ecological impacts created by the manufacturing of furniture should persuade people to give their belongings a longer life, but in reality, furniture is often prematurely discarded. This grounded theory study takes a multi-method approach to analyze why some types of furniture are kept longer and to theorize about new ways to design and sell furniture that lasts well past its warranty. Case studies bring new insight into designer intention, manufacturer intent, the world of auction-worthy collectables and heirlooms, why there is a booming second-hand furniture market and the growing importance of informed interior designers and architects who specify or help clients choose interior furnishings. An environmental life cycle assessment compares how the length of furniture life affects environmental impacts. A product's life could continue for generations if properly maintained. Designers and manufacturers hoping to promote longevity can apply the conclusions of this report in bringing new pieces to the market that have a much longer life span. This study finds areas of opportunity that promote user attachment, anticipate future repurposing, and provide services. This thinking envisions a paradigm for furniture that can re-invent itself over multiple generations of users, and ultimately lead to a new wave of desirable heirloom furniture.
ContributorsIngham, Sarah (Author) / White, Philip (Thesis advisor) / Wolf, Peter (Committee member) / Underhill, Michael (Committee member) / Arizona State University (Publisher)
Created2011
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
Modern manufacturing has allowed society to make giant leaps and bounds within the sphere of building. But how much are we sacrificing for this to occur? There is a fine line between a quality product and its counterpart- the quantity product. Who is responsible for maintaining this balance? How can we ensure that the responsible parties are aware of how something will be produced? Designers must be educated in manufacturing processes so that they can act as a quality control buffer and make informed decisions about the product specified. The responsibility of maintaining a balance between quality and quantity (or cost) is a joint one. In some cases, it may fall on the craftsman, who pushes out more product in order to compete in the market today. In others, it may be on the manufacturer, who uses particular methods of building in order to ensure a quality product. However, in most scenarios, furniture is produced to spec, per the intent of a designer. Whether the craftsman or the manufacturer makes the product, some sort of design minded person is behind the order and has the final say on how a piece that they have commissioned will look. A purchase order is issued to a manufacturer or craftsman based on a provided quote. Shop drawings are reviewed by a designer to ensure that the proper materials are used, the proper dimensions are met, and that the aesthetic of the piece matches the designer's vision. In recognizing that a portion of responsibility for the manufacture of product falls onto the designer, who submits a specification to a manufacturer, and approves or denies shop drawings, we can recognize a missing piece of their fundamental education. Newly graduated designers lack basic knowledge about the way things that are used every day are built, how they want them built, and what materials are used to build them. Extensive engineering and labor processes are required to fabricate products; processes that a designer may know nothing about, thereby forfeiting their involvement in quality control. This first section of this paper will strive to address issues of quality versus quantity, and the role of the designer in maintaining a balance between the two. In addition, it will focus on implementing methods to educate designers on manufacturing techniques, essentially creating a quality control mechanism in terms of furniture specification. The second section will consist of a developing course outline addressing the basic knowledge and application of manufacturing techniques for interior designers.
ContributorsMunoz, Olivia Lauren (Author) / Brandt, Beverly (Thesis director) / Rosso, Rachel (Committee member) / Tassell, Toni (Committee member) / Barrett, The Honors College (Contributor) / The Design School (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