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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
Description
This study investigates how well prominent behavioral theories from social psychology explain green purchasing behavior (GPB). I assess three prominent theories in terms of their suitability for GPB research, their attractiveness to GPB empiricists, and the strength of their empirical evidence when applied to GPB. First, a qualitative assessment of the Theory of Planned Behavior (TPB), Norm Activation Theory (NAT), and Value-Belief-Norm Theory (VBN) is conducted to evaluate a) how well the phenomenon and concepts in each theory match the characteristics of pro-environmental behavior and b) how well the assumptions made in each theory match common assumptions made in purchasing theory. Second, a quantitative assessment of these three theories is conducted in which r2 values and methodological parameters (e.g., sample size) are collected from a sample of 21 empirical studies on GPB to evaluate the accuracy and generalize-ability of empirical evidence. In the qualitative assessment, the results show each theory has its advantages and disadvantages. The results also provide a theoretically-grounded roadmap for modifying each theory to be more suitable for GPB research. In the quantitative assessment, the TPB outperforms the other two theories in every aspect taken into consideration. It proves to 1) create the most accurate models 2) be supported by the most generalize-able empirical evidence and 3) be the most attractive theory to empiricists. Although the TPB establishes itself as the best foundational theory for an empiricist to start from, it's clear that a more comprehensive model is needed to achieve consistent results and improve our understanding of GPB. NAT and the Theory of Interpersonal Behavior (TIB) offer pathways to extend the TPB. The TIB seems particularly apt for this endeavor, while VBN does not appear to have much to offer. Overall, the TPB has already proven to hold a relatively high predictive value. But with the state of ecosystem services continuing to decline on a global scale, it's important for models of GPB to become more accurate and reliable. Better models have the capacity to help marketing professionals, product developers, and policy makers develop strategies for encouraging consumers to buy green products.
ContributorsRedd, Thomas Christopher (Author) / Dooley, Kevin (Thesis advisor) / Basile, George (Committee member) / Darnall, Nicole (Committee member) / Arizona State University (Publisher)
Created2012
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