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
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
ContributorsZaleski, Kimberly (Contributor) / Kazarian, Trevor (Performer) / Ryan, Russell (Performer) / IN2ATIVE (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-28
Description
This study enters on the heels of a trend of public school closures across the United States. Using qualitative methods, the study concerns the curriculum experiences of six African American students attending a majority-white high school in a white, middle-class community in the Midwest, one year after the closure of their predominantly Black high school in their hometown.
The study draws from Michel Foucault’s philosophy on care of the self as an analytical tool to look at students’ care of the ‘racialized’ self, or more specifically, how African American students are forming a ‘self’ in a majority-white school in relation to the ways they are being racialized. Background of the schools and a description of the conditions under which the school change occurred are provided for context. Data collection involved conducting life history interviews with students, observing students in their classes, and shadowing students throughout their school day.
Findings show that African American student-participants are contending with what they describe as a “them”/“us” racial, cultural, and class divide that is operationalized through the curriculum. Students are in a struggle to negotiate how they are perceived and categorized as ‘racialized’ bodies through the curriculum, and, their own perceptions of these racializations. In this struggle, students enact self-practices to make maneuvers within curriculum spaces. A student can accept how the curriculum attempts to constitute her/him as a subject, resist this subjectification, or perform any combination of both accepting and resisting. In this way, a curriculum, with its distinctive and potentially polarizing boundaries, becomes a negotiated and contested space. And, because this curricular space is internally contradictory, a student, in relation to it, may practice versions of a ‘self’ (multiple ‘selves’) that are contradictory. Findings illuminate that in this complex process of self-making, African American students are producing a curriculum of self-formation that teaches others how they want to be perceived.
The study draws from Michel Foucault’s philosophy on care of the self as an analytical tool to look at students’ care of the ‘racialized’ self, or more specifically, how African American students are forming a ‘self’ in a majority-white school in relation to the ways they are being racialized. Background of the schools and a description of the conditions under which the school change occurred are provided for context. Data collection involved conducting life history interviews with students, observing students in their classes, and shadowing students throughout their school day.
Findings show that African American student-participants are contending with what they describe as a “them”/“us” racial, cultural, and class divide that is operationalized through the curriculum. Students are in a struggle to negotiate how they are perceived and categorized as ‘racialized’ bodies through the curriculum, and, their own perceptions of these racializations. In this struggle, students enact self-practices to make maneuvers within curriculum spaces. A student can accept how the curriculum attempts to constitute her/him as a subject, resist this subjectification, or perform any combination of both accepting and resisting. In this way, a curriculum, with its distinctive and potentially polarizing boundaries, becomes a negotiated and contested space. And, because this curricular space is internally contradictory, a student, in relation to it, may practice versions of a ‘self’ (multiple ‘selves’) that are contradictory. Findings illuminate that in this complex process of self-making, African American students are producing a curriculum of self-formation that teaches others how they want to be perceived.
ContributorsLevin, Stacey S (Author) / Blumenfeld-Jones, Donald (Thesis advisor) / Carlson, David Lee (Committee member) / Sandlin, Jennifer A. (Committee member) / Arizona State University (Publisher)
Created2016
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