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
This project examines and challenges the West's generally accepted two category approach to the world's belief systems. That is, it will deconstruct the religion / science `paradigm' that has developed over the past two centuries. It will argue that the dichotomy between the two categories was created by modernity for the purpose of establishing an exclusive view believed to be based on knowledge. This exclusive view, philosophical naturalism (science), was set in opposition to all alternative views identified as religion. As the exclusive view, though constructed on a defective foundation of knowledge, philosophical naturalism, nonetheless, became the privileged interpreter and explainer of reality in the academy of the Western world.
As a work in the area of epistemology and the philosophy of religion, this project will challenge philosophical naturalism's claim to knowledge. The approach will be philosophical and historical critically assessing both modernity's and postmodernity's basis for knowledge. Without a rational basis for exclusive knowledge the popular dichotomy dissolves. The implications of this dissolution for `religious studies' will be addressed by offering an alternative scheme that provides a more plausible way to divide the world's belief systems.
As a work in the area of epistemology and the philosophy of religion, this project will challenge philosophical naturalism's claim to knowledge. The approach will be philosophical and historical critically assessing both modernity's and postmodernity's basis for knowledge. Without a rational basis for exclusive knowledge the popular dichotomy dissolves. The implications of this dissolution for `religious studies' will be addressed by offering an alternative scheme that provides a more plausible way to divide the world's belief systems.
ContributorsTussing, Rodney W (Author) / Cady, Linell (Committee member) / Anderson, Owen (Committee member) / Gereboff, Joel (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsMcClain, Katelyn (Performer) / Buringrud, Deanna (Contributor) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
Description
In this thesis, I discuss the philosophical problem of evil and, as a response, John Hick's soul making theodicy. First, I discuss the transformation of the problem. I examine how the problem has shifted from logical to evidential in recent history. Next, I offer a faithful rendition of Hick's position - one which states the existence of evil does not provide evidence against the existence of God. After reconstructing his argument, I go on to exposes its logical faults. I present four main contentions to Hick's theodicy. First, I analyze the psychology of dehumanization to question whether we have any evidence that soul making is happening in response to the suffering in the world. Second, I argue that Hick's theodicy is self-defeating if accepted because it undermines the central point on which his argument depends. Third, I claim that Hick's theodicy is self-defeating given his eschatological views. Finally, I discuss how Hick's theodicy does not account for the animal suffering that widely exists in the world now, and that exists in our evolutionary history. My hope is to show that Hick's theodicy fails to solve the problem of evil. I claim that the amount of gratuitous suffering in the world does provide evidence against the existence of God.
ContributorsScarpa, Frank Vincent (Author) / Manninen, Bertha (Thesis advisor) / Kobes, Bernard W. (Committee member) / Pinillos, Angel (Committee member) / Arizona State University (Publisher)
Created2018
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
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