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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
This study examines history museums in Arizona and New Mexico to determine whether New Western History themes are prevalent, twenty years after the term was conceived. Patricia Limerick is credited with using the expression in the 1980s, but she had to promote the concept frequently and for many years. There was resistance to changing from the Frederick Jackson Turner thesis of looking at the frontier as an expansion from the East, even while others were already writing more current historiography.
Limerick’s four “Cs”—continuity, convergence, conquest, and complexity—took a view of the West from the West, worthy of a separate perspective. These themes also allowed historians to reflect on what was happening locally, how and why various people were interacting, how there was less of a benevolent imbuing of European culture on Native Americans than there was a conquest of indigenous people, and how resource extraction created complex situations for all living things. While scholarly works were changing to provide relevant material based on these themes, museums were receiving thousands of visitors every year and may have been providing the Anglo-centric view of events or creating more inclusive displays. Label texts could have been either clarifying or confusing to a history loving audience.
Three types of museums were visited to determine whether there was a difference in display based on governing body. National Park Service sites, state sponsored institutions, and local city-based museums served as the study material. The age of the existing long-term exhibits ranged from brand new to fifty-one years extant. As important to the use of New Western History themes as the term of the current exhibit was the type of governing body.
Monographs, essays, and museum exhibits are all important to the dissemination of history. How they relate and how current they are to each other creates an opportunity for both academic and museum professional historians to reflect on the delivery systems used to enlighten a history-loving public.
Limerick’s four “Cs”—continuity, convergence, conquest, and complexity—took a view of the West from the West, worthy of a separate perspective. These themes also allowed historians to reflect on what was happening locally, how and why various people were interacting, how there was less of a benevolent imbuing of European culture on Native Americans than there was a conquest of indigenous people, and how resource extraction created complex situations for all living things. While scholarly works were changing to provide relevant material based on these themes, museums were receiving thousands of visitors every year and may have been providing the Anglo-centric view of events or creating more inclusive displays. Label texts could have been either clarifying or confusing to a history loving audience.
Three types of museums were visited to determine whether there was a difference in display based on governing body. National Park Service sites, state sponsored institutions, and local city-based museums served as the study material. The age of the existing long-term exhibits ranged from brand new to fifty-one years extant. As important to the use of New Western History themes as the term of the current exhibit was the type of governing body.
Monographs, essays, and museum exhibits are all important to the dissemination of history. How they relate and how current they are to each other creates an opportunity for both academic and museum professional historians to reflect on the delivery systems used to enlighten a history-loving public.
ContributorsWalsh, Thomas Kevin (Author) / Pagan, Eduardo (Thesis advisor) / Toon, Richard (Thesis advisor) / Fixico, Donald (Committee member) / Arizona State University (Publisher)
Created2015