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
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
ContributorsDelaney, Erin (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
Description
Many models of colonial interaction are build from cases of European colonialism among Native American and African peoples, and, as a result, they are often ill-suited to account for state expansion and decline in non-Western contexts. This dissertation investigates social organization and intraregional interaction in a non-western colonial context to broaden understanding of colonial interaction in diverse sociocultural settings. Drawing on social identity theory, population genetics, and social network analysis, patterns of social organization at the margins of the expansive pre-Hispanic Tiwanaku state (ca. AD 500-1100) are examined.
According to the dual diaspora model of Tiwanaku colonial organization in the Moquegua Valley of southern Peru, Chen Chen-style and Omo-style ethnic communities who colonized the valley maintained distinct ethnic identities in part through endogamous marriage practices. Biodistance analysis of cranial shape data is used to evaluate regional gene flow among Tiwanaku-affiliated communities in Moquegua. Overall, results of biodistance analysis are consistent with the dual diaspora model. Omo- and Chen Chen-style communities are distinct in mean cranial shape, and it appears that ethnic identity structured gene flow between ethnic groups. However, there are notable exceptions to the overall pattern, and it appears that marriage practices were structured by multiple factors, including ethnic affiliation, geographic proximity, and smaller scales of social organization, such as corporate kin groups.
Social network analysis of cranial shape data is used to implement a multi- and mesoscalar approach to social organization to assess family-based organization at a regional level. Results indicate the study sample constituted a social network comprised of a dense main component and a number of isolated actors. Formal approaches for identifying potential family groups (i.e., subgroup analysis) proved more effective than informal approaches. While there is no clear partition of the network into distinct subgroups that could represent extended kin networks or biological lineages, there is a cluster of closely related individuals at the core of the network who integrate a web of less-closely related actors. Subgroup analysis yielded similar results as agglomerative hierarchical cluster analysis, which suggests there is potential for social network analysis to contribute to bioarchaeological studies of social organization and bioarchaeological research in general.
According to the dual diaspora model of Tiwanaku colonial organization in the Moquegua Valley of southern Peru, Chen Chen-style and Omo-style ethnic communities who colonized the valley maintained distinct ethnic identities in part through endogamous marriage practices. Biodistance analysis of cranial shape data is used to evaluate regional gene flow among Tiwanaku-affiliated communities in Moquegua. Overall, results of biodistance analysis are consistent with the dual diaspora model. Omo- and Chen Chen-style communities are distinct in mean cranial shape, and it appears that ethnic identity structured gene flow between ethnic groups. However, there are notable exceptions to the overall pattern, and it appears that marriage practices were structured by multiple factors, including ethnic affiliation, geographic proximity, and smaller scales of social organization, such as corporate kin groups.
Social network analysis of cranial shape data is used to implement a multi- and mesoscalar approach to social organization to assess family-based organization at a regional level. Results indicate the study sample constituted a social network comprised of a dense main component and a number of isolated actors. Formal approaches for identifying potential family groups (i.e., subgroup analysis) proved more effective than informal approaches. While there is no clear partition of the network into distinct subgroups that could represent extended kin networks or biological lineages, there is a cluster of closely related individuals at the core of the network who integrate a web of less-closely related actors. Subgroup analysis yielded similar results as agglomerative hierarchical cluster analysis, which suggests there is potential for social network analysis to contribute to bioarchaeological studies of social organization and bioarchaeological research in general.
ContributorsJohnson, Kent M (Author) / Buikstra, Jane E. (Thesis advisor) / Stojanowski, Christopher M (Thesis advisor) / Knudson, Kelly J. (Committee member) / Goldstein, Paul S (Committee member) / Arizona State University (Publisher)
Created2016
Description
Although the Caribbean has been continuously inhabited for the last 7,000 years, European contact in the last 500 years dramatically reshaped the cultural and genetic makeup of island populations. Several recent studies have explored the genetic diversity of Caribbean Latinos and have characterized Native American variation present within their genomes. However, the difficulty of obtaining ancient DNA from pre-contact populations and the underrepresentation of non-Latino Caribbean islanders in current research have prevented a complete understanding of genetic variation over time and space in the Caribbean basin. This dissertation uses two approaches to characterize the role of migration and admixture in the demographic history of Caribbean islanders. First, autosomal variants were genotyped in a sample of 55 Afro-Caribbeans from five islands in the Lesser Antilles: Grenada, St. Kitts, St. Lucia, Trinidad, and St. Vincent. These data were used to characterize genetic structure, ancestry and signatures of selection in these populations. The results demonstrate a complex pattern of admixture since European contact, including a strong signature of sex-biased mating and inputs from at least five continental populations to the autosomal ancestry of Afro-Caribbean peoples. Second, ancient mitochondrial and nuclear DNA were obtained from 60 skeletal remains, dated between A.D. 500–1300, from three archaeological sites in Puerto Rico: Paso del Indio, Punta Candelero and Tibes. The ancient data were used to reassesses existing models for the peopling of Puerto Rico and the Caribbean and to examine the extent of genetic continuity between ancient and modern populations. Project findings support a largely South American origin for Ceramic Age Caribbean populations and identify some genetic continuity between pre and post contact islanders. The above study was aided by development and testing of extraction methods optimized for recovery of ancient DNA from tropical contexts. Overall, project findings characterize how ancient indigenous groups, European colonial regimes, the African Slave Trade and modern labor movements have shaped the genomic diversity of Caribbean islanders. In addition to its anthropological and historical importance, such knowledge is also essential for informing the identification of medically relevant genetic variation in these populations.
ContributorsNieves Colón, Maria (Author) / Stone, Anne C (Thesis advisor) / Pestle, William J. (Committee member) / Benn-Torres, Jada (Committee member) / Stojanowski, Christopher (Committee member) / Arizona State University (Publisher)
Created2017
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