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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
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
New sol-gel routes were developed to fabricate transparent conducting oxide coatings for energy applications. Sol-gel synthesis was chosen because the metal oxide products have high surface area and porosity. Titanium sol-gel chemistry was the main focus of the studies, and the synthesis of macroporous antimony-doped tin oxide was also explored. The surface chemistry and band characteristics of anatase TiO2 show promise for solar energy purposes as photoelectrodes in DSSCs and as photocatalysts to degrade organic dyes and to split water. Modifying the band structure by increasing the conduction band edge energy is specifically of interest for reducing protons in water. To this end, a new sol-gel method was developed for incorporating Zr-dopant in nanoporous anatase TiO2. The products follow Vegard’s law up to 20 atom%, exhibiting surface area of 79 m2/g and pore volume of 0.20 cm3/g with average pore diameter of 10.3 nm; the conduction band edge energy increased by 0.22 eV and the band gap increased by 0.1 eV.
In pursuit of a greener sol-gel route for TiO2 materials, a solution of TiOSO4 in water was explored. Success in obtaining a gel came by utilizing hydrogen peroxide as a ligand that suppressed precipitation reactions. Through modifying this sol-gel chemistry to obtain a solid acid, the new material hydrogen titanium phosphate sulfate, H1-xTi2(PO4)3-x(SO4)x, (0 < x < 0.5) was synthesized and characterized for the first time. From the reported synthetic route, this compound took the form of macroscopic agglomerates of nanoporous aggregates of nanoparticles around 20 nm and the product calcined at 600 °C exhibited surface area of 78 m2/g, pore volume of 0.22 cm3/g and an average pore width of 11 nm. This solid acid exhibits complete selectivity for the non-oxidative dehydrogenation of methanol to formaldehyde and hydrogen gas, with >50% conversion at 300 °C.
Finally, hierarchically meso-macroporous antimony doped tin oxide was synthesized with regular macropore size around 210 nm, determined by statistical dye trajectory tracking, and also with larger pores up to micrometers in size. The structure consisted of nanoparticles around 4 nm in size, with textural mesopores around 20 nm in diameter.
In pursuit of a greener sol-gel route for TiO2 materials, a solution of TiOSO4 in water was explored. Success in obtaining a gel came by utilizing hydrogen peroxide as a ligand that suppressed precipitation reactions. Through modifying this sol-gel chemistry to obtain a solid acid, the new material hydrogen titanium phosphate sulfate, H1-xTi2(PO4)3-x(SO4)x, (0 < x < 0.5) was synthesized and characterized for the first time. From the reported synthetic route, this compound took the form of macroscopic agglomerates of nanoporous aggregates of nanoparticles around 20 nm and the product calcined at 600 °C exhibited surface area of 78 m2/g, pore volume of 0.22 cm3/g and an average pore width of 11 nm. This solid acid exhibits complete selectivity for the non-oxidative dehydrogenation of methanol to formaldehyde and hydrogen gas, with >50% conversion at 300 °C.
Finally, hierarchically meso-macroporous antimony doped tin oxide was synthesized with regular macropore size around 210 nm, determined by statistical dye trajectory tracking, and also with larger pores up to micrometers in size. The structure consisted of nanoparticles around 4 nm in size, with textural mesopores around 20 nm in diameter.
ContributorsMieritz, Daniel (Author) / Seo, Dong-Kyun (Thesis advisor) / Petuskey, William (Committee member) / Herckes, Pierre (Committee member) / Arizona State University (Publisher)
Created2016
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