Matching Items (377)
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
Emotions are essential ingredients to the human experience. How one feels influences how one thinks and behaves. The processing capacity for emotion-related information can be thought of as emotional intelligence (Salovey & Mayer, 1997). Regulating emotions and coping with emotional experiences are among the most common reasons individuals seek counseling. Counselors must be uniquely equipped in processing and managing emotional content. Counselor’s skills and abilities related to emotional intelligence are vital to effective counseling. There is indication that confidence in one’s counseling skills may be equally as important as competence in these skills. Counselor self-efficacy, one’s belief in one’s ability to perform counseling activities, has been shown to relate to counselor performance and ability and increased clinical experience has been associated with higher levels of counselor self-efficacy (Larson & Daniels, 1998). One’s emotion-related information processing abilities and one’s clinical experiences may contribute to one’s perception of one’s competencies and abilities as a counselor.
However, this relationship may not be a simple cause-and-effect association. Individuals may possess a certain aptitude (emotional intelligence) and not perceive themselves as competent as counselors. Resilience, one’s ability to “bounce-back” and persevere through adversity may moderate the relation between emotional intelligence and counselor self-efficacy (Wagnild, 1990).
The current study explored the relations among clinical experience, emotional intelligence and resilience in predicting self-efficacy. In addition, whether resilience would moderate the relationship between emotional intelligence and counselor self-efficacy was examined. Eighty counselor trainees enrolled in CACREP-accredited master’s programs participated in this study online. They completed a demographics form, the Mayer-Salovey-Caruso Emotional Intelligence Test (MSCEIT; Mayer, et al., 2002), the Counselor Activities Self-Efficacy Scales (CASES; Lent et al., 2003), and The Resilience Scale (RS; Wagnild & Young, 1993). Multiple hierarchical regressions revealed clinical experience (specifically a completed practicum), emotional intelligence, and resilience predicted counselor self-efficacy. The moderation was not significant. These findings support the value of the exploration of clinical experience, emotional intelligence and resilience in developing counselor self-efficacy. A more comprehensive discussion of the findings, limitations, and implications of the current study as well as suggested direction for future research are discussed herein.
However, this relationship may not be a simple cause-and-effect association. Individuals may possess a certain aptitude (emotional intelligence) and not perceive themselves as competent as counselors. Resilience, one’s ability to “bounce-back” and persevere through adversity may moderate the relation between emotional intelligence and counselor self-efficacy (Wagnild, 1990).
The current study explored the relations among clinical experience, emotional intelligence and resilience in predicting self-efficacy. In addition, whether resilience would moderate the relationship between emotional intelligence and counselor self-efficacy was examined. Eighty counselor trainees enrolled in CACREP-accredited master’s programs participated in this study online. They completed a demographics form, the Mayer-Salovey-Caruso Emotional Intelligence Test (MSCEIT; Mayer, et al., 2002), the Counselor Activities Self-Efficacy Scales (CASES; Lent et al., 2003), and The Resilience Scale (RS; Wagnild & Young, 1993). Multiple hierarchical regressions revealed clinical experience (specifically a completed practicum), emotional intelligence, and resilience predicted counselor self-efficacy. The moderation was not significant. These findings support the value of the exploration of clinical experience, emotional intelligence and resilience in developing counselor self-efficacy. A more comprehensive discussion of the findings, limitations, and implications of the current study as well as suggested direction for future research are discussed herein.
ContributorsPetrolle Clemons, Laura (Author) / Robinson Kurpius, Sharon E (Thesis advisor) / Arciniega, Guillermo M (Committee member) / Kinnier, Richard T (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
ContributorsChen, Zuoquan (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-02