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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 dissertation provides an account of evidentiality of a number of selected verbs of perception in Modern Standard Arabic (MSA). The verbs are divided into three categories: activity, experiential, and source-based, following Viberg (1983). The data shows that the activity P.Vs in MSA are rarely used evidentially whereas the experiential and the source-based ones are commonly used to indicate evidential meaning. It also shows that while the source-based verb is mostly used with an inferred evidential meaning, the evidentiality encoded by the experiential perception verbs is determined by the complementation pattern and the person of the subject (first or third person subject). With the non-finite complement, these verbs indicate a direct evidentiality when having a first person subject, and a reported evidentiality when having a third person subject. With the finite CP complement, they indicate an indirect evidentiality. This corpus-based study also examines the grammaticalization of these verbs when used evidentially. I argue that only the verb ra’aa of the selected experiential verbs is fully grammaticalized, but only when it is in the past tense and followed by a verbal non-finite complement. In this usage, it becomes a light verb. The source-based verb badaa/yabduu when indicating an evidentiality, it is grammaticalized into copulative verb when followed by an adjectival predicate, and modal verb when followed by a finite complement.
ContributorsHarthi, Jaber (Author) / Gelderen, Elly van (Thesis advisor) / Adams, Karen (Committee member) / Gebhardt, Lewis (Committee member) / Arizona State University (Publisher)
Created2019