Matching Items (381)
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
Description
This research examines lateral separation zones and sand bar slope stability using two methods: a parallelized turbulence resolving model and full-scale laboratory experiments. Lateral flow separation occurs in rivers where banks exhibit strong curvature, for instance canyon rivers, sharp meanders and river confluences. In the Colorado River, downstream Glen Canyon Dam, lateral separation zones are the principal storage of sandbars. Maximum ramp rates have been imposed to Glen Canyon Dam operation to minimize mass loss of sandbars. Assessment of the effect of restricting maximum ramp rates in bar stability is conducted using multiple laboratory experiments. Results reveal that steep sandbar faces would rapidly erode by mass failure and seepage erosion to stable slopes, regardless of dam discharge ramp rates. Thus, continued erosion of sand bars depends primarily of turbulent flow and waves. A parallelized, three-dimensional, turbulence resolving model is developed to study flow structures in two lateral separation zones located along the Colorado River in Grand Canyon. The model employs a Detached Eddy Simulation (DES) technique where variables larger than the grid scale are fully resolved, while Sub-Grid-Scale (SGS) variables are modeled. The DES-3D model is validated using ADCP flow measurements and skill metric scores show predictive capabilities of simulated flow. The model reproduces the patterns and magnitudes of flow velocity in lateral recirculation zones, including size and position of primary and secondary eddy cells and return current. Turbulence structures with a predominately vertical axis of vorticity are observed in the shear layer, becoming three-dimensional without preferred orientation downstream. The DES-3D model is coupled with a sediment advection-diffusion formulation, wherein advection is provided by the DES velocity field minus particles settling velocity, and diffusion is provided by the SGS. Results show a lateral recirculation zone having a continuous export and import of sediment from and to the main channel following a pattern of high frequency pulsations of positive deposition fluxes. These high frequency pulsations play an important role to prevent an oversupply of sediment within the lateral separation zones. Improved predictive capabilities are achieved with this model when compared with previous two- and three-dimensional quasi steady and steady models.
ContributorsAlvarez Rueda, Laura Verónica (Author) / Schmeeckle, Mark W. (Thesis advisor) / Dorn, Ronald I. (Committee member) / Brazel, Anthony J. (Committee member) / Grams, Paul E. (Committee member) / Topping, David J. (Committee member) / Arizona State University (Publisher)
Created2015
Description
Education through field exploration is fundamental in geoscience. But not all students enjoy equal access to field-based learning because of time, cost, distance, ability, and safety constraints. At the same time, technological advances afford ever more immersive, rich, and student-centered virtual field experiences. Virtual field trips may be the only practical options for most students to explore pedagogically rich but inaccessible places. A mixed-methods research project was conducted on an introductory and an advanced geology class to explore the implications of learning outcomes of in-person and virtual field-based instruction at Grand Canyon National Park. The study incorporated the Great Unconformity in the Grand Canyon, a 1.2 billion year break in the rock record; the Trail of Time, an interpretive walking timeline; and two immersive, interactive virtual field trips (iVFTs). The in-person field trip (ipFT) groups collectively explored the canyon and took an instructor-guided inquiry hike along the interpretive Trail of Time from rim level, while iVFT students individually explored the canyon and took a guided-inquiry virtual tour of Grand Canyon geology from river level. High-resolution 360° spherical images anchor the iVFTs and serve as a framework for programmed overlays that enable interactivity and allow the iVFT to provide feedback in response to student actions. Students in both modalities received pre- and post-trip Positive and Negative Affect Schedules (PANAS). The iVFT students recorded pre- to post-trip increases in positive affect (PA) scores and decreases in negative (NA) affect scores, representing an affective state conducive to learning. Pre- to post-trip mean scores on concept sketches used to assess visualization and geological knowledge increased for both classes and modalities. However, the iVFT pre- to post-trip increases were three times greater (statistically significant) than the ipFT gains. Both iVFT and ipFT students scored 92-98% on guided-inquiry worksheets completed during the trips, signifying both met learning outcomes. Virtual field trips do not trump traditional in-person field work, but they can meet and/or exceed similar learning objectives and may replace an inaccessible or impractical in-person field trip.
ContributorsRuberto, Thomas (Author) / Semken, Steve (Thesis advisor) / Anbar, Ariel (Committee member) / Brownell, Sara (Committee member) / Arizona State University (Publisher)
Created2018
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
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