Matching Items (378)
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
Description
This study examines the effect that the modality (volition, doubt, emotion, belief, knowledge, etc.) of matrix noun clauses has on the ability of intermediate (second-year) Spanish L2 students (n=56) to properly produce the subjunctive and indicative moods, the relative order in which students tend to most accurately produce the subjunctive in response to the modalities of volition, doubt, and emotion, and students' level of syntactic ability and mood development. Each participant took a test consisting of twenty questions containing various modalities intended to elicit either the subjunctive or indicative mood. Participants also filled out a questionnaire that was designed to ascertain the participants' level of formal and informal experience with Spanish. The results of this study show that a) when the subjunctive was the target response most participants favored the unmarked indicative mood significantly more than the marked subjunctive mood, b) students most accurately produced the subjunctive to the modality of volition (VL), followed by doubt (DT), and emotion (EM), which is consistent with Collentine's study, and c) students were able to process complex syntax when producing the unmarked indicative mood but not when they were prompted to produce the marked subjunctive mood. The results of this study show that pedagogical expectations regarding the acquisition of the subjunctive mood by second-year Spanish students may be unrealistic as these students were operating somewhere between the pre-syntactic and syntactic stages.
ContributorsKaufman, John Henry (Author) / Lafford, Barbara (Thesis advisor) / García Fernandez, Carmen (Thesis advisor) / Elorrieta, Jabier (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsMcClain, Katelyn (Performer) / Buringrud, Deanna (Contributor) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
Description
The study of Spanish instructors’ beliefs is a recent development and the body of work is
small with little research conducted on their insights on the acquisition of any grammar form. Still, Spanish grammar includes the notoriously difficult subjunctive, a grammatical irrealis mood that is affixed to verbs. A national survey was conducted on Spanish professors and instructors (N=73) who teach at institutions randomly selected from a representative sample of American institutions of higher education. The survey was conducted to inquire on their beliefs regarding the most complex forms in Spanish, the causes of the subjunctive difficulty, and their preferred methods of teaching the form. The results first indicate that participants rated the subjunctive the most difficult grammar form. They attributed the cause of difficulty to be primarily interference from the first language and its abstractness. For instructing the subjunctive, participants generally supported form-oriented instruction with a metalanguage approach that focuses on forms. However, the participants disagreed greatly on whether meaning-focused instruction was valuable and dismissed drilling instruction of the subjunctive. Data from the participants provides a distribution of overextended tense, moods, and aspects in lieu of the Spanish subjunctive. However, instructors indicated that their students’ competence of the subjunctive was higher than their performance and that comprehension was not necessarily reliant on correct usage of the subjunctive as it was for proficiency. Moreover, they provided qualitative data of effective methods and pedagogical challenges of the subjunctive. This study illuminates some of the contributing factors of subjunctive difficulty and preferred pedagogical approaches for teaching it. It also has implications that meaning may not be obstructed if students do not use subjunctive.
small with little research conducted on their insights on the acquisition of any grammar form. Still, Spanish grammar includes the notoriously difficult subjunctive, a grammatical irrealis mood that is affixed to verbs. A national survey was conducted on Spanish professors and instructors (N=73) who teach at institutions randomly selected from a representative sample of American institutions of higher education. The survey was conducted to inquire on their beliefs regarding the most complex forms in Spanish, the causes of the subjunctive difficulty, and their preferred methods of teaching the form. The results first indicate that participants rated the subjunctive the most difficult grammar form. They attributed the cause of difficulty to be primarily interference from the first language and its abstractness. For instructing the subjunctive, participants generally supported form-oriented instruction with a metalanguage approach that focuses on forms. However, the participants disagreed greatly on whether meaning-focused instruction was valuable and dismissed drilling instruction of the subjunctive. Data from the participants provides a distribution of overextended tense, moods, and aspects in lieu of the Spanish subjunctive. However, instructors indicated that their students’ competence of the subjunctive was higher than their performance and that comprehension was not necessarily reliant on correct usage of the subjunctive as it was for proficiency. Moreover, they provided qualitative data of effective methods and pedagogical challenges of the subjunctive. This study illuminates some of the contributing factors of subjunctive difficulty and preferred pedagogical approaches for teaching it. It also has implications that meaning may not be obstructed if students do not use subjunctive.
ContributorsPowell, John Warren William (Author) / Gelderen, Elly van (Thesis advisor) / James, Mark (Thesis advisor) / Beaudrie, 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