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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

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
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In 1809 the Memoirs of Prince Eugene, of Savoy<\italic> was published in Vienna. The book was written by Charles-Joseph de Ligne, a Flemish prince who lived seventy years after Eugene of Savoy, the general who commanded the army of the Holy Roman Empire in the War of the Spanish Succession.

In 1809 the Memoirs of Prince Eugene, of Savoy<\italic> was published in Vienna. The book was written by Charles-Joseph de Ligne, a Flemish prince who lived seventy years after Eugene of Savoy, the general who commanded the army of the Holy Roman Empire in the War of the Spanish Succession. Eugene's military career spanned fifty years and five wars, yet he is less known than his English counterpart, John Churchill, Duke of Marlborough. The memoirs were only attributed to Eugene for a short period and then tossed aside as the creative musings of a cultured prince who left quite the written legacy. Though attributed to the prince, a contemporary reader would not have thought that the manuscript had been penned by Eugene. The memoirs were heavily inspired by a biography by Eléazar Mauvillon, which was published only six years after Eugene's death. Few of Eugene's own letters survived his death, and he never wrote the memoirs of his own campaigns. Marlborough, by contrast, was a prolific letter writer, and the two generals spent some of the major campaigns of the war together with the result that Eugene has featured in much of the research done on Marlborough as a secondary character. Charles-Joseph de Ligne desired to be as good a writer as he was a soldier. His legacy included his own memoirs, which reflected the desire to be as successful as Eugene and to raise Eugene to the proper level of acknowledgement in military history. This thesis explores the historical memory of Eugene as perpetuated by Ligne's literary creation as well as the historical context in which Eugene rose to fame for his military genius and proves the historical accuracy of Ligne's mystification of Mauvillon's biography.
ContributorsHarowitz, Bethany (Author) / Wright, Johnson K. (Thesis advisor) / Espinosa, Aurelio (Committee member) / Warnicke, Retha (Committee member) / Arizona State University (Publisher)
Created2011