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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
Description
Although the social network site (SNS) Facebook achieved great success around the world, in China, it was over taken by the local website Kaixin001. Using comparative analysis and interviews, this thesis compared the architecture of the two websites and Chinese users' attitude towards them. From one side, the result indicates that they are almost the same, but not quite. Kaixin001 is a copycat which adapts to local cultures and political regulations. From the other side, the research also highlights that people associate Kaixin001 with a game platform rather than a social tool. It suggests that there are two layers of digital divide: access and utilization. Chinese users can not get equal access because of the Great Firewall. At the same time, unlike western users, they are fond of playing games, listening music and other functions, rather than creating original content or building social capital. Therefore, the SNS utilization is not equal. Because of regulations and self-surveillance, their SNS use is enjoying the apolitical does not challenge the Chinese state. At the end of the thesis, the author points out the limitations of this research. As Internet-mediated qualitative research, this study lacks extended time and samples to explore the SNSs in global context. Further research is needed to collect extended samples. Moreover, the users' dependence on social network websites may be addressed to seek more comprehensive and deeper understanding of SNS.
ContributorsQin, Yuchun (Author) / Wise, Greg (Thesis advisor) / Kassing, Jeffrey (Committee member) / Waldron, Vincent (Committee member) / Mean, Lindsey (Committee member) / Arizona State University (Publisher)
Created2011
Description
The original mediums were not texts or technologies; they were ritual actors performing acts of mediumship. Mediating between determined norms (the status quo) and emergent trends (change), they invoked divine authority to conjure meanings that proved adaptive, nonadaptive and/or maladaptive. With the advent of the written word, ritual became formalized and codified. The medium became a communication device, something abstract and external to the human condition. It then became possible to speak of "media effects" imposing influence in a logical deterministic manner. Yet with the advent of new media, we are witnessing a return to modes of cultural discourse that are spontaneous, interactive, communal and unscripted, all hallmarks of ritual action. This "ritual return" centers on the emergence of the "prosumer" (producer/consumer), a figure actively engaged in mediating practices. While resembling the original archaic "medium" in some respects, the prosumer is a "literate ritualist" allied with a multiplicity of cultural tribes. Thus the "new media" has given rise to "the new medium." The pages that follow focus on acts of contemporary mediumship, examining related concepts such as "ecology," "niche," "role," "affordance," and "trope." Each section considers how specific mediating practices afford and constrain modes of ritualized behavior. I call this practice-oriented approach to media studies "praxism."
ContributorsGyori, Bradford (Author) / Goggin, Maureen (Thesis advisor) / Baker, Aaron (Committee member) / Hjorleifur Jonsson (Committee member) / Arizona State University (Publisher)
Created2011
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
Description
The 2016 election brought a pivotal shift in the external communications of businesses with their consumers. The shift was from the established practice of businesses selectively and voluntarily choosing to comment on social issues, to now businesses’ consumers and employees expecting a comment. While political and social subjects were once considered off-limit conversations, some businesses found themselves in the middle of election rhetoric and taking sides on candidates. As a result of this shift, issues such as abortion, discrimination, gun control, and current political policies, which were once closed-door, private conversations, are now being discussed openly by CEOs. I have gathered research from scholarly outlets, business publications, statements from executives and companies, as well as resulting news coverage and commentary. Throughout this thesis, I will explore how the 2016 election brought about a pivotal change in how and when corporations release statements publicly as a response to current events. To understand this change in corporate communications I will provide the history of how corporate communications were viewed and shared with their consumers since the 1930s, and what it has evolved to today.
ContributorsBushman, Meredith (Author) / Hass, Mark (Thesis director) / Bovio, Sonia (Committee member) / Barrett, The Honors College (Contributor) / Walter Cronkite School of Journalism and Mass Comm (Contributor) / School of Public Affairs (Contributor)
Created2023-12