Matching Items (379)
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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

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
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Description
This study examines teacher educators' understandings of hope related to teacher education. The study provides a previously unforeseen perspective on teacher educators' hope or lack of hope, and gives insight into that hope's foundation and maintenance. I have designed and implemented a rigorous multi-method study, beginning with developing

This study examines teacher educators' understandings of hope related to teacher education. The study provides a previously unforeseen perspective on teacher educators' hope or lack of hope, and gives insight into that hope's foundation and maintenance. I have designed and implemented a rigorous multi-method study, beginning with developing and conducting a nationwide on-line survey with 625 participants. From a pool of 326 participants expressing interest in participating in interviews, I interviewed 23 teacher educators selected from a randomized and purposive sample. Finally, 25 participants took part in a writing prompt sent in lieu of an interview. Findings reflect that teacher educators' "hope" is a construct, a mixture of abstract ideas, emotions, dispositions, attitudes, that is hard to conceptualize or measure, but appears to be a very relevant and influential and hope for teacher educators takes place on a continuum from bystander to actualizing. The results of this study serve as a way to encourage educators to be more explicit about hope and discourses about teaching. It raises awareness about "false senses" of hope, which arise from narratives of redemption, paving the way for a conception of hope grounded in a strong understanding of the multiplicities of teaching, and how things "are." This conception of hope has the potential to foster discussions and actions of what education can be, rather than dwelling in the rhetoric of what education is not. Further, this research has the potential to open up spaces to discuss both the importance of and how to begin to think about incorporating hope into curricula through critical pedagogy and pedagogies of hope.
ContributorsRivers, Melissa Beth (Author) / Fischman, Gustavo E (Thesis advisor) / Christine, Carol J (Committee member) / De Barona, Maryann Santos (Committee member) / Barone, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsMcClain, Katelyn (Performer) / Buringrud, Deanna (Contributor) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
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
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Description
This action research study examined the influence of teacher educator collaboration using portfolios. The participants in this study were teacher educators in a university. The study was designed to combat the limited ways in which teacher educators receive feedback on their teaching. Teacher educator collaboration using portfolios enabled teacher educators

This action research study examined the influence of teacher educator collaboration using portfolios. The participants in this study were teacher educators in a university. The study was designed to combat the limited ways in which teacher educators receive feedback on their teaching. Teacher educator collaboration using portfolios enabled teacher educators to engage in professional learning around the teacher educator pedagogy of rehearsal, receive feedback in multiple ways over one semester, and utilize the feedback to make changes in their instruction. Because the process was cyclical, the measures enabled them to set goals, apply new learning, and engage in continual reflection and growth. A qualitative methods study was employed to investigate: (a) how teacher educators engaged in the collaborative portfolio process, (b) ways in which they found value in the process, and (c) ways in which they made changes to their teaching as a result of the feedback. Data were collected through pre-and post-intervention interviews, observations, and peer triad feedback forms. The study design aligned with two theoretical frameworks: situated learning theory and adult learning theory. Participants filmed themselves teaching twice, administered two teacher candidate feedback surveys, collaborated with their peers to examine their teaching together, and applied the feedback they received in order to strengthen their teaching. Throughout the study and at the conclusion, teacher educators used feedback from their students and peers to reflect on their own practices as teacher educators. The results of this study indicated that the participants found value in the pedagogy of rehearsal, watching their peers teach, and receiving feedback from both their peers and students. The data also showed that the teacher educators made changes to their instruction. Lastly, the participants valued the time to collaborate with peers. Future research should include making modifications to the current collaborative portfolio process to involve evidence of teacher candidate learning, allowing teacher educators to investigate how their practices influence teacher candidate learning.
ContributorsBeal, Sarah (Author) / Rotherham-Fuller, Erin (Thesis advisor) / Carlson, David (Committee member) / Rojas, Michelle (Committee member) / Arizona State University (Publisher)
Created2017
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

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