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
Contemporary criminological literature seldom studies important ethnic subgroup differences in crime and delinquency among Hispanic/Latino youth. Therefore, their risk for crime and delinquency is poorly understood in light of the enormous ethnic and generational mixture experiences within of experiences within the Hispanic/Latino population in the United States. Using social control theory and cultural evaluations of familism, this thesis examines dissimilarities in the risk for crime and delinquency, in addition to its relations with family unity, parental engagement, youth independence, and family structure among second generation Mexicans (n = 876) and second generation Cubans (n = 525) using data from the Children of Immigrants Longitudinal Study (CILS) 1991-2006 (Portes and Rumbaut). The results concluded that second generation Cubans who obtained government assistance were more likely to engage in crime than second generation Mexicans. Consistent with social control theory, a major finding in this thesis is that presence of a family member who is involved in criminal activity increased crime within the sample of second generation Mexicans and second generation Cubans. Furthermore, in households less than five, second generation Cubans who have a delinquent family member were more likely than second generation Mexicans who have a delinquent family member to report criminal involvement, while in households greater than five, second generation Mexicans who have a delinquent family member were more likely than second generation Cubans who have a delinquent family member to report criminal involvement.
ContributorsOrtiz, Raul G (Author) / Spohn, Cassia (Thesis advisor) / Rodriguez, Nancy (Committee member) / Ready, Justin (Committee member) / Arizona State University (Publisher)
Created2012
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
Description
Research on cultural socialization, the process in which individuals learn messages regarding the traditions and values of their culture (Hughes et al., 2006), has dedicated little attention to Latinx and Asian American groups. This study examined whether an interdependent self-construal (i.e., viewing oneself as connected to others and endorsing behaviors that depend on others; Singelis, 1994) was a mediator between cultural socialization and ethnic identity for these two groups. The current study utilized mediation analyses to explore the associations between cultural socialization via different agents (i.e., parents, teachers, romantic partners, peers), interdependent self-construal, and ethnic identity exploration and commitment for Latinx (N = 258, 68.6% female, Mage = 20.54) and Asian (N = 281, 66.5% female, Mage = 20.34) American college-attending emerging adults. Results revealed that for the Latinx sample, interdependent self-construal mediated the relation between cultural socialization and ethnic identity exploration or commitment in regards to parents and peers, but not teachers. In addition, interdependent self-construal mediated the association between cultural socialization from romantic partners and ethnic identity commitment, but not exploration. For the Asian American sample, interdependent self-construal mediated the association between cultural socialization and ethnic identity exploration or commitment in regards to romantic partners and peers, but not parents and teachers. These results highlight the important role of different cultural socialization agents in ethnic identity formation for these two groups and suggest that the endorsement of cultural values can be a mechanism through which ethnic identity is strengthened.
ContributorsLam, Christina (Author) / Tran, Alisia (Giac-Thao) (Thesis advisor) / Santos, Carlos (Committee member) / Yoo, Hyung Chol (Brandon) (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 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