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
Depressive disorders are common among the general populations but are present at an even higher rate among college students. Some research suggests that new stressors during the transition to college may place young adults at increased risk of depressive disorders. In addition, depression in college students has been linked to a variety of risky behaviors such as alcohol use and risky sexual activity. Fortunately, research suggests that religiosity may act as a buffer and lead to lower levels of depressive symptoms and risky behavior. Current research has not adequately examined the relationship between religiosity, depression, and risky behavior among college students. In this study, depressive symptoms were measured using the 20-item Center for Epidemiological Studies Depression scale, while risky behaviors were measured using the section on risky sexual behavior from the Youth Risk Behavior Surveillance survey and the section on alcohol consumption from the Behavioral Risk Factor Surveillance System survey, both developed by the Centers for Disease Control and Prevention. Four questions frequently used in literature to measure critical behaviors and attitudes were used to assess participants' religiosity. It was predicted that engagement in risky behaviors would be associated with higher levels of depressive symptoms while increased religiosity would be associated with lower levels. Additionally, increased religiosity would be associated with lower levels of engagement in risky behavior. Multiple regression analyses revealed that risky behavior were not significantly associated with higher depressive symptoms, while higher church attendance was associated with lower depressive symptoms. Although not considered a risky behavior, ever being forced to have sex was associated with higher depressive symptoms. Linear regression analyses revealed that increased religiosity was associated with increased engagement in risky behavior. These findings suggest that while depressive symptoms and risky behaviors are prevalent among college students, religiosity may act as a buffer and lead to lower levels of depression and risky behavior. Limitations, implications, and future research are discussed.
ContributorsLafarga, Derek Grady (Author) / Vargas, Perla A (Thesis advisor) / Hall, Deborah (Committee member) / Roberts, Nicole (Committee member) / Arizona State University (Publisher)
Created2014
Description
Collaborative learning is a common teaching strategy in classrooms across age groups and content areas. It is important to measure and understand the cognitive process involved during collaboration to improve teaching methods involving interactive activities. This research attempted to answer the question: why do students learn more in collaborative settings? Using three measurement tools, 142 participants from seven different biology courses at a community college and at a university were tested before and after collaborating about the biological process of natural selection. Three factors were analyzed to measure their effect on learning at the individual level and the group level. The three factors were: difference in prior knowledge, sex and religious beliefs. Gender and religious beliefs both had a significant effect on post-test scores.
ContributorsTouchman, Stephanie (Author) / Baker, Dale (Thesis advisor) / Rosenberg, Michael (Committee member) / Ganesh, Tirupalavanam G. (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
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