Search results

Title: Teacher Perceptions of Teaching Choral Music in Urban Schools.
Creator: Robinson, Gaylon, VanWeelden, Kimberly D., Thomas, André J. (André Jerome), Darrow, Alice-Ann, Florida State University, College of Music
Abstract/Description: The purpose of this study was to explore choral music educators' perceptions of teaching in urban secondary schools as compared to teaching in rural and suburban public and charter schools to provide greater clarity to help prepare preservice music educators. The participants (N = 61) in this study were music educators teaching choral music in public/charter middle or high schools in the state of Tennessee during the 2018-2019 academic school year. The results indicated that parental...
Show moreThe purpose of this study was to explore choral music educators' perceptions of teaching in urban secondary schools as compared to teaching in rural and suburban public and charter schools to provide greater clarity to help prepare preservice music educators. The participants (N = 61) in this study were music educators teaching choral music in public/charter middle or high schools in the state of Tennessee during the 2018-2019 academic school year. The results indicated that parental engagement was perceived as the greatest issue while administrative support was the least issue. The results also indicated the majority of participants believed urban schools better address classroom management issues and provides more school funding when compared to rural schools. Conversely, participants believe that rural schools provide more administrative support and parental support respectively compared to urban schools. For the results comparing urban schools to suburban schools, participants indicated they believe school funding, school climate, parental engagement, and administrative support are better addressed or provided for by suburban schools.
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Date Issued: 2019
Identifier: 2019_Summer_Robinson_fsu_0071E_15269
Format: Thesis

Title: Old Time Fiddling in Florida: Implications for Music Education.
Creator: Ivey, Aisha Suzanne, Madsen, Clifford K., Holzman, Bruce, Geringer, John M., Bugaj, Kasia, Darrow, Alice-Ann, Florida State University, College of Music
Abstract/Description: Florida has a rich history of traditional old time fiddling and the fiddle was the most popular musical instrument among early pioneers in Florida. Fiddlers were revered members of the community, often playing for social dances called frolics. Slaves that were brought from Africa mingled with settlers from Western Europe in the Southeastern United States, their different fiddle styles blending into a new genre of music that incorporated aspects of both cultures. Dances on plantations served...
Show moreFlorida has a rich history of traditional old time fiddling and the fiddle was the most popular musical instrument among early pioneers in Florida. Fiddlers were revered members of the community, often playing for social dances called frolics. Slaves that were brought from Africa mingled with settlers from Western Europe in the Southeastern United States, their different fiddle styles blending into a new genre of music that incorporated aspects of both cultures. Dances on plantations served as one of the few places where whites and African Americans socialized together. Fiddlers also played at home with their families, sharing music across generations. After the development of radio, musicians would often perform as part of live radio shows and record companies produced old time music recordings featuring fiddlers that influenced musicians near and far. Contests became popular after Henry Ford began promoting traditional dance and fiddling in the 1920s and 1930s and cities across Florida held contests or fiddlers conventions as part of community celebrations. The Future Farmers of America sponsored string bands which often included a fiddle player in the 1950s. The Florida Folk Festival has promoted traditional music and dance, featuring many fiddlers since its beginning in 1953. The Florida State Fiddlers Association holds the official state fiddle contest every year along with an annual convention that brings musicians together from all around the region. Further incorporation of traditional music in the curriculum could offer multiple advantages, including creating a more equitable learning experience for students.
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Date Issued: 2019
Identifier: 2019_Spring_Ivey_fsu_0071E_14989
Format: Thesis

Title: On Un-Silencing Voices: Tarantism and the Gendered Heritage of Apulia.
Creator: Youngblood, Felicia K. (Felicia Kailey), Eyerly, Sarah, Caputi, Celia R., Bakan, Michael B., Gunderson, Frank D., Florida State University, College of Music
Abstract/Description: Derivatives of a thousand-year-old music and healing ritual from Italy’s Salentine peninsula, known as tarantism, are recognized in different forms and appear in various locations throughout the world. Tarantism was designed to heal women, known as tarantate, from spider-bite poisoning through the repetitive rhythms and sonorous melodies of pizzica music. This project seeks to understand the importance of the tarantate and their voices to the tarantism ritual and to the people of Apulia,...
Show moreDerivatives of a thousand-year-old music and healing ritual from Italy’s Salentine peninsula, known as tarantism, are recognized in different forms and appear in various locations throughout the world. Tarantism was designed to heal women, known as tarantate, from spider-bite poisoning through the repetitive rhythms and sonorous melodies of pizzica music. This project seeks to understand the importance of the tarantate and their voices to the tarantism ritual and to the people of Apulia, Italy. In previous scholarship, the voices of these women were often overlooked in favor of more tangible items, such as the ritual’s music instruments. In spite of this underrepresentation, my ethnographic and archival research reveals that the tarantate are valued as cornerstones of Apulian cultural heritage. In analyzing the efforts of the Club per l’UNESCO di Galatina to preserve tarantism through festivals and reenactments, I demonstrate how modern-day cultural sustainability efforts can be used to reclaim voices that are essential to local traditions yet traditionally underrepresented in scholarly literature. Documenting the importance of the tarantate and analyzing their roles in local heritage reclamation efforts requires an inherently multi-disciplinary lens. At the center of this study lies ethnographic research that catalogs the activities of the Club per l’UNESCO di Galatina and the perspectives of the Apulian people as local practices develop to preserve tarantism. A theoretical framework in gender studies, cultural heritage, and voice studies is necessary to problematize the role of the women at the center of the ritual. Knowledge of history, social systems, and religion are required to understand the setting and impetus for tarantism in Apulia. Finally, my background in musicology informs analysis of the ritual’s sound-based foundation. Research and analysis in each of these areas contributes to a holistic reinterpretation of how sonic cultural heritage can be sustained and how underrepresented voices can be understood in traditions around the globe.
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Date Issued: 2019
Identifier: 2019_Spring_Youngblood_fsu_0071E_15024
Format: Thesis

Title: A Comparative Study of Piano Performance Programs at University-Level Institutions in China and the United States.
Creator: Jiang, Yuan, Dumlavwalla, Diana Teresa, Kalhous, David, VanWeelden, Kimberly D., Fredrickson, William E., Florida State University, College of Music
Abstract/Description: As we work and study in our increasingly globalized society, there is a growing trend of Chinese piano students choosing to pursue their higher education in the United States. Elite music institutions in America are also seeking and recruiting a large number of Chinese pianists. This trend raises questions regarding the similarities and differences between Chinese and American piano performance programs in university-level institutions. The purpose of this study was to promote a greater...
Show moreAs we work and study in our increasingly globalized society, there is a growing trend of Chinese piano students choosing to pursue their higher education in the United States. Elite music institutions in America are also seeking and recruiting a large number of Chinese pianists. This trend raises questions regarding the similarities and differences between Chinese and American piano performance programs in university-level institutions. The purpose of this study was to promote a greater understanding of Chinese and American piano performance programs in higher education through examining selected university-level institutions. To accomplish this goal, (1) the researcher collected data from the selected university-level institutions in both countries regarding their piano-related degree offerings, audition requirements, curriculum requirements, and core course offerings for the piano performance programs. These data were used to analyze and compare the structure and design of piano performance degree programs in both countries; (2) the researcher also conducted an online survey to gather information regarding current faculty members’ and students’ perceptions of their piano performance programs. Their perspectives shed light on why so many Chinese students continue their music education in the United States. A total of 20 university-level institutions (N = 20) were selected in the U.S. (n = 10) and China (n = 10) as the sample institutions in this study. Survey participants included the students who were currently enrolled in piano performance programs and faculty members who were currently teaching in the sample institutions in both countries. A total number of 34 student participants and 7 faculty participants in the U.S. along with 119 student participants and 11 faculty participants in China completed the questionnaires. Results indicated that while only one institution in China offers a doctoral degree, all the sample institutions in the U.S. offer doctoral degrees in piano performance. Institutions have similar audition requirements in both countries, but the American institutions have a broader review process for admission. Although both the Chinese and the U.S. institutions had a similar structure in their curricula, the balance of required credits in each area was noticeably different. Overall, American institutions focus more on the major area than Chinese institutions in both undergraduate and graduate programs. In addition, the structure of the core course offerings is also very similar. Applied lessons, piano literature, piano pedagogy, accompanying, and recitals are the core courses that commonly appear on the institutions’ curriculums in both countries. A large percentage of student participants in both countries indicated that their ideal career was being a faculty member in higher education. Although results indicated that overall, there is no significant differences between the students’ level of satisfaction of the core courses in their piano performance programs, students in the U.S. were significantly more satisfied with the applied lessons and the degree recital in their programs than the students in China. It is encouraging that not only students gave careful attention toward the applied lessons and performance opportunities in their studies, but also that a large percentage of the students believed they received excellent advice regarding practice strategies and artistry in their applied lessons in both countries. The statements made by faculty participants illustrate that the vast majority of them in both countries expressed positive attitudes regarding the piano performance programs in their universities. Faculty members in both countries believed that piano technical skills were difficult to establish and develop during the collegiate level education. Therefore, they recommended that prospective students must build a solid foundation and master the technical skills before college. Interestingly, faculty participants in the U.S. were more concerned about the graduation requirements in their piano performance programs while Chinese faculty participants cared more about the admission requirements in their programs. According to the comparative results of the research questions, the factors that attract Chinese students to study in the U.S. can be attributed to the following aspects: 1) students plan to seek the most advanced degree—doctoral degree in piano performance; 2) students may have less stress related to studying for standardized tests during the application process; 3) students may be able to complete the program and obtain the master’s degree in a shorter period of time; 4) the design of the programs/curriculums may allow students to receive more personal attention and more professional development; 5) students may become more independent and can receive better quality of applied lessons and degree recital preparation; and 6) they may gain more performance opportunities and receive a comprehensive view of the subject matter.
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Date Issued: 2019
Identifier: 2019_Spring_Jiang_fsu_0071E_15027
Format: Thesis

Title: The Soundscapes of Underprivileged Youth: A Study of Kidznotes After-School Music Program in Urban North Carolina.
Creator: Alfonso, Elisa Glen, Gunderson, Frank D., Jackson, Margaret R., Reynolds, John R., Florida State University, College of Music
Abstract/Description: Kidznotes is a non-profit organization that provides free after-school music education for underserved populations in urban North Carolina. Kidznotes bases its organizational model on El Sistema; a state-funded music education program started in Venezuela by economist and educator José Abreu in 1987. Kidznotes provides free instruction, a daily snack, instruments, and transportation, all funded by corporate sponsors, concerts performed by Kidznotes’ students, and Kidznotes fundraising events...
Show moreKidznotes is a non-profit organization that provides free after-school music education for underserved populations in urban North Carolina. Kidznotes bases its organizational model on El Sistema; a state-funded music education program started in Venezuela by economist and educator José Abreu in 1987. Kidznotes provides free instruction, a daily snack, instruments, and transportation, all funded by corporate sponsors, concerts performed by Kidznotes’ students, and Kidznotes fundraising events put on by corporate sponsors. As a former employee of the program, and through the fieldwork I conducted at Kidznotes’ Raleigh and Durham summer camps, I gained an immersion and acute awareness to the content and structure of Kidznotes’ soundscapes. The students of Kidznotes are predominately elementary-age, come from low-income neighborhoods in Raleigh and Durham, and attend either Title I or non-profit charter schools in the area. They come to Kidznotes three days during the school week for two hours after a 7-hour school day, and for two hours in the morning on Saturdays. The short time spent in the Kidznotes environment was just a glimpse of what their students experience daily with those that are intended to help them. I theorize that the distinctive aural space of Kidznotes allows for compartmentalization in the minds of underprivileged children, separating their everyday lives from their lives at Kidznotes so that they are given the mental space and sonic authority to assert themselves into the soundscape. This assertion, I propose, is a metaphorical way of challenging the convoluted soundscapes of the outside world, filled with overlapping and contradictory messages children hear that shape their self-perception. This study will then illuminate the ways in which intimacy and music-making as they present themselves within the sonic space of underprivileged youth, make programs like Kidznotes in the North Carolinian context potentially useful for helping minority and low-income children form a healthier sense of self.
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Date Issued: 2019
Identifier: 2019_Spring_Alfonso_fsu_0071N_15202
Format: Thesis

Title: The Star-Spangled Consciousness: Musical Theatre Anthems of Unity and the Performance of National Identity.
Creator: Gibbes, Allison B., Osborne, Elizabeth A., Rogers, Nancy, Dahl, Mary Karen, Thomas, Aaron C., Hecht, Stuart J. (Stuart Joel), Florida State University, College of Fine Arts,...
Show moreGibbes, Allison B., Osborne, Elizabeth A., Rogers, Nancy, Dahl, Mary Karen, Thomas, Aaron C., Hecht, Stuart J. (Stuart Joel), Florida State University, College of Fine Arts, Department of Theatre
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Abstract/Description: Musical theatre scholars agree that as popular culture, musical theatre has had a profound effect on the development of national identity in the United States. In particular, the genre reaches audiences both inside and outside the theatre through the dissemination of cast recordings, sheet music, and other media. In early incarnations of musical theatre such as the works of George Gershwin and George M. Cohan, musicals typically included overt nationalist anthems designed to inspire and unite...
Show moreMusical theatre scholars agree that as popular culture, musical theatre has had a profound effect on the development of national identity in the United States. In particular, the genre reaches audiences both inside and outside the theatre through the dissemination of cast recordings, sheet music, and other media. In early incarnations of musical theatre such as the works of George Gershwin and George M. Cohan, musicals typically included overt nationalist anthems designed to inspire and unite the audience in the name of America. With “Oklahoma,” the title song of Rodgers and Hammerstein’s Oklahoma! (1943), and the subsequent Golden Age of musical theatre, the convention of the anthem shifted to express nationalism through the lens of a community within the fictional world of the musical. These anthems serve as models for patriotic unity. In the decades following the Golden Age, some works of musical theatre challenged nationalism, and the anthems in these pieces reflect that sense of questioning. This project considers anthems of unity in musical theatre and the way they formulate identity through musical structures and conventions. I investigate four musical theatre anthems: “Oklahoma” from Oklahoma! (1943), “My Texas” from Giant (2012), “Southern Days” from The Scottsboro Boys (2010), and “Another National Anthem” from Assassins (1991). By analyzing the way that each anthem constructs group identity, I consider the way these constructions speak to national identity within both the musical and the historical context of the original production. Each anthem approaches national identity and nationalism in a different way by using and/or distorting musical conventions that hold cultural meaning in specific time periods. Additionally, I consider the way the anthem functions in conversation with the way the musical constructs history and popular memory, and how these formulations work together to create communities of insiders and outsiders through national identity and nationalism. I argue that each anthem operates dramaturgically, musically, and within a specific historical moment to address and reify or subvert constructions of mainstream national identity. This dissertation asks: what is the role of anthem-singing in US national identity? How does national identity create constructions of belonging and otherness? And how might we reconsider the way musical theatre as a genre is particularly effective site for conversations about the ramifications of othering.
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Date Issued: 2019
Identifier: 2019_Spring_Gibbes_fsu_0071E_15126
Format: Thesis

Title: Listening to Bi-Musical Blackness: Towards Courageous Affirmation of Black String Musicians in Predominantly White Institutions.
Creator: Davis, Danielle, Gunderson, Frank D., Bakan, Michael B., Bugaj, Kasia, Punter, Melanie, Florida State University, College of Music
Abstract/Description: This project investigates Black American string players’ experience of racism, bi-musicality, and multi-musicality in their musical and personal lives within the context of higher education. The project brings into focus the identities and experiences of Black string students leading to the development of nigrescence, racial contextualization, and code-switching in predominantly white institutions. I argue that the bicultural experiences of Black American string musicians at Florida State...
Show moreThis project investigates Black American string players’ experience of racism, bi-musicality, and multi-musicality in their musical and personal lives within the context of higher education. The project brings into focus the identities and experiences of Black string students leading to the development of nigrescence, racial contextualization, and code-switching in predominantly white institutions. I argue that the bicultural experiences of Black American string musicians at Florida State University generate a bi-musicality that is complicated by marginalization, isolation, and racism in college music programs. Using ethnographic fieldwork, bi-aural analysis, and interviews with students, this project gives voice to Black string musicians who may not have had the courage or awareness to recognize and address this phenomenon. I apply methodologies from music education, ethnomusicology and other disciplines using ethnography, archived materials, visual media, print, and web sources to help professors and students foster a broad sense of Black musical identity. I advocate for a pedagogy that constructs culturally affirming worlds of musical experience–e.g., Old Time, Indian (Hindustani and Carnatic), and Afro-Peruvian musics– for Black string musicians to navigate using their bi-musical Blackness.
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Date Issued: 2019
Identifier: 2019_Spring_Davis_fsu_0071N_15213
Format: Thesis

Title: Modern Patriotism.
Creator: Merisier, Laurah Vanessa, VanWeelden, Kimberly D., Bugaj, Kasia, Fredrickson, William E., Florida State University, College of Music
Abstract/Description: This paper outlines the history of songs within the American patriotic song canon and their role within society and music education curricula in the public school systems of the past and present. A thorough examination of the functions of the text of patriotic songs includes praising American leaders and heroes, glorifying political ideologies and natural resources, reflecting cultural attitudes and concerns during specific eras and crises, describing military life and aspirations,...
Show moreThis paper outlines the history of songs within the American patriotic song canon and their role within society and music education curricula in the public school systems of the past and present. A thorough examination of the functions of the text of patriotic songs includes praising American leaders and heroes, glorifying political ideologies and natural resources, reflecting cultural attitudes and concerns during specific eras and crises, describing military life and aspirations, communicating loyalties, invoking religious imagery, and general rejoicing. Included is an analysis of each patriotic song, including The Star-Spangled Banner, and an examination of its tune, text, and performance practice of the specific circumstances of the time, culture, and environment in which it arose. The purpose of this study was to investigate the role of patriotic songs within the context of the United States of America’s history. Through examining the historical contexts of patriotic songs in the United States, this paper seeks to answer the following questions: 1. What role does music education curricula play in shaping American patriotism? 2. In what contexts and for what reasons have American patriotic songs been composed? 3. Is the Star-Spangled Banner the best song to represent an increasingly diverse United States of America? Keywords: PATRIOTIC SONGS, NATIONAL ANTHEM, THE STAR-SPANGLED BANNER, MUSIC EDUCATION
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Date Issued: 2019
Identifier: 2019_Spring_Merisier_fsu_0071N_15239
Format: Thesis

Title: Transcribing for the Euphonium a Guide Using Selected Non-Wind Instrument Works.
Creator: McCollum, Ian T. (Ian Taylor), Benavidez, Justin, Clary, Richard, Drew, John Robert, Moore, Christopher, Florida State University, College of Music
Abstract/Description: Transcriptions have long held significance in the solo euphonium repertoire; the first euphonium solos performed were transcriptions of trombone and cornet works from the turn of the 20th century. Despite the vast growth of this genre in the last thirty years, transcriptions have maintained their significance and continue to be a staple part of university studio curricula and solo recital programs. However, these curricula and programs utilize few transcribed works compared to the body of...
Show moreTranscriptions have long held significance in the solo euphonium repertoire; the first euphonium solos performed were transcriptions of trombone and cornet works from the turn of the 20th century. Despite the vast growth of this genre in the last thirty years, transcriptions have maintained their significance and continue to be a staple part of university studio curricula and solo recital programs. However, these curricula and programs utilize few transcribed works compared to the body of original compositions from which standard transcriptions are derived, largely the Baroque and Classical periods. There also exists no written guide to assist euphoniumists in crafting their own transcriptions. The value of transcriptions is in challenging the euphoniumist in the technical skills required by the music and exposing euphoniumists to new pieces of repertoire. The process of transcribing requires the transcriber to learn the notation of the music, performance practices of the time in which the music was written, and the composer’s biography and its influence on their compositions. The student will also educate themselves on the instruments utilized in the compositions and how these instruments differ from their modern versions, and materials and commentary from performers and pedagogues to which euphoniumists are rarely exposed. As such, the true value of a euphoniumist crafting their own transcription is in providing opportunities to improve their performing abilities, and in crafting a more consummate musician. When transcribing works from one instrument or voice to another, the transcriber must accept that the work will not be entirely the same in the transcription as it was previously in the original composition. In some works, like Beethoven’s Cello Sonata No. 1, Op. 5 No.1, the solo cello material is characteristic of idiomatic writing of the euphonium and few alterations will need to be made. However, most works, including the first movement of Franz Schubert’s Piano Sonata No. 21 in B-flat Major, D. 960, and Johann Sebastian Bach’s Partita for Violin in B Minor, No.1, BWV 1002, numerous alterations will need to be made in order to make the works achievable to a euphoniumist of moderately advanced ability. There are a great number of works for which a transcription for the euphonium is not feasible. Some works are so uniquely and characteristically composed for the original instrument that a transcription for the euphonium would be absurd. It is the responsibility of the transcriber to select works suitable to transcribing for the euphonium and to keep the works’ musical integrity as intact as possible. This means that the transcriber should only make changes to the original work when necessary, and the changes made should be as imperceptible as possible. The body of this treatise was derived from books, periodicals, theses, analysis and study of the musical scores, and the personal experiences of the author in applying transcriptive techniques in practice and performances. This treatise focuses on techniques and principles utilized in adapting non-wind instrumental works into transcriptions performable by a solo euphoniumist of moderately advanced ability. In the first chapter, Ludwig van Beethoven’s Cello Sonata No.1, Op. 5, No. 1 will be utilized to describe techniques required to transcribe cello solos with piano accompaniment. The focus of the second chapter will be transcribing an unaccompanied euphonium solo from unaccompanied stringed instrument repertoire using Johann Sebastian Bach’s Partita for Violin, No.1, BWV 1002. Finally, the third chapter will focus on transcribing a solo piano work into a solo euphonium with piano accompaniment format using Franz Schubert’s Piano Sonata No. 21 in B-flat Major, D. 960. The octave designation system used in this treatise is that of the International Standards Organization. In this system, middle C is notated as C4, an octave higher than middle C is C5, and an octave lower than middle C is C3. Each octave begins with C and ends with B such that the B below C4 is B3.
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Date Issued: 2019
Identifier: 2019_Spring_McCollum_fsu_0071E_15057
Format: Thesis

Title: A Performance Guide to Selected Jazz Arrangements of Roland Dyens.
Creator: Lougheed, Benjamin Walter Poliner, Holzman, Bruce, Clendinning, Jane Piper, Stillwell, Corinne, Sauer, Greg, Florida State University, College of Music
Abstract/Description: The following is an exploration of Roland Dyens arrangements of “Nuages,” “Round Midnight,” “Over the Rainbow,” “Take the A Train,” and “A Night in Tunisia.” Chapter one will focus on Dyens’ own life and connection to other styles of music, namely jazz and Brazilian. Chapters two and three will examine each of the arrangements in turn. This analysis will include information on the harmonic and structural aspects of the pieces; historical and biographical details about relevant styles and...
Show moreThe following is an exploration of Roland Dyens arrangements of “Nuages,” “Round Midnight,” “Over the Rainbow,” “Take the A Train,” and “A Night in Tunisia.” Chapter one will focus on Dyens’ own life and connection to other styles of music, namely jazz and Brazilian. Chapters two and three will examine each of the arrangements in turn. This analysis will include information on the harmonic and structural aspects of the pieces; historical and biographical details about relevant styles and artists, as well as Dyens’ allusions to them in his arrangements; and discussion of solutions to difficult passages and extended techniques within the arrangements all with an eye towards producing more accurate interpretations of the pieces. Finally, chapter four will put these arrangements into historical context within the larger guitar repertoire and consider the best practices for programming these pieces.
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Date Issued: 2019
Identifier: 2019_Spring_Lougheed_fsu_0071E_15155
Format: Thesis

Title: Student Development and Studio Management in Applied Music Teaching through Implementation of the Situational Leadership Model.
Creator: Lacey, Jonathan M. (Jonathan Marlon), Drew, John Robert, Clary, Richard, Moore, Christopher, Stebleton, Michelle, Florida State University, College of Music
Abstract/Description: Situational Leadership is a business management model that has been used in many of the top Fortune 500 companies, the United States Military, and educational administration since the early 1980s. This model provides a simplified approach for managers leading various levels of employees. The focus of this treatise will be to show how an applied professor can incorporate this model into his/her approach when working on studio management and student development. The four categories, or...
Show moreSituational Leadership is a business management model that has been used in many of the top Fortune 500 companies, the United States Military, and educational administration since the early 1980s. This model provides a simplified approach for managers leading various levels of employees. The focus of this treatise will be to show how an applied professor can incorporate this model into his/her approach when working on studio management and student development. The four categories, or Developmental Levels (D1, D2, D3, and D4), of Situational Leadership are each defined by two rubrics: Competency and Commitment. Level One is Low Competency-High Commitment and describes a student that is new but eager to learn. Level Two is Low Competency-Low Commitment and could be a younger student who is not as interested in a particular task. Level Three is High Competency-Variable Commitment. This would describe a student with fine skills but may feel stagnant or one whose buy-in could waver. Level Four is High Competency-High Commitment and might describe a student that is more experienced and takes school and their future career more seriously. The teacher’s Leadership Styles (S1, S2, S3, and S4) would then vary based on the needs of the student defined by two rubrics: Support and Direction. Competency and Commitment level of the individual student would have a specific correlation to the amount of Support necessary to affect Commitment and Direction necessary to affect Competency. The Leadership Styles correspond to Development Levels in such a manner to optimize the teacher-student relationship.
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Date Issued: 2019
Identifier: 2019_Spring_Lacey_fsu_0071E_15154
Format: Thesis

Title: Effects of Different Instrumental Accompaniment on the Intonation of High School and Collegiate Violinists, Violists, and Cellists.
Creator: Zabanal, John Rine Anacito, Geringer, John M., Holzman, Bruce, Bugaj, Kasia, Madsen, Clifford K., Thrasher, Michael, Florida State University, College of Music
Abstract/Description: The purpose of this study was to examine the effects of different instrumental accompaniments on the intonation of violinists, violists, and cellists in a melodic context. The following questions guided this research: (1) Are there differences in tuning accuracy of melodic content between accompanied and unaccompanied conditions among string musicians? (2) Are there differences in tuning accuracy of melodic content between accompaniment octaves? (3) Are there differences in intonation...
Show moreThe purpose of this study was to examine the effects of different instrumental accompaniments on the intonation of violinists, violists, and cellists in a melodic context. The following questions guided this research: (1) Are there differences in tuning accuracy of melodic content between accompanied and unaccompanied conditions among string musicians? (2) Are there differences in tuning accuracy of melodic content between accompaniment octaves? (3) Are there differences in intonation accuracy between string, oboe, and piano accompaniments? (4) Are there differences between the number of flat, sharp, and in-tune responses of participants? (5) Are there differences in string musician preferences between accompaniment types? (6) Are string musicians’ self-perceptions of tuning accuracy associated with performed pitch accuracy? (7) Are there differences between age and experience of participants in intonation accuracy with various accompaniment types? Performances of Frère Jacques were recorded by a cellist, oboist, pianist, and a violinist to serve as accompaniment stimuli for the study. Additionally, a questionnaire was created to measure preferences for accompaniment, perceptions of tuning accuracy, and collect background information of participants. The participants (N = 103) were high school (n = 60) and collegiate (n = 43) violinists (n = 55), violists (n = 22), and cellists (n = 26). Participants performed an excerpt of Frère Jacques in Eb major in five conditions: with a cello accompaniment, oboe accompaniment, piano accompaniment, violin accompaniment, and as a solo. Absolute cent deviation from the tonic, mediant, subdominant, and dominant scale degrees were collected from each participant for analysis. A significant main effect of intonation was found for accompaniment conditions. Participants performed more in tune with the cello, oboe, and violin accompaniments than with the solo. Additionally, they performed more in tune with the oboe accompaniment than with the piano accompaniment. The octave of accompaniment and instrument performed also did not appear to affect intonation. A significant main effect was found between high school and college participants. High school participants performed with less pitch acuity than college participants. An additional significant main effect was found between the deviations of analyzed notes. The Ab (subdominant) had significantly higher mean cent deviation than the Eb (tonic) and Bb (dominant). No differences were found between instruments performed and no interactions between variables were found. Participants demonstrated a propensity to perform with sharp intonation. Sharp responses occurred more frequently than in-tune (defined as ±6 cents) and flat responses with high school participants. Additionally, performances with the oboe accompaniment produced more in-tune responses than other conditions. In-tune responses occurred more frequently with collegiate participants; however, sharp responses occurred more frequently than flat responses. Performances with the oboe accompaniment also produced the most frequent flat responses as well as the lowest number of sharp responses. Questionnaire responses indicated that participants preferred to perform with the string accompaniments more than the non-string accompaniments. Participants least preferred to perform with the oboe accompaniment compared to the other accompaniments. A significant main effect was found in participants’ rating of their perceived intonation accuracy between conditions. Although participants rated their intonation as highest with the cello, their performances did not reflect this perception. A significant main effect was also found between the levels of participants. High school participants rated their intonation lower than college participants. No significant main effect was found between instrumental groups and no significant interactions were found. A moderate positive correlation was found between participants’ perception of their intonation and their actual performance of intonation with the violin accompaniment. Additionally, a weak positive correlation was found for the cello accompaniment and the solo condition. Participants’ rating of their perceived intonation correlated positively to the actual pitch accuracy for the string accompaniments and solo condition while no associations were found for non-string accompaniments.
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Date Issued: 2019
Identifier: 2019_Spring_Zabanal_fsu_0071E_15129
Format: Thesis

Title: Just in Case You've Forgotten: A Historical and Analytical Survey of Thomas Whitfield and His Impact on Contemporary Gospel Music.
Creator: Waddles, Brandon C. (Brandon Christian), Thomas, André J. (André Jerome), Anderson, Leon, Fenton, Kevin, Bugaj, Kasia, Florida State University, College of Music
Abstract/Description: This study details the historical relevance of Thomas Whitfield and his impact on contemporary gospel music. Through musical analysis, the document illustrates Whitfield’s innovations within the genre. Interviews with those who knew him, worked with him, and were influenced by his work assist the investigation in both fleshing out his historical background, as well as support the case for his lasting impact on gospel music.
Date Issued: 2019
Identifier: 2019_Spring_Waddles_fsu_0071E_15170
Format: Thesis

Title: The Choral Music of Joachim Raff (1822–1882).
Creator: Wiggins, Jeremy Kenneth, Thomas, André J. (André Jerome), Stebleton, Michelle, Fenton, Kevin, Fredrickson, William E., Florida State University, College of Music
Abstract/Description: Joachim Raff (1822–1882), known mainly for his symphonic works, composed a significant amount of choral music, which includes seventeen choral-orchestral works, fifty part-songs, six a cappella motets, and other incidental choral music. Raff was well respected as a composer in the second half of the nineteenth century, but performances of Raff’s works declined sharply after the turn of the twentieth century. To date, no dissertations or other publications exist that discuss Raff’s...
Show moreJoachim Raff (1822–1882), known mainly for his symphonic works, composed a significant amount of choral music, which includes seventeen choral-orchestral works, fifty part-songs, six a cappella motets, and other incidental choral music. Raff was well respected as a composer in the second half of the nineteenth century, but performances of Raff’s works declined sharply after the turn of the twentieth century. To date, no dissertations or other publications exist that discuss Raff’s contributions to the choral oeuvre. The purpose of this dissertation is to examine Joachim Raff’s life and to provide historical, contextual, stylistic, musical, and idiosyncratic elements of each of Raff’s available choral works. This study divides the analysis of the choral works into two chapters: one chapter for his works for unaccompanied and a cappella chorus, and another chapter that covers his works for chorus and orchestra. In addition to providing a general analysis, the discussion offers insight into the accessibility level of each work. The conclusions of this study are that the choral music of Joachim Raff spans multiple genres and styles, and that it offers accessibility to a variety of choirs. As a resource for those wishing to study or perform choral works by Raff, this document also contains a catalog of his choral works, which provides information on voicing, orchestration, and publication.
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Date Issued: 2019
Identifier: 2019_Spring_Wiggins_fsu_0071E_15009
Format: Thesis

Title: An Exploration of Two Twenty-First Century American Works for Clarinet and Orchestra: Daniel Freiberg's Latin American Chronicles Frank Proto's Paganini in Metropolis.
Creator: Yuasa, Katsuya, Bish, Deborah, Holden, Jonathan, Clary, Richard, Amsler, Eva, Florida State University, College of Music
Abstract/Description: I became interested in discovering new clarinet concertos after signing a three-year artist contract with the Mu Phi Epsilon Foundation to present new works. My background and passion for classical, jazz, and new music led me to explore pieces that combined these stylistic influences. Two pieces captured my imagination and became the focus of my research: Daniel Freiberg’s Latin American Chronicles and Frank Proto’s Paganini in Metropolis. This treatise (in conjunction with two lecture...
Show moreI became interested in discovering new clarinet concertos after signing a three-year artist contract with the Mu Phi Epsilon Foundation to present new works. My background and passion for classical, jazz, and new music led me to explore pieces that combined these stylistic influences. Two pieces captured my imagination and became the focus of my research: Daniel Freiberg’s Latin American Chronicles and Frank Proto’s Paganini in Metropolis. This treatise (in conjunction with two lecture recitals presented in Fall 2018 and Spring 2019) will focus on the lives and music of Daniel Freiberg and Frank Proto. My hope is to provide a spotlight for these composers and their works, and the potential of these pieces to break boundaries between jazz and classical styles in the clarinet community. Daniel Freiberg was inspired to write his concerto for the principal clarinetist of Westdeutscher Rundfunk Köln (WDR) Radio Orchestra, Andy Miles. Known in Europe as a crossover artist, Miles has an unusual resume as a saxophonist in rock bands, tin whistler in folk bands, and clarinetist in jazz band and orchestras. At the time he reached out to Freiberg, Miles was making an album titled “Symphonic Jazz with Andy Miles,” with other notable composers Jorge Calandrelli and Jeff Beal. Looking to find more pieces, he reached out to Freiberg. Latin American Chronicles was commissioned in 2015 by the WDR Symphony Orchestra from Cologne, Germany, directed by Wayne Marshall. Comprised of three movements, the work explores classical, jazz, and South American folk music. Frank Proto collaborated with Eddie Daniels, a high school classmate, to write his concerto. Arguably, one of the most influential jazz clarinetists in recent years, Eddie Daniels has had a profound impact on this genre, inspiring composers such as Jorge Calandrelli and Jeff Beal to write jazz-inspired concertos for him. Between 1994 and 2001, Proto explained those years to be the series of “Paganini Pieces.” He had written Capriccio di Niccolo for Doc Severinson in 1994, followed by Nine Variants on Paganini for Francois Rabbath in 2002. While Daniels was on tour, the University of Texas Wind Ensemble led by Jerry Junkin, wanted something new and special to perform, which led to the commission of Paganini in Metropolis in 2002. The premiere was a rousing success, leading to another commission of Paganini in 2003 with the Santa Fe Symphony Orchestra, Eddie Daniels, and conductor David Wroe. This treatise will provide a brief background for Daniel Freiberg and Frank Proto, historical information about each piece, and how they integrate different stylistic elements, ultimately leading to the expansion of the boundaries of classical music.
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Date Issued: 2019
Identifier: 2019_Spring_Yuasa_fsu_0071E_15149
Format: Thesis

Title: The Music of Science: Environmentalist Data Sonifications, Interdisciplinary Art, and the Narrative of Climate Change.
Creator: Hilgren, Bailey, Eyerly, Sarah, Broyles, Michael, Chagnon, Jeffrey M., Von Glahn, Denise, Florida State University, College of Music
Abstract/Description: The current environmental crisis is due at least in part to a lack of effective science communication. Traditional methods of disseminating findings are important for continued progress but can be inaccessible to the public and rarely communicate the important emotional and cultural dimensions of environmental issues. Mitigation of the effects of climate change will not occur if a majority of people cannot understand the problem or do understand but fail to change their behaviors. There has...
Show moreThe current environmental crisis is due at least in part to a lack of effective science communication. Traditional methods of disseminating findings are important for continued progress but can be inaccessible to the public and rarely communicate the important emotional and cultural dimensions of environmental issues. Mitigation of the effects of climate change will not occur if a majority of people cannot understand the problem or do understand but fail to change their behaviors. There has been significant communications research into these issues—findings have suggested that communication techniques that can create a narrative, engage emotion, make the abstract more understandable, and use value frames to connect to an audience and encourage empathy will be most effective in encouraging behavioral change. The arts are capable of communicating in this fashion; sounding art in particular has a long history of engaging with politicized and emotional issues in ways that can ultimately provoke large-scale shifts in social convention. The arts and sciences each provide important responses to environmental problems. When used together, however, they have serious potential to create change. Data sonification, or the translation of data into sound, combines climate science and ecological art into a potentially powerful form of environmental activism. This thesis research examines the technique’s blend of art and science and its potential as effective environmentalist art through an exploration of three case studies: Lauren Oakes and Nik Sawe’s 2016 sonification of climate change impacts on Alaskan forests, Andrea Polli’s 2004 online sonification project Heat and the Heartbeat of the City, and the 2012 telematic multimedia opera Auksalaq by Matthew Burtner and Scott Deal. Data sonifications defy classification as either solely artistic or scientific—this disciplinary ambiguity can create tension—but it is exactly this disciplinary ambiguity that makes them useful as environmentalist tools. Sonifications appeal to emotions and logic and require creativity and evidence, powerful persuasive combinations in the face of environmental issues. They require scientists to consider the aesthetics behind the art, and composers to understand the science behind the data; in forcing us to acknowledge the importance of the other disciplinary perspective, they help us to question some of our disciplinary boundaries and effectively serve as a model for the interdisciplinary collaboration that is increasingly necessary as we navigate our changing world.
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Date Issued: 2019
Identifier: 2019_Spring_Hilgren_fsu_0071N_15127
Format: Thesis

Title: An Annotated Catalogue and Guide to the Piano Solo Repertoire of Contemporary Asian Women Composers from Mainland China, Hong Kong, and Taiwan.
Creator: Li, Chun (Paige), Gainsford, Read, Clendinning, Jane Piper, Dumlavwalla, Diana Teresa, Kalhous, David, Florida State University, College of Music
Abstract/Description: This treatise provides an annotated catalogue of solo piano repertoire by currently living women composers who were born in the second half of the twentieth century and are from mainland China, Hong Kong, and Taiwan. It serves as a practical reference source and guide to this literature. The first chapter discusses the current situation for Asian women composers and the significance of this study. The second chapter is a catalogue of the composers and their solo piano works that I collected...
Show moreThis treatise provides an annotated catalogue of solo piano repertoire by currently living women composers who were born in the second half of the twentieth century and are from mainland China, Hong Kong, and Taiwan. It serves as a practical reference source and guide to this literature. The first chapter discusses the current situation for Asian women composers and the significance of this study. The second chapter is a catalogue of the composers and their solo piano works that I collected for this study. Biographical information and descriptive summaries of the pieces allow performers, teachers, and scholars to easily survey this particular repertoire, choose pieces for study and performance, and discover new works. The final chapter provides critical commentary and offers my observations on sources of inspiration and elements of musical style in the collected repertoire. The appendix includes a table of composers and works for readers to locate pieces quickly based on the origin of the composer or the level of difficulty and duration of the piece. This project contributes to a growing body of recent scholarship on new music by Asian composers. It aims to introduce more of this repertoire into the general piano literature so that the music of Asian women composers can be discussed and performed more regularly.
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Date Issued: 2019
Identifier: 2019_Spring_Li_fsu_0071E_15111
Format: Thesis

Title: The Krickets: Gender and Agency in an All-Girl Southern Folk Band.
Creator: Lightle, Caitlyn, Joos, Vincent Nicolas, Dowell, Kristin L., Mehta, Jayur M., Florida State University, College of Arts and Sciences, Department of Anthropology
Abstract/Description: This thesis examines the intersection between culture-based social structure and individual agency in all-girl Southern folk band The Krickets. By utilizing practice theory we are able to understand the relationship of the individual to their inherent social rules and then compensate for individual action opposing those rules. Through the action of musical performance The Krickets express their connection to a Southern culture and act against the cultural expectations of femininity therein....
Show moreThis thesis examines the intersection between culture-based social structure and individual agency in all-girl Southern folk band The Krickets. By utilizing practice theory we are able to understand the relationship of the individual to their inherent social rules and then compensate for individual action opposing those rules. Through the action of musical performance The Krickets express their connection to a Southern culture and act against the cultural expectations of femininity therein. In studying The Krickets we can understand how notions of femininity, Southern culture, and folk music intersect to create their individual identities, which both adhere to and subvert their cultural structures. By utilizing video ethnography as a methodology and practicing ethical feminist approaches to anthropology we can understand how The Krickets grapple with concepts of cultural identity verses personal identity.
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Date Issued: 2019
Identifier: 2019_Spring_Lightle_fsu_0071N_15107
Format: Thesis

Title: An Examiniation of the Doctor of Music as a Comprehensive Degree.
Creator: Steinman, Olivia, Bish, Deborah, Brewer, Charles E. (Charles Everett), Hodges, Anne R., Holden, Jonathan, Thrasher, Michael, Florida State University, College of Music
Abstract/Description: First adopted in 1951, the Doctor of Music, or Doctor of Musical Arts degree, has been on campuses across America for nearly 70 years now. Since its inception, the main concern surrounding the education of the performer has been how best to develop and serve the artistic needs of the musician while maintaining the level of high scholastic achievement required of the doctorate. Even after decades of existence, the idea of balancing the demands of both the artist and scholar is still relevant,...
Show moreFirst adopted in 1951, the Doctor of Music, or Doctor of Musical Arts degree, has been on campuses across America for nearly 70 years now. Since its inception, the main concern surrounding the education of the performer has been how best to develop and serve the artistic needs of the musician while maintaining the level of high scholastic achievement required of the doctorate. Even after decades of existence, the idea of balancing the demands of both the artist and scholar is still relevant, perhaps even more now than ever before. This treatise considers what constitutes a “comprehensive” terminal degree for performing artists in today’s field. Particular attention will be given to the curricular requirements for obtaining the Doctor of Music or Doctor of Musical Arts degree as they relate to the artist’s life post-academia. The purpose of this research is to gather information about the Doctor of Music degree, concentrating specifically on coursework and curriculum within the context of the development of the arts in America. It aims to examine what constitutes a comprehensive terminal degree for performers, the Doctor of Music or Doctor of Musical Arts degree, and proposes curricular changes to enhance the degree. The author will achieve these objectives through: 1) A brief summary of the evolution of the arts in America, with particular attention given to the period of “cultural-consciousness;” 2) A brief summary of the evolution of the Doctor of Music and Doctor of Musical Arts degrees to provide historical context for the current state of the degree; 3) A consideration of curriculum questions relevant to the doctorate in music and proposals for continued improvement.
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Date Issued: 2019
Identifier: 2019_Spring_Steinman_fsu_0071E_15086
Format: Thesis

Title: First Year Florida Music Educator Experiences with District Sponsored Mentoring Programs.
Creator: Sorenson, Rachel Anne, Kelly, Steven N., Fredrickson, William E., VanWeelden, Kimberly D., Florida State University, College of Music
Abstract/Description: The purpose of this study was to examine the prevalence and perceived effectiveness of mentoring for first year music teachers in the state of Florida. Specifically, the researcher sought to discover what percentage of new music teachers were assigned mentors through their schools or counties, whether or not these mentors were like-content, and how these teachers rated both the support received and overall efficacy of these mentors. Participants (N = 28) were first year music teachers in the...
Show moreThe purpose of this study was to examine the prevalence and perceived effectiveness of mentoring for first year music teachers in the state of Florida. Specifically, the researcher sought to discover what percentage of new music teachers were assigned mentors through their schools or counties, whether or not these mentors were like-content, and how these teachers rated both the support received and overall efficacy of these mentors. Participants (N = 28) were first year music teachers in the state of Florida for the 2018-2019 school year who were asked to complete an online survey created by the researcher. Participants were asked whether or not they had been assigned a mentor through their school or county and were then asked a series of questions designed to describe the nature of their mentor-mentee relationships. At the end of the survey, participants were asked to respond to two open-ended questions regarding the most positive and negative aspects of their relationships with their mentors. Results from the surveys showed that roughly 80% of participants had been assigned a mentor by either their school or county, and of the group who had been assigned a mentor, roughly 64% had mentors who were also music teachers. Teachers in the current study rated their mentors highly with regard to perceptions of support received, with the exception of teachers with non like-content mentors, who rated some issues related to support and efficacy significantly lower. Similarly, the teachers in this study without like-content mentors rated the overall effectiveness of their mentors significantly lower than teachers with like-content mentors. Overall, teachers indicated that they viewed their mentors as sources of experience whom they could turn to for advice on many topics, but wished that in general they had more interaction time with their mentors.
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Date Issued: 2019
Identifier: 2019_Spring_Sorenson_fsu_0071N_15216
Format: Thesis

Title: The Influences of Stylistic and Programmatic Elements in Selected Works by Alyssa Morris.
Creator: Selkirk, Amy M., Ohlsson, Eric Paul, Clary, Richard, Amsler, Eva, Keesecker, Jeff, Florida State University, College of Music
Abstract/Description: This treatise discusses and exemplifies the stylistic and programmatic elements in three works by award-winning American oboist and composer, Alyssa Morris (b. 1984): Four Personalities for oboe and piano; Up and Away: The Story of a Balloon for oboe, bassoon, and piano; and Chrysalis for English horn and piano. Beginning with her first published work in 2007, Four Personalities, Morris’s music has become very popular. Several of her works have been recorded by prominent oboists and have been...
Show moreThis treatise discusses and exemplifies the stylistic and programmatic elements in three works by award-winning American oboist and composer, Alyssa Morris (b. 1984): Four Personalities for oboe and piano; Up and Away: The Story of a Balloon for oboe, bassoon, and piano; and Chrysalis for English horn and piano. Beginning with her first published work in 2007, Four Personalities, Morris’s music has become very popular. Several of her works have been recorded by prominent oboists and have been performed at conferences of the International Double Reed Society. The document provides biographical information on the composer and gives a detailed description of her compositional style and influences. This is followed by a thorough analysis of the form of each movement, and a discussion of the stylistic and programmatic elements utilized in each of these three works. The purpose of this research is to highlight the accomplishments of a composer who has made a significant contribution to woodwind music in the 21st Century, as well as to identify which qualities and compositional techniques allow her works to stand out in the wide selection of music written during this time period.
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Date Issued: 2019
Identifier: 2019_Spring_Selkirk_fsu_0071E_15064
Format: Thesis

Title: A Pedagogical Study of the Saxophone through the Lens of Acoustic Niche Hypothesis.
Creator: Childs, Nicholas James, Deibel, Geoffrey, Bish, Deborah, Keesecker, Jeff, Von Glahn, Denise, Florida State University, College of Music
Abstract/Description: The purpose of this document is to construct a pedagogical model for which we can better teach the adaptation and versatility of the saxophone within the musical world. In my experience, there seems to be an absence of discussion regarding the rich historical diversity of the instrument. When considering the development of the saxophone it is usually within the scope of a particular musical style, most often through the genres of classical music or jazz. By narrowing our scope to the field...
Show moreThe purpose of this document is to construct a pedagogical model for which we can better teach the adaptation and versatility of the saxophone within the musical world. In my experience, there seems to be an absence of discussion regarding the rich historical diversity of the instrument. When considering the development of the saxophone it is usually within the scope of a particular musical style, most often through the genres of classical music or jazz. By narrowing our scope to the field that we inhabit we leave out some of the most innovative and interesting approaches to the instrument, and concepts that could potentially be integrated into our own performance practices. Through an examination of how the instrument has adapted in response to technological, social and aesthetic changes we gain insight into the flexibility of the instrument and begin to dismantle barriers that often define “schools of playing.” By establishing the saxophone’s history of adaptation, I build an argument that there is no singular correct approach to sound, only a rich variety of choices. Soundscape ecologist Bernard Krause popularized the term “acoustic niche” which originated from his colleague Ruth Happel. Acoustic niche refers to the situation by which vocalizing creatures within a particular environment alter their frequencies to compensate for sonic changes to their territory caused by encroaching other species including humans. He states that examining, “the diversity and structure of natural sounds from a rainforest forcefully demonstrates very special relationships of many insects, birds, mammals, and amphibians to each other.” The adaptation of creatures’ vocalizations, rising and falling within certain frequency levels, is essential to their survival. Any “masking” or invasion by others threatens an individual’s ability to locate food sources, communicate danger signals and attract mates. In this context, acoustic niche theory becomes a useful metaphor for the development, adaptation, and trajectories of the saxophone in the instrumental world. Since its invention in the mid-nineteenth century, the saxophone has regularly adapted and altered its tonal profile to carve a place in a diverse spectrum of genres and musical styles. The opening chapter discusses the landscape of the saxophone community as a whole. This includes the genres of classical and jazz as well as niche communities such as Carnatic and popular musics. In this chapter I frame the issue of “specialization” and provide background material on acoustic niche theory. The second chapter seeks to complicate and enrich the saxophone’s historical narrative in order to demonstrate the logic of various communities existing within. The third chapter begins with a discussion of technological changes made to the instrument since its invention. The remainder of chapter three explores a variety of diverse tonal profiles that exist within general communities such as classical, jazz, popular and non-Western musics. The final chapter considers a practical application of these discussions and presents a sample pedagogical method.
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Date Issued: 2019
Identifier: 2019_Spring_Childs_fsu_0071E_15184
Format: Thesis

Title: The Case of "Big M" Musicology at Florida State University: A Historical and Ethnographic Study.
Creator: Clapper, Laura M., Eyerly, Sarah, Seaton, Douglass, Gunderson, Frank D., Florida State University, College of Music
Abstract/Description: The Florida State University musicology program comprises a community of like-minded individuals in both the faculty member and student cohorts. The umbrella concept of “Big M” Musicology is valued and central to creating identity and cohesion among FSU’s musicology community members. This thesis serves to understand the FSU musicology program’s history and how community members understand, define, and embody “Big M” Musicology based on their lived experiences in the program. This thesis...
Show moreThe Florida State University musicology program comprises a community of like-minded individuals in both the faculty member and student cohorts. The umbrella concept of “Big M” Musicology is valued and central to creating identity and cohesion among FSU’s musicology community members. This thesis serves to understand the FSU musicology program’s history and how community members understand, define, and embody “Big M” Musicology based on their lived experiences in the program. This thesis examines FSU’s musicology program through historical and ethnographic study. I first provide an institutional history of Florida State University’s musicology program by examining the institutional structures, administrative involvement, and the influence of faculty member research areas and relationships on the program’s development. I recount how the ideal of “Big M” Musicology was born out of the FSU School of Music’s desire for comprehensive programming through the establishment of an ethnomusicology program, the implementation of a terminal degree in musicology, and an emphasis on applied musicology and performance. I also argue that the collegiality among faculty members contributed to the program’s growth and to the musicology department’s shared “Big M” vision. In the subsequent chapters of this thesis, I analyze survey data that I collected from current students, alumni, and current and former faculty members affiliated with the program from the years 1988–2018 to understand individual community members’ experiences of “Big M” Musicology. First, I synthesize the definitions of “Big M” provided by FSU musicology affiliates, and I explore their perspectives on how this philosophy manifests in FSU’s program. I then analyze individual community members’ experiences in the program in order to reconcile the policy of “Big M” with its implementation and practice. I conclude by placing “Big M” Musicology in the context of contemporary trends in the field to demonstrate how the inclusivity inherent in this ideal might foreshadow a future path for musicology and its subdisciplines.
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Date Issued: 2019
Identifier: 2019_Spring_Clapper_fsu_0071N_15048
Format: Thesis

Title: Musical Commemoration of the Chinese Sent-down Movement: Narratives of Traumatic Cultural Memory in Diaspora.
Creator: Tyrrell, Mayna, Bakan, Michael B., Jackson, Margaret R., Gunderson, Frank D., Florida State University, College of Music
Abstract/Description: The sent-down youth movement (1968-1978), an initiative that grew out of the Cultural Revolution in China, mandated that youth from urban centers be reeducated in rural regions in an effort to realize Mao’s idealized vision of a communist society. This thesis investigates how traumatic memory of the Cultural Revolution and the sent-down youth movement is processed through individual narratives from the diasporic “Cultural Revolution generation.” It does so largely in the context of fieldwork...
Show moreThe sent-down youth movement (1968-1978), an initiative that grew out of the Cultural Revolution in China, mandated that youth from urban centers be reeducated in rural regions in an effort to realize Mao’s idealized vision of a communist society. This thesis investigates how traumatic memory of the Cultural Revolution and the sent-down youth movement is processed through individual narratives from the diasporic “Cultural Revolution generation.” It does so largely in the context of fieldwork-based analysis and interpretation of multiple performances of a particular large-scale work, Ask the Sky and the Earth: An Oratorio Cantata for the Sent-Down Youth, a work which shapes zhiqing (sent-down youth) memories and discourse at both individual and collective levels. My theoretical framework primarily draws from Su Zheng’s analysis of diaspora and Paul Connerton’s work with traumatic memory. Through this examination of zhiqing traumatic memory, I assert that the history and narrative of forced displacement which defines zhiqing identity amplifies the impact of its commemoration in diasporic communities. The performance of this cantata forces members of the “Cultural Revolution generation” to confront narratives outside of their own and to reinterpret their past, revealing a multiplicity of experiences and interpretations that individuals produce, experiences which do not fit neatly into either the national Chinese or resistant diasporic narratives of the movement. Through such investigation, this work contributes in a significant way not only to the ethnomusicological study of Chinese music, but more broadly to the theorization of traumatic cultural memory in contemporary Chinese diasporic culture.
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Date Issued: 2019
Identifier: 2019_Spring_Tyrrell_fsu_0071N_15223
Format: Thesis

Title: An Original Band Composition: Including a Guide for Creating Instructional Materials Based on Performance Literature.
Creator: Wilson, Chandler L. (Chandler LeRoy), Clary, Richard, Anderson, Leon, Dunnigan, Patrick, Madsen, Clifford K., Florida State University, College of Music
Abstract/Description: The purpose of this project was to create an original band composition, a five-movement suite, for upper high school and university-level ensembles that would provide students, teachers, and audiences an enjoyable experience. Along with the composition, Suite Forty-four, a series of exercises that present musical concepts from the first four movements of the work is also included. These exercises consist of warm-ups, melodic exercises, harmonic studies, articulation studies, rhythmic studies,...
Show moreThe purpose of this project was to create an original band composition, a five-movement suite, for upper high school and university-level ensembles that would provide students, teachers, and audiences an enjoyable experience. Along with the composition, Suite Forty-four, a series of exercises that present musical concepts from the first four movements of the work is also included. These exercises consist of warm-ups, melodic exercises, harmonic studies, articulation studies, rhythmic studies, style exercises with dynamics, intonation, and meter studies that are specific to each of the first four movements, and in some cases to the suite as a whole.
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Date Issued: 2019
Identifier: 2019_Spring_Wilson_fsu_0071E_15179
Format: Thesis

Title: A Conductor's Guide to Selected Works by Female Composers for Chamber Wind Ensemble.
Creator: Douty, Michael Scott, Clary, Richard, Clendinning, Jane Piper, Dunnigan, Patrick, Kelly, Steven N., Madsen, Clifford K., Florida State University, College of Music
Abstract/Description: The purpose of this project is to provide historical background, formal and thematic analysis, and technical performance considerations for selected works by female composers for chamber wind ensemble. Chapter 1 introduces the project, providing the rationale, the selection process for included compositions, and a summary of conventions utilized throughout the text. Chapters 2 through 5 each explore one of the following works and composers: Dixtuor pour instruments à vent by Claude Arrieu,...
Show moreThe purpose of this project is to provide historical background, formal and thematic analysis, and technical performance considerations for selected works by female composers for chamber wind ensemble. Chapter 1 introduces the project, providing the rationale, the selection process for included compositions, and a summary of conventions utilized throughout the text. Chapters 2 through 5 each explore one of the following works and composers: Dixtuor pour instruments à vent by Claude Arrieu, Dos Danzas Latinas by Nancy Galbraith, Arsenal of Democracy by Julia Wolfe, and Wind Sinfonietta by Ruth Gipps. This document may be utilized by directors and/or conductors of academic or professional chamber ensembles to facilitate preparation of these works, thereby promoting an increasing number of performances for these distinguished compositions.
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Date Issued: 2019
Identifier: 2019_Summer_Douty_fsu_0071E_15145
Format: Thesis

Title: The Effects of a Single Music-Assisted Mindfulness Relaxation (MAMR) and Psychoeducation Session with Electronic Resource on Wellbeing of Informal Caregivers.
Creator: Steiner, Adrienne Claire, Gooding, Lori F. (Lori Fogus), Holzman, Bruce, Standley, Jayne M., VanWeelden, Kimberly D., Carr, Dawn C., Florida State University, College of Music
Abstract/Description: Various health conditions, and/or aging can result in the need for care assistance. The number of Americans who need care assistance has grown over the past several decades, with the amount expected to increase as the number of individuals entering older adulthood rises. Informal caregivers are those who assist others with medical or other personal tasks without pay. Due to the complex demands of caregiving, informal caregivers often report high levels of stress and decreases in psychosocial...
Show moreVarious health conditions, and/or aging can result in the need for care assistance. The number of Americans who need care assistance has grown over the past several decades, with the amount expected to increase as the number of individuals entering older adulthood rises. Informal caregivers are those who assist others with medical or other personal tasks without pay. Due to the complex demands of caregiving, informal caregivers often report high levels of stress and decreases in psychosocial wellbeing, especially when compared to those who are not caregivers. Research has indicated the need for support interventions to address informal caregivers' needs, yet the unique needs of this population have posed challenges in developing appropriate and accessible resources. The purpose of this dissertation was to investigate the effects of a single music therapy session utilizing a music-assisted mindfulness relaxation intervention with psychoeducation session and electronic resource on psychosocial wellbeing of informal caregivers of adults with chronic health needs. Intervention data collection sessions were conducted at an adult day facility, community wellness clinic, and community church sites, and were led by a board-certified music therapist. The intervention facilitated was a music-assisted relaxation exercise utilizing research-supported live guitar accompaniment, guided breathing prompts, imagery, and a spoken mindfulness loving-kindness meditation. Following the music-assisted mindfulness relaxation (MAMR), a psychoeducation discussion was facilitated to educate participants about the techniques experienced and provide strategies for incorporating into daily life practices. Participants were given an electronic recording of the same MAMR done in the intervention session and prompted to use the resource in their preferred manner over a two-week time period. Participants, who were adults aged 62-89 and provided assistance to an individual over the age of 50 for at least five hours per week, for at least the past three months. Perceived stress and wellbeing were measured along with participants' perception of the MAMR intervention and MAMR electronic resource. Perceived stress was measured using a researcher created tool (Likert-type scale) and wellbeing was measured using the WHO (Five) Wellbeing Index (1998 version). Subjects completed the perceived stress score before and following the intervention. The WHO wellbeing index was completed by participants prior to the intervention and two-weeks post session. Results indicated there was a significant difference between perceived stress scores prior to and following the MAMR intervention. Further analysis of perceived stress difference score indicated no difference between those who lived with the care receiver and those who did not. However, results did indicate a significant difference between those who engaged a minimum to moderate level and those who engaged at a maximum level in caregiving duties. Results of WHO wellbeing analysis also indicated a significant difference between scores from pre intervention to two-weeks post intervention. Further analysis indicated there was not a significant difference in WHO wellbeing difference scores between those who used the intervention one time or not at all, and those who used the intervention two times or more. No significant difference was found between those who lived with care receiver and those who did not, and those with minimum to moderate caregiving levels and those with maximum caregiving levels and WHO wellbeing difference scores. Participants' perception of the intervention indicated the use of several techniques when facilitating a similar music-assisted relaxation with informal caregivers in clinical music therapy practice. The outcomes of this study warrant the need for future research to determine effective ways to use this intervention with the informal caregiving population.
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Date Issued: 2019
Identifier: 2019_Summer_Steiner_fsu_0071E_15342
Format: Thesis

Title: The Comprehensive Conductor: A Supplemental Text to the Instrumental Conductor Curriculum.
Creator: Baumanis, Julia L. (Julia Lauren), Madsen, Clifford K., Dunnigan, Patrick, Bish, Deborah, Clary, Richard, Geringer, John M., Fredrickson, William E., Florida State University,...
Show moreBaumanis, Julia L. (Julia Lauren), Madsen, Clifford K., Dunnigan, Patrick, Bish, Deborah, Clary, Richard, Geringer, John M., Fredrickson, William E., Florida State University, College of Music
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Abstract/Description: Since the 1940s, conducing has been a mainstay in the undergraduate instrumental music education curriculum in the United States. One of the purposes of instrumental conducting courses is to prepare students for the occupation of band director after graduation. While these courses are offered in most music education degree programs, they often mainly focus on baton technique and score study, leaving topics important to the education of future band directors out of the curricula. Much of the...
Show moreSince the 1940s, conducing has been a mainstay in the undergraduate instrumental music education curriculum in the United States. One of the purposes of instrumental conducting courses is to prepare students for the occupation of band director after graduation. While these courses are offered in most music education degree programs, they often mainly focus on baton technique and score study, leaving topics important to the education of future band directors out of the curricula. Much of the research on conducting class curricula cites one main cause of above- there are many topics to cover in conducting class curricula, and simply not enough time to cover them all. Therefore, the purpose of this document is to offer focus on topics important to but often left out of the conducting class curricula. This supplemental text is divided into three parts, 1) verbal communication in rehearsal techniques, 2) nonverbal communication in conducting, and 3) technology in the conducting classroom. Each part offers a brief overview of the literature on that specific topic, as well as focuses on one, measurable pinpointed topic in that area, including teaching verbal communication in rehearsal techniques through observation and a systemized methodology for conductor nonverbal communication instruction. Resources for implementing pinpointed topics are also provided. The result of this document offers multiple ways in which to incorporate each topic into existing conducting class curriculum, thus providing a more comprehensive conducting education.
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Date Issued: 2019
Identifier: 2019_Summer_Baumanis_fsu_0071E_15409
Format: Thesis

Title: Sound and Place: An Affective Geography of the Hudson River, New York, USA.
Creator: Sciuchetti, Mark Joseph, Mesev, Victor, Von Glahn, Denise, Doel, Ronald Edmund, Florida State University, College of Social Sciences and Public Policy, Department of Geography
Abstract/Description: Sonic experiences of a place are both personal and collective. They are derived from affectual encounters in that place in the everyday. The sounds of a place provide detail on the culture, development, and environment. Geographers have often overlooked the role of individual experiences with sound in places for developing our perspective on natural spaces. The visual has offered geographers a great deal of material and meaning in terms of the study of the landscape and personal connections...
Show moreSonic experiences of a place are both personal and collective. They are derived from affectual encounters in that place in the everyday. The sounds of a place provide detail on the culture, development, and environment. Geographers have often overlooked the role of individual experiences with sound in places for developing our perspective on natural spaces. The visual has offered geographers a great deal of material and meaning in terms of the study of the landscape and personal connections to place. This focus on the material, concrete, and visual aspects of society has often denied the sense of hearing. However, sound is part of embodied everyday experience of places and cannot be separated from affectual experiences or the spaces in which sound is heard. This contributes to shaping culture. Though research into the soundscape and sonic experiences has been the focus in various disciplines, research in geography is lacking an appreciation of the role of place in exploring sonic experiences. The role of sound and music in geography often takes the form of production and distribution of music and its economics and politics. But with little attention to the role of the sound or affect. Therefore, this dissertation sheds light on the role of the soundscape and the spatiality of sound in the construction of place. It also explores the role that affectual encounters in natural everyday spaces have on the individual and their place development. As a starting point, the dissertation seeks to develop a theoretical framework underpinned by geography, musicology, and sound studies to help describe the affective capacity of sound in place. Developing the concept of affect beyond the traditional realm of non-representational theory, the dissertation incorporates concepts of emotion and affect to explain the development of place through sound. Reaching into various theoretical frameworks, including behavioral geography, sonic geography, geography of music, representational theory, non-representational theory, participant observation, and reflexivity, it creates a more unified conceptualization of everyday sonic experiences of place by developing an approach which moves affective sonic encounters beyond the representational. These theoretical underpinnings are demonstrated by an empirical multi-modal approach to the study of sound in place. It uses a case study that provides a vehicle to explore how affect and emotion are experienced in nature through sound and place using sound journals, historical/archival data, sound recordings, and participatory observation. The fieldwork was conducted while sailing along the Hudson River in the US state of New York during the summer of 2017. The sites where data were collected complement those recorded by Annea Lockwood for her composition, A Sound Map of the Hudson River (1983). The archival material on texts written about the river was found from various historical sources, and interviews were provided by Lockwood. The locations chosen for recording sounds include various cultural, social, economic, industrial and environmental developments along the river. The recordings from Lockwood's CD and the six interviews she conducted in 1982 offer a starting point to describe the construction of place through sound. The four journals collected with crewmembers of the Gail Frances on the river as well as my own observations from the Hudson River provide a better conceptualization of participants' affective experiences through sound as they are immersed in the places they describe. The historical interviews and recordings from 1982 were paired with the journals and recordings from 2017 to emphasize how sound of the natural environment elicits powerful affective experiences that molds an individual's sense of place. Through the participants' interviews and journals, it is clear that there are some aspects of the soundscape that have become essential to the discussion of a place and often recreate a sense of nostalgia with almost a spiritual sensation. Other aspects of the sounds of the places along that Hudson River remind participants of the divisions between the human and the natural environments, and that there are different perspectives to the river depending on an individual's approach. The participants' encounters also carried a common theme of everyday experience and survival as these were individuals who depended upon the river. From these interviews, journals, and recordings, it is clear that one role of space and sound is in mediation of the affective encounters that individuals endure in place, which inspires emotional experiences. My study demonstrates that sound is an essential aspect of the experience of place and can be explored geographically, thus providing a framework for future research and an empirical, geographical examination of individual sonic experiences within a natural environment.
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Date Issued: 2019
Identifier: 2019_Summer_Sciuchetti_fsu_0071E_15250
Format: Thesis

Title: Lectures: Piano Pedaling in Examples through the Centuries and Chinese Piano Music Inspired by Painting, Opera and Literature.
Creator: Jin, Bizhou, Gainsford, Read, Jones, Evan Allan, Kalhous, David, Sauer, Greg, Florida State University, College of Music
Abstract/Description: The following treatise is based on the content of two separate lecture recitals that I presented at Florida State University. The first lecture recital was given on April 21, 2018, and addressed the connections between three Chinese piano works and their sources of inspiration, followed by a performance of each piece. The second lecture recital was delivered on March 27, 2019, and focused on the various applications of piano pedaling in different composers’ works and styles. Chapter One...
Show moreThe following treatise is based on the content of two separate lecture recitals that I presented at Florida State University. The first lecture recital was given on April 21, 2018, and addressed the connections between three Chinese piano works and their sources of inspiration, followed by a performance of each piece. The second lecture recital was delivered on March 27, 2019, and focused on the various applications of piano pedaling in different composers’ works and styles. Chapter One features the content of the second lecture, which explores the various uses of pedaling in different piano compositions and illuminates stylistic differences between the following composers: J. S. Bach, Joseph Haydn, Wolfgang A. Mozart, Ludwig van Beethoven, Frédéric Chopin, and Claude Debussy. It encourages pianists to consider more nuanced and historically informed pedaling. This chapter is organized in three parts: 1) a brief introduction to the pedal mechanism and its history, 2) a discussion of pedaling notation and techniques, and 3) a presentation of examples of these composers’ pedaling indications along with suggestions for practical application in performance. Chapter Two focuses on three Chinese composers who created distinctive musical styles inspired by Chinese painting, theater and literature. It provides a brief biography of each composer followed by a discussion of their musical style and a style analysis of a selected work for piano from their oeuvres. Through presenting interesting aspects of the traditional Chinese arts, I hope this chapter will generate more attention to these Chinese composers and works so that the music of Chinese composers can be discussed and performed more regularly.
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Date Issued: 2019
Identifier: 2019_Fall_Jin_fsu_0071E_15562
Format: Thesis

Title: Electronics Integration and Sound Reinforcement in the 21st Century Marching Arts.
Creator: Filosa, Matthew T., Parks, John Will, Dunnigan, Patrick, Drew, John Robert, Keesecker, Jeff, Florida State University, College of Music
Abstract/Description: This treatise seeks to examine the integration and application of electronics in both the outdoor and indoor marching arts activities. Additionally, this document will provide a primer for students and teachers interested in becoming fluent in sound reinforcement and electronics integration in the marching arts. Electronic instruments, sound reinforcement, and sound design are commonplace in today’s marching arts activities, requiring educators and students to have a basic knowledge of audio...
Show moreThis treatise seeks to examine the integration and application of electronics in both the outdoor and indoor marching arts activities. Additionally, this document will provide a primer for students and teachers interested in becoming fluent in sound reinforcement and electronics integration in the marching arts. Electronic instruments, sound reinforcement, and sound design are commonplace in today’s marching arts activities, requiring educators and students to have a basic knowledge of audio gear and software. With the introduction of professional sound reinforcement systems, wireless software, and electronic instruments over the last five years, it has become increasingly complicated to understand and integrate electronics within marching ensembles. Chapter one will explore the history of both Drum Corps International and Winter Guard International, giving further insight into why the introduction of electronics in our activity was so controversial and revolutionary. A brief introduction of electronics equipment will conclude the chapter. Chapters two through four will analyze microphones, wireless systems, speakers, electronic instruments, and computer-based systems and software used in the marching arts. Included in each chapter are diagrams and tables with specific examples of implementation and performance practices over the last ten years. At the conclusion of the treatise, Chapter five summarizes the impact electronics has had on music educators and the marching arts activity, concluding with what the future might hold for amplification and electronics integration and design.
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Date Issued: 2019
Identifier: 2019_Fall_Filosa_fsu_0071E_15576
Format: Thesis

Title: Striking a Chord: Teaching with Music in the College Writing Classroom.
Creator: Bedsole, David B., Neal, Michael R., Roehrig, Alysia D., Fleckenstein, Kristie S., Yancey, Kathleen Blake, Florida State University, College of Arts and Sciences, Department of...
Show moreBedsole, David B., Neal, Michael R., Roehrig, Alysia D., Fleckenstein, Kristie S., Yancey, Kathleen Blake, Florida State University, College of Arts and Sciences, Department of English
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Abstract/Description: As studies in sound continue to emerge in the field (Ceraso, 2018; Danforth, Stedman, & Faris, 2018; Hawk, 2018), this dissertation seeks to describe how and why writing instructors are using music in their college writing classrooms, and to assess the match between these practices and an agreed-upon standard for effective teaching in college composition, the WPA Outcomes Statement for First-Year Composition. In order to outline the relevant scholarship about the use of music in the teaching...
Show moreAs studies in sound continue to emerge in the field (Ceraso, 2018; Danforth, Stedman, & Faris, 2018; Hawk, 2018), this dissertation seeks to describe how and why writing instructors are using music in their college writing classrooms, and to assess the match between these practices and an agreed-upon standard for effective teaching in college composition, the WPA Outcomes Statement for First-Year Composition. In order to outline the relevant scholarship about the use of music in the teaching of college writing, I first show that music belongs in the category of aurality as described by Selfe (2009). Then, I use Erin Anderson’s (2014) framework to organize the relevant scholarship about music: writing instructors tend to use sound/music: “…as a subject of rhetorical analysis, a material for multimodal text production, and a methodological model for alphabetic writing practice” [emphasis mine]. Next, I use Fulkerson’s (2005) framework for understanding instructor theories of composition, which includes: the axiological question (what makes writing “good?”); the process question (how do texts come into existence?); the pedagogical question (how is composition effectively taught?); and the epistemological question (how do you know all this?). Finally, I employ Sheridan, Ridolfo, and Michel’s (2012) four-part heuristic for interrogating new rhetorical options to the possible reasons for using music in the writing classroom: Semiotic potentials; cultural position; infrastructural accessibility; and de/specialization. To conduct the study, I design a Qualtrics survey and distribute it on two national listservs, and consider case studies in the form of targeted interviews/collection of teaching materials from five different instructors. The survey includes demographic, close-ended, and open-ended questions. I outline and apply a coding scheme to the open-ended questions. I conduct interviews via phone with the five interviewees, transcribe the interviews, and share the results with the participants for correction or confirmation. Then, I describe the results of the Qualtrics survey, and report the results of the targeted interviews and collection of teaching materials. I find that instructors use music in myriad ways, but most commonly use it to analyze lyrics or as background noise in the classroom. I find that their purposes for using music often correspond, in some ways, with their understanding of the purposes of composition itself (Fulkerson, 2005). Finally, I wrestle with the main findings, and reframe them using the lenses of academic hospitality and play. Results imply that the use of music is defensible according to the WPA Outcomes Statement, depending on how it is used. Further research is called for, especially in understanding the effectiveness of music-based pedagogy in the writing class. Such research might involve student responses, as well as collection of student materials at various stages in a music-based writing course.
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Date Issued: 2019
Identifier: 2019_Fall_Bedsole_fsu_0071E_15509
Format: Thesis

Title: Stressors among Performance Majors Regarding Their Upcoming Professional Careers.
Creator: Lewis, Ashley Marie, Gooding, Lori F. (Lori Fogus), Standley, Jayne M., VanWeelden, Kimberly D., Florida State University, College of Music
Abstract/Description: The purpose of this study is to investigate stressors among soon-to-be graduating instrumental, vocal, and theatre performance majors. Seventy-two possible performance stressors were compiled into 8 categories: Creative, Intellectual, Lifestyle, Business, Physical, Cognitive, Emotional/ Psychological, and Social with the intention to examine prevalence among performance majors as well as similarities and differences between categories. Participants (N=45) for this study were performance...
Show moreThe purpose of this study is to investigate stressors among soon-to-be graduating instrumental, vocal, and theatre performance majors. Seventy-two possible performance stressors were compiled into 8 categories: Creative, Intellectual, Lifestyle, Business, Physical, Cognitive, Emotional/ Psychological, and Social with the intention to examine prevalence among performance majors as well as similarities and differences between categories. Participants (N=45) for this study were performance majors within areas of Music Theatre, Vocal Performance, and Instrumental (Woodwinds/Brass, Piano) Performance who answered a 72-item survey. Results showed that Lifestyle, Cognitive, Emotional/Psychological, and Business categories including building a professional resume, overall perception of failure, feelings of inadequacy/rejection, and job instability are among the highest rated stressors and stressor categories for performers. Further results and implications are discussed within the paper.
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Date Issued: 2019
Identifier: 2019_Fall_Lewis_fsu_0071N_15605
Format: Thesis

Title: Food for the Soul: A Case Study of Two Food-Activist Musicians.
Creator: Quarles, Melissa, Gunderson, Frank D., Jackson, Margaret R., Peres, Tanya M, Florida State University, College of Music, College of Music
Abstract/Description: In this thesis, I investigate how music and food intersect. I juxtapose two musicians whose relationship with music and food is integral to their world-view and social activism: the swamp-funk/blues guitarist and gumbo-cooker, Bill “Sauce Boss” Wharton and vegan rapper, running coach, and “fit hop” artist, Stic.man of Dead Prez. I examine each artist’s relationship to music and food via five themes: 1) Content – consisting of the aspects of music and food that are physical “texts” or “objects...
Show moreIn this thesis, I investigate how music and food intersect. I juxtapose two musicians whose relationship with music and food is integral to their world-view and social activism: the swamp-funk/blues guitarist and gumbo-cooker, Bill “Sauce Boss” Wharton and vegan rapper, running coach, and “fit hop” artist, Stic.man of Dead Prez. I examine each artist’s relationship to music and food via five themes: 1) Content – consisting of the aspects of music and food that are physical “texts” or “objects,” including lyrics, form, instruments, ingredients, and utensils; 2) Communication – symbolic representation of ideas or identities (ethnic, gender, regional or otherwise), especially through metaphor; 3) Process – music and food as performance; 4) Space and place; and 5) Consumption/embodiment, especially in relation to health and wellness. Independent of one another, studies of food culture or music are well-established areas of scholarly interest. As Edmundo Murray notes, “Reflection on the relation between music and food has weak roots. The literature on food culture is abundant and growing almost daily. At least the same can be said of texts about music. However, books about food and music represent a surprisingly untapped field.” This thesis addresses the intersection of these two unique cultural domains.
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Date Issued: 2018
Identifier: 2018_Su_Quarles_fsu_0071N_14576
Format: Thesis

Title: Performing and Connecting through Space: An Analysis of Two Divergent Attempts at Audience Engagement.
Creator: Charity, Edward Malcolm Charles, Thomas, Shannon, Darrow, Alice-Ann, Jiménez, Alexander, Sung, Benjamin, Florida State University, College of Music, College of Music
Abstract/Description: This document investigates the potential connection that can be made between performer and audience by disrupting the normal order of performance. I have drawn from the disciplines of Theater and Psychology to find new ways to convey actively the interpretive visions that inform a concert to an audience, without relying on the more typical program note or pre-concert talk. Helping an audience stay interested and curious in the music’s meaning, for themselves and for the performer, is the...
Show moreThis document investigates the potential connection that can be made between performer and audience by disrupting the normal order of performance. I have drawn from the disciplines of Theater and Psychology to find new ways to convey actively the interpretive visions that inform a concert to an audience, without relying on the more typical program note or pre-concert talk. Helping an audience stay interested and curious in the music’s meaning, for themselves and for the performer, is the primary goal of the project. I have chosen two works to test these methods: Shostakovich’s Violin Concerto No. 1 and String Quartet No. 1 of György Ligeti. A separate recital is dedicated to each piece, and the way the connection is made with the audience remains distinct for each concert. The preliminary work and research that has gone into the planning of these two recitals is the first section of the writing regarding each performance (so that the reader has a first-hand view of exactly how the end-project was decided upon and achieved). The treatise also discusses the post-concert performer reaction, as well as an overview of each performance.
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Date Issued: 2018
Identifier: 2018_Su_Charity_fsu_0071E_14816
Format: Thesis

Title: Expressions of Integrity: Baroque Flute Players Reflect on Early Music.
Creator: Clapper, Laura M., Amsler, Eva, Clary, Richard, Ohlsson, Eric Paul, Keesecker, Jeff, Eyerly, Sarah, Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this treatise is to reframe the concept of "being authentic" as "expressing integrity," both in the context of early music performance and as a way to discuss the personal expression of the self. The culture of the early music movement in the twentieth century provides an interesting case study for understanding how a modern notion of authenticity impacted the beliefs, value system, and identity of early music's invested groups and individuals. "Expressing integrity" is a new...
Show moreThe purpose of this treatise is to reframe the concept of "being authentic" as "expressing integrity," both in the context of early music performance and as a way to discuss the personal expression of the self. The culture of the early music movement in the twentieth century provides an interesting case study for understanding how a modern notion of authenticity impacted the beliefs, value system, and identity of early music's invested groups and individuals. "Expressing integrity" is a new semantic model that better represents the process of musical performance as well as the unique experience of the individual. While authenticity in early music implies an extra-personal and extra-musical set of standards that limits personal expression in the music-making process, "expressing integrity" values each unique interpretation and performance as only one facet of an individual's personal experience. In this way, "expressing integrity" as a concept is not limited to early music but is also applicable to other areas of performance and creative expression. This treatise strives to define authenticity, identify its limitations, and re-cite authenticity to the individual as an expression of integrity. More specifically, this project aims to highlight the experiences of Baroque flute players from different generations of the early music movement and to create empathy for the processes of becoming an early music specialist. Three Baroque flute players contributed to this project: Stephen Preston, Jed Wentz, and Sarah Paysnick. Each of these flutists began his/her career at different times, and their early music training took place in three different countries. The first half of this treatise defines the philosophical concepts of sincerity and authenticity in the context of twentieth-century modernist thought. This also includes unpacking the language and mindset regarding authenticity within the context of the early music movement, discussing the moral implications of the "Authenticity Debate," and describing the "authentic" performance-practice principles central to the early music revival. Expressing integrity emerges from an understanding of the objective and subjective dimensions in early music performance and aims to re-cite authenticity to the individual. The second half of this treatise presents the three interviews with the Baroque flutists as discrete chapters. The interviews represent individual expressions of integrity and are reflections of these Baroque flute players' experiences as early music professionals. Through the interview process, Preston, Wentz, and Paysnick share their insight and wisdom on topics relevant to the practice of early music while contemplating its future trajectory.
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Date Issued: 2018
Identifier: 2018_Su_Clapper_fsu_0071E_14607
Format: Thesis

Title: Three Song Cycles of Timothy Hoekman.
Creator: Peiskee, Galen Dean, Hoekman, Timothy, Clendinning, Jane Piper, Bish, Deborah, Trujillo, Valerie, Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this treatise is to provide information about and introduce the art songs of American composer Timothy Hoekman (b. 1954) through an analysis and comparison of three song cycles: To Make a Prairie (for soprano and piano) with texts of Emily Dickinson, The Nash Menagerie (for countertenor or mezzo-soprano and piano) with texts of Ogden Nash, and Three Poems of William Butler Yeats (for soprano, violin, cello, and piano). Although well-known as a pianist and vocal coach, Hoekman...
Show moreThe purpose of this treatise is to provide information about and introduce the art songs of American composer Timothy Hoekman (b. 1954) through an analysis and comparison of three song cycles: To Make a Prairie (for soprano and piano) with texts of Emily Dickinson, The Nash Menagerie (for countertenor or mezzo-soprano and piano) with texts of Ogden Nash, and Three Poems of William Butler Yeats (for soprano, violin, cello, and piano). Although well-known as a pianist and vocal coach, Hoekman deserves recognition for his compositions, listed in Appendix A, which includes several song cycles. His combination of idiomatic piano writing and expressive text setting has produced many pieces that stand out as profound examples of American art song. This document attempts to further spread awareness of Hoekman’s music. The first chapter is a biography of Timothy Hoekman with an overview of his musical catalogue. The second through fourth chapters introduce and analyze To Make a Prairie, The Nash Menagerie, and Three Poems of William Butler Yeats, respectively. The fifth chapter concludes the treatise with descriptions of Hoekman’s compositional style traits as determined from the previous song cycle analyses.
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Date Issued: 2018
Identifier: 2018_Su_Peiskee_fsu_0071E_14615
Format: Thesis

Title: Dr. Nathaniel O. Brickens: His Pedagogy, Career, and Influence on Trombone Performers and Educators.
Creator: Mirvil, Dunwoody, Drew, John Robert, Clary, Richard, Jiménez, Alexander, Anderson, Leon, Florida State University, College of Music, College of Music
Abstract/Description: Former President of the International Trombone Association and Professor of Trombone at the University of Texas at Austin, Dr. Nathaniel Brickens is a highly regarded pedagogue and performer in the trombone world. He has maintained a top-notch trombone studio while producing orchestral musicians, acclaimed soloists and aspiring college professors to help further the cause of trombone pedagogy. Dr. Brickens succeeded his former instructor, Professor Emeritus at the University of Texas at...
Show moreFormer President of the International Trombone Association and Professor of Trombone at the University of Texas at Austin, Dr. Nathaniel Brickens is a highly regarded pedagogue and performer in the trombone world. He has maintained a top-notch trombone studio while producing orchestral musicians, acclaimed soloists and aspiring college professors to help further the cause of trombone pedagogy. Dr. Brickens succeeded his former instructor, Professor Emeritus at the University of Texas at Austin and renowned pedagogue, Donald Knaub. Before Knaub’s appointment at UT, he was bass trombonist with the Rochester Philharmonic and Professor of Tuba at Eastman School of Music from 1951 to 1971. After the sudden passing of renowned pedagogue, Emory Remington, he assumed the Professor of Trombone position at the university until the spring of 1977. Knaub started the University of Texas Trombone Choir in the fall of 1977, which has since been recognized as one of the premier trombone studios in the United States. Since Brickens’ arrival in 2000, not only have his methods helped continue the legacy established by Knaub but also he has taken the group to greater heights. In recognition of his teaching, Brickens has received several citations including being nominated for the 2013 UT Regents Outstanding Teaching Award, the 2012 Blunk Memorial Professorship, and the UT Senate of College Councils 2009 Professor of the Year Award. He was also the recipient of the 2009 College of Fine Arts Distinguished Teaching Award, the 2006-07 Dad’s Association Centennial Teaching Fellowship and the 2005 Texas Exes Excellence in Teaching Award. His students have won competitions sponsored by the International Trombone Association, the Eastern Trombone Workshop, the Zellmer Minnesota Orchestra Trombone Competition, the Big XII Conference, the Music Teachers National Association Competition, Fort Worth Trombone Summit, just to mentions some of the more notable competitions. As a freelance trombonist, Brickens has performed with a variety of orchestras and artists including the Houston Symphony, Kansas City Symphony, St. Louis Symphony, Opera St. Louis, the Austin Symphony, San Antonio Symphony, the Victoria Bach Festival Orchestra, Ray Charles, Lena Horne, and the Temptations. While there are articles and journals regarding Nathaniel Brickens’ impact as a pedagogue and the engine behind the success of his trombone studio, he was the primary source of information for this paper. Many details of his life and career, however, were gathered from interviews conducted by the author. His former trombone professor, Paul Adams, provided insightful information regarding Brickens’ upbringing as a high school and an undergraduate student. The interview highlights specific details on the persistence Dr. Brickens showed in his studies and how he matured into the person he is today. Additionally, Brickens’ current and former students provided recollections of their time with the professor in a student questionnaire survey. Certain aspects of their experiences with him were addressed including Brickens’ teaching philosophies, his influence on their lives, and memorable anecdotes. Appendices include select achievements from the students of Dr. Brickens, trombone education journal features, and his curriculum vitae. Also included are the discography and accomplishments of the UT Trombone Choir. The result is a synopsis of information for trombone music educators and performers regarding the life and achievements of Dr. Brickens.
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Date Issued: 2018
Identifier: 2018_Sp_Mirvil_fsu_0071E_14499
Format: Thesis

Title: Defining Sound, Confronting Hierarchies: A Study of the American Wind Ensemble Community.
Creator: Storhoff Sutton, Kate, Von Glahn, Denise, Edwards, Leigh H., Brewer, Charles E., Broyles, Michael, Mathes, James, Florida State University, College of Music, College of Music
Abstract/Description: This dissertation explores the American wind ensemble community, specifically focusing on the relationships between composers and conductors. Using Kay Kaufman Shelemay’s definition of musical communities, the history of the wind ensemble is traced from its roots in the American band tradition, a community shaped by processes of descent; its founding in the 1950s through processes of dissent; and ending with today’s thriving community shaped primarily by processes of affinity. My study of the...
Show moreThis dissertation explores the American wind ensemble community, specifically focusing on the relationships between composers and conductors. Using Kay Kaufman Shelemay’s definition of musical communities, the history of the wind ensemble is traced from its roots in the American band tradition, a community shaped by processes of descent; its founding in the 1950s through processes of dissent; and ending with today’s thriving community shaped primarily by processes of affinity. My study of the contemporary wind ensemble community draws upon interviews with community members as well as observations at the 2017 meeting of the College Band Directors National Association. Each chapter considers one of four themes that are important to wind ensemble insiders: American national heritage, sound palettes, hierarchies and canonicity, and gender, specifically the privileging of male participants over female ones. These elements also affect the relationships that form the backbone of a historically vital American music community. Today, composer-conductor relationships form the fundamental bonds of the wind ensemble community. Wind ensemble conductors value contemporary American composers and emphasize new music and repertoire growth; as a new generation of composers emerges, an increasing level of outside attention is given to the wind ensemble. Overall, the wind ensemble community represents a vibrant part of American musical culture: one that is worthy of further study and of attention from outsiders of the community. The composers and conductors interviewed for this project were welcoming and eager to talk about their work; their enthusiasm about the community of which they are a part emphasized the value and vitality of wind ensemble music. While American musical culture is changing rapidly, especially as the clout of the symphony orchestra declines, the band’s adaptability and resilience over the course of the nation’s history suggests that the tradition of wind music will continue to thrive if its community actively and enthusiastically changes with the times.
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Date Issued: 2018
Identifier: 2018_Sp_Sutton_fsu_0071E_14415
Format: Thesis

Title: Emotion and Meaning in La Bohème: An Application of the Aesthetic Constructs of Leonard B. Meyer.
Creator: Clark, Robert Henry, Madsen, Clifford K., Holzman, Bruce, Bugaj, Kasia, Geringer, John M, Fredrickson, William E., Florida State University, College of Music, College of Music
Abstract/Description: Leonard B. Meyer proposed unique metaphysical constructs of the aesthetic experience in music in his 1956 book Emotion and Meaning in Music. These constructs posited a causal nexus for affective response to music based upon the absolute-expressionist viewpoint that structural variations in a work of music give rise to human affect. The primary hierarchical constituents of Meyer’s theory include his inhibition thesis, deviation thesis, and violation of the Gestalt principles of continuity,...
Show moreLeonard B. Meyer proposed unique metaphysical constructs of the aesthetic experience in music in his 1956 book Emotion and Meaning in Music. These constructs posited a causal nexus for affective response to music based upon the absolute-expressionist viewpoint that structural variations in a work of music give rise to human affect. The primary hierarchical constituents of Meyer’s theory include his inhibition thesis, deviation thesis, and violation of the Gestalt principles of continuity, closure, and shape. The study of Madsen, Brittin, and Capparella-Sheldon (1993) was part of a series of studies that examined the aesthetic experience in music according to continuously measured affective response. Participants recorded affective response via Continuous Response Digital Interface (CRDI) while listening to Act I of Giacomo Puccini’s La Bohéme. The purpose of this study was to analyze the Puccini according to the constructs of Meyer, and then compare those results to the “aesthetic footprint” generated by the empirical study. Results indicated a correlation between affective response and delays or violations of continuity, closure, and shape. A case is presented for the validity of Meyer’s constructs. Additionally, future research and applications to teaching expressivity are discussed.
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Date Issued: 2018
Identifier: 2018_Sp_Clark_fsu_0071E_14469
Format: Thesis

Title: The Effects of Constructive Rest on Perceived Levels of Stress, Tension, and Pain in Collegiate Flutists.
Creator: Ross, John Michael, Amsler, Eva, Clary, Richard, Bish, Deborah, Ohlsson, Eric Paul, VanWeelden, Kimberly D., Florida State University, College of Music, College of Music
Abstract/Description: The music curriculum in higher education is very strenuous, and the added physical and mental stress of personal practice, ensemble rehearsals, and performances often leads to performance anxiety and a variety of performance-related tension and pain. Despite these issues, not many institutions offer courses that could equip music students with tools for dealing with stress, anxiety, tension, and pain. Within a short period of time, pain and fatigue resulting from stress, anxiety, and tension...
Show moreThe music curriculum in higher education is very strenuous, and the added physical and mental stress of personal practice, ensemble rehearsals, and performances often leads to performance anxiety and a variety of performance-related tension and pain. Despite these issues, not many institutions offer courses that could equip music students with tools for dealing with stress, anxiety, tension, and pain. Within a short period of time, pain and fatigue resulting from stress, anxiety, and tension can turn into repetitive stress injuries and musculoskeletal disorders, such as tendonitis, carpal and ulnar tunnel disorders, TMJ disorder, and/or many other common conditions. These issues are often exacerbated for flutists due to the unnatural way the instrument is held while playing. Many music educators and private instructors lack the training and knowledge to deal with these issues, and the rising cost of health care makes it difficult for students to seek treatment when pain persists and progresses into a musculoskeletal injury or disorder. Musicians and other performing artists are turning to somatic disciplines to help them connect with and gain awareness about what is happening in and around their bodies, in an effort to figure out the root causes of tension, stress, and pain. Somatic disciplines include such practices as yoga, tai chi, the Alexander Technique, the Feldenkrais Method, and body mapping, just to name a few. A study was conducted to examine the effect of a 3-week intervention program of constructive rest on stress, tension, numbness, and pain levels in collegiate flute students. The participants (N = 30) for this study were all students in the flute studio in the College of Music at Florida State University. Participants were divided into two groups. Group 1 (n = 15) participated in sessions of constructive rest. Group 2 (n = 15) was a control group, receiving no sessions of constructive rest. Results indicated significant differences in stress levels for both Group 1 and Group 2 participants. Significant differences were also found in reported pain levels for various areas of the body, more so for Group 1 than for Group 2 participants. Group 1 showed substantial improvement in in four areas of the body listed within the dependent measure, while Group 2 showed noteworthy change in only one area from pretest to posttest. Additionally, the majority of Group 1 participants noted a positive difference in their levels of stress (87%) and tension, numbness, and pain (93%). These data do indicate that a regular practice of constructive rest has a positive effect on the perceived levels of pain.
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Date Issued: 2018
Identifier: 2018_Sp_Ross_fsu_0071E_14494
Format: Thesis

Title: The Effects of Instrumentation and Lyrical Content on the Perceived Genre of Popular Music.
Creator: Kimbrough, Michael T. (Michael Trent), Gaber, Brian, Madsen, Clifford K., VanWeelden, Kimberly D., Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this study was to understand the effects of both instrumentation and lyrical content on the perceived genre of popular music. Participants for this study (N= 58) were undergraduate and graduate students from a large, public, south-eastern university. Results revealed there was no significate difference between the effect that instrumentation alone had on the perceived genre of music compared to the full composition/recording (instrumentation and lyrics). However, there were...
Show moreThe purpose of this study was to understand the effects of both instrumentation and lyrical content on the perceived genre of popular music. Participants for this study (N= 58) were undergraduate and graduate students from a large, public, south-eastern university. Results revealed there was no significate difference between the effect that instrumentation alone had on the perceived genre of music compared to the full composition/recording (instrumentation and lyrics). However, there were significant differences found between the effect that lyrical content alone had on the perceived genre of music compared to the full composition/recording, as well as the effect that instrumentation alone had on the perceived musical genre compared to that of lyrical content alone. This indicated that even though lyrical content does in fact matter in how a song is classified, instrumentation is more impactful in that regard.
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Date Issued: 2018
Identifier: 2018_Sp_Kimbrough_fsu_0071N_14581
Format: Thesis

Title: Instrumental Minds: A Behavior Profile of Instrumentlists in the Traditional Concert Band Setting.
Creator: Meeks, Brandon M. (Brandon Michael), VanWeelden, Kimberly D., Kelly, Steven N., Fredrickson, William E., Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this study was to use the Psycho-Geometrics™ tool to measure the personality and behavior traits of instrumentalists in the traditional concert band setting in an effort to create a behavior profile for players of each instrument. The specific research questions for this study are as follows: (1) What trait statements within the categories of personality, behaviors, and relating to others are unique to instrumentalists overall? (2) What trait statements within the categories of...
Show moreThe purpose of this study was to use the Psycho-Geometrics™ tool to measure the personality and behavior traits of instrumentalists in the traditional concert band setting in an effort to create a behavior profile for players of each instrument. The specific research questions for this study are as follows: (1) What trait statements within the categories of personality, behaviors, and relating to others are unique to instrumentalists overall? (2) What trait statements within the categories of personality, behavior, and relating to others are unique to each instrument in the concert band? (3) What trait statements within the categories of personality, behavior, and relating to others are unique to first chair players? (4) What trait statements within the categories of personality, behavior, and relating to others are unique to eighth grade, high school, and college students? The participants (N = 260) for this study were wind and percussion instrumentalists from various states across the southern United States. Ages of the participants ranged from eighth grade through graduate level study. Results found that overall the sample saw themselves as dependable, hard workers, and loyal friends. Results from the individual instruments revealed personality and behavioral differences amongst each instrument type. Results from the grade levels revealed differences that were consistent with developmental traits that were appropriate for each age group. The knowledge of the personalities and behaviors of students within an ensemble could help foster stronger student/teacher relationships which, in turn, could lead to stronger acquisition of subject matter, more meaningful musical performances, and create lasting memories for students to carry with them beyond their formal education. A more detailed listing of results is located within the paper.
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Date Issued: 2018
Identifier: 2018_Sp_Meeks_fsu_0071N_14345
Format: Thesis

Title: Kreegi Vihik (Kreek's Notebook) for Chorus and Strings by Tõnu Kõrvits: A Conductor's Guide.
Creator: Favazza, Alex Timothy, Thomas, André J., Stebleton, Michelle, Fenton, Kevin, Fredrickson, William E., Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this dissertation is to provide resources to enable scholarly performances of the 2007 choral-orchestral composition Kreek’s Notebook by Tõnu Kõrvits, one of Estonia’s most celebrated contemporary composers. Each movement in Kreek’s Notebook is based on a different Estonian folk-hymn variant. The piece’s title refers to Estonian composer Cyrillus Kreek and his work collecting and preserving this medium.This study provides background and source material for each movement of...
Show moreThe purpose of this dissertation is to provide resources to enable scholarly performances of the 2007 choral-orchestral composition Kreek’s Notebook by Tõnu Kõrvits, one of Estonia’s most celebrated contemporary composers. Each movement in Kreek’s Notebook is based on a different Estonian folk-hymn variant. The piece’s title refers to Estonian composer Cyrillus Kreek and his work collecting and preserving this medium.This study provides background and source material for each movement of Kreek’s Notebook as well as a translation, IPA transcription for lyrical diction, piano reduction for choral rehearsals, brief musical analysis, and discussion of performance practice.
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Date Issued: 2018
Identifier: 2018_Sp_Favazza_fsu_0071E_14523
Format: Thesis

Title: An Investigation of the Music Literature Being Performed at Jazz Band Music Performance Assessments in Florida.
Creator: Warnet, Victoria Marie, Kelly, Steven N., VanWeelden, Kimberly D., Darrow, Alice-Ann, Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this study was to examine the literature being performed by Florida middle school, junior/senior high school, and high school jazz bands at Florida Bandmasters Association (FBA) District Jazz Band Music Performance Assessments (MPAs) from 2012-2017. More specifically, this study sought to address: (1) What pieces were played at FBA District Jazz Band MPAs between 2012-2017? (2) What composers were played most frequently at FBA District Jazz Band MPAs between 2012-2017? (3) What...
Show moreThe purpose of this study was to examine the literature being performed by Florida middle school, junior/senior high school, and high school jazz bands at Florida Bandmasters Association (FBA) District Jazz Band Music Performance Assessments (MPAs) from 2012-2017. More specifically, this study sought to address: (1) What pieces were played at FBA District Jazz Band MPAs between 2012-2017? (2) What composers were played most frequently at FBA District Jazz Band MPAs between 2012-2017? (3) What arrangers were played most frequently FBA District Jazz Band MPAs between 2012-2017? (4) What percentage of secondary schools in the state of Florida with an FBA classification attended FBA District Jazz Band MPA between the years 2012-2017 and how many ensembles performed each year? and (5) What ratings were earned at FBA District Jazz Band MPAs between 2012-2017? Data from this study came from a pool of pieces performed by middle school, junior/senior high school, and high school bands at FBA District Jazz Band MPA between 2012-2017 (N = 6,076). Due to one of this study’s purposes being to analyze the average ratings that were earned, groups with the classification of “Comments Only” or DNA (Did Not Appear) were not included in this study. Additionally, data from directors who did not enter all of the necessary title and composer information for their program or who left their pieces listed as ‘TBA’ were not included in this study. Of the 6,076 pieces in the pool, 5,664 pieces were able to be used in the literature analysis in this study. The researcher used the FBA website (Florida Bandmasters Association, 2018) to look up concert programs from FBA District Jazz Band MPAs from 2012-2017 from all of the 21 districts in the state of Florida. The following information, found in the concert programs, was entered into the data collection sheet: name of piece, composer, arranger, performing school, performing school’s classification, and the overall rating earned by the performing ensemble. Of the 5,664 pieces performed at FBA District Jazz Band MPA between 2012-2017, there were 1,816 unique compositions played. The compositions of 619 different composers and 249 different arrangers were performed at FBA District Jazz Band MPA. Additionally, 47.78% of schools involved in FBA brought at least one jazz band to perform at FBA District Jazz Band MPA between 2012-2017 and the number of pieces performed and bands that performed at FBA District Jazz Band MPAs increased every year during the five-year span of data analyzed. The vast majority of bands that performed at these FBA District Jazz Band MPAs (93.77%) earned the two highest ratings, Superior or Excellent. Additionally, there were no bands that received the lowest two ratings, Fair or Poor. Overall, findings from this study suggest that secondary school jazz bands in the state of Florida are growing in popularity. Additionally, many of the jazz ensembles performed what are frequently considered jazz standards and works by well-known jazz composers. However, due to the presence of multiple composers knowing for their concert band compositions for younger developing bands at the top of the frequently performed list, it seems that more quality jazz literature and arrangements may be needed for younger, developing bands. Further results and implications are discussed within the paper.
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Date Issued: 2018
Identifier: 2018_Sp_Warnet_fsu_0071N_14383
Format: Thesis

Title: Blueprints for Outreach: Educational Concerts for the Solo Violinist.
Creator: Sahely, Megan Elizabeth, Sung, Benjamin, Fredrickson, William E., Sauer, Greg, Thomas, Shannon, Florida State University, College of Music, College of Music
Abstract/Description: This treatise explores the historical background of instrumental educational outreach concerts, and provides an overview of current educational outreach programming. The closing section discusses educational outreach concerts presented by a solo violinist, and provides a blueprint for a teaching performance which explores the storytelling power of music. Newly commissioned works for solo violin are included which are especially suited for outreach performances for children.
Date Issued: 2018
Identifier: 2018_Sp_Sahely_fsu_0071E_14478
Format: Thesis

Title: Creative Concepts across Cultures: An Examination of Piano Sonata No. 2 by Valentin Silvestrov and Selected Piano Works by Toru Takemitsu.
Creator: Zotov, Anton, Kalhous, David, Brewer, Charles E., Williams, Heidi Louise, Moore, Christopher, Florida State University, College of Music, College of Music
Abstract/Description: This treatise is based on two lecture-recitals that were given as part of the Doctor of Music degree requirements at Florida State University on November 17, 2016 and November 13, 2017. The first lecture recital focused on the Sonate Nr. 2 for piano of Valentin Silvestrov and the second explored selected piano works of Toru Takemitsu. Both lecture-recitals were intended as separate events, the content of which was not related to each other. During the process of preparation for these projects...
Show moreThis treatise is based on two lecture-recitals that were given as part of the Doctor of Music degree requirements at Florida State University on November 17, 2016 and November 13, 2017. The first lecture recital focused on the Sonate Nr. 2 for piano of Valentin Silvestrov and the second explored selected piano works of Toru Takemitsu. Both lecture-recitals were intended as separate events, the content of which was not related to each other. During the process of preparation for these projects, which included study of the score, analysis of form, research of the supporting material, and preparation for the performance of the selected pieces, I have discovered certain musical and conceptual ideas that are shared by both composers. The goal of the present research has been to reveal the creative concepts and corresponding historic background of the chosen piano works of composers from two different cultures. Valentin Silvestrov is a prominent modern composer from Ukraine. His compositional output covers a wide range of classical genres, in which music for piano is of great importance. The work chosen for this research is his Sonate No. 2, a transitional work in Silvestrov’s compositional style. The goal of this lecture was to explore the historical context in Silvestrov’s creative output that led to the creation of this large-scale work, the analysis of its form and content, and the attempt to understand the musical narrative of this piece. Toru Takemitsu was one of the leading 20th century Japanese composers. One of the highlights of his creative career was his ability to incorporate and connect philosophical and musical concepts of the traditional Japanese culture with the musical language of the Western contemporary movements. He was not only a prolific composer but also a writer who left valuable thoughts on various topics related to music. The goal of this lecture was to give an overview of the creative concepts of Takemitsu and illustrate his approach to music-making in his piano works. First two chosen pieces, Romance and Litany (in Memory of Michael Vyner), represent Takemitsu’s early compositions and both of his Rain Tree Sketches were selected to illustrate composer’s late style.
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Date Issued: 2018
Identifier: 2018_Sp_Zotov_fsu_0071E_14598
Format: Thesis

Title: The Chamber Music of Turkish-American Composer Kamran Ince: An Exploration of Three Works Utilizing the Flute.
Creator: Cetin, Ayca, Amsler, Eva, Clary, Richard, Bish, Deborah, Keesecker, Jeff, Florida State University, College of Music, College of Music
Abstract/Description: Turkish-American composer Kamran Ince has been connecting Turkish and American cultures throughout his composition and teaching career. His post-minimalist style involves the energy of Turkish and Balkan folk music, the mysticism of Byzantium and Ottoman music, the tradition of western classical music and the accessible qualities of popular American musical genres. This treatise, in conjunction with two lectures, focuses on three of his chamber works: Two Step Passion (2011), Asumani (2012)...
Show moreTurkish-American composer Kamran Ince has been connecting Turkish and American cultures throughout his composition and teaching career. His post-minimalist style involves the energy of Turkish and Balkan folk music, the mysticism of Byzantium and Ottoman music, the tradition of western classical music and the accessible qualities of popular American musical genres. This treatise, in conjunction with two lectures, focuses on three of his chamber works: Two Step Passion (2011), Asumani (2012) and It’s a Nasreddin (2013). These works are examined in terms of cultural, geographical, and historical influences, and compositional elements. The goal of the research is to highlight Kamran Ince’s chamber work from the perspective of Turkish culture and history. His ethnic and original musical style is a significant addition to the existing flute repertoire. Ince’s musical language shows how every culture is beautiful and interesting. While the entire world is uniting culturally with technology, each ethnicity still has much to share and celebrate. This artistic attitude provides a model for the world to peacefully appreciate differences.
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Date Issued: 2018
Identifier: 2018_Sp_Cetin_fsu_0071E_14449
Format: Thesis

Title: An Historical Survey of Violin Techniques Used for Music Onomatopoeia.
Creator: Bubanja, Petra, Sung, Benjamin, Callender, Clifton, Jiménez, Alexander, Thomas, Shannon, Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this treatise is to connect violin music which contains onomatopoeic sounds with the development of techniques that successfully portray these effects. The focus is primarily on animal and nature onomatopoeia (e.g. birds, insects, dogs, cats, frogs, rain, storms, thunder, river, sea, sunrise, etc.). Another onomatopoeia shortly discussed is the physical onomatopoeia, imitating motion in nature (such as the fluttering of an insect’s wings, and others). The examples of these...
Show moreThe purpose of this treatise is to connect violin music which contains onomatopoeic sounds with the development of techniques that successfully portray these effects. The focus is primarily on animal and nature onomatopoeia (e.g. birds, insects, dogs, cats, frogs, rain, storms, thunder, river, sea, sunrise, etc.). Another onomatopoeia shortly discussed is the physical onomatopoeia, imitating motion in nature (such as the fluttering of an insect’s wings, and others). The examples of these onomatopoeic representations are mostly found in the 17th and early 18th centuries, and in the 20th and 21st centuries. This is due to the musical and philosophical aesthetics of the 19th century and their disregard for imitation of the external world in music. The survey of the works is selected from the solo violin literature and smaller chamber repertoire, such as the string quartet. Besides providing a collection of works that contain nature onomatopoeia, the treatise is meant to draw a connection between the advancement of violin technique and the desire to authentically represent acoustical properties of sounds found in nature. Violin technique evolved through experimentation; new techniques pushed the limits of the technical vocabulary. With nature onomatopoeia, the composer (who was typically a violin virtuoso, in the earlier period) had the desired sound in mind and was not afraid to search for it, even if that meant employing unconventional means of sound production. Having this acoustical guidance in search of appropriate and authentic technical tools helped break from the idiomatic common practices and led to the establishment of new techniques when referring to specific onomatopoeias.
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Date Issued: 2018
Identifier: 2018_Sp_Bubanja_fsu_0071E_14524
Format: Thesis

Title: The Influences of Mannheim Style in W.A. Mozart's Concerto for Oboe, K. 314 (285D) and Jacques-Christian-Michel Widerkehr's Duo Sonata for Oboe and Piano.
Creator: Erickson, Scott D., Ohlsson, Eric Paul, Clary, Richard, Keesecker, Jeff, Bish, Deborah, Florida State University, College of Music, College of Music
Abstract/Description: The court at Mannheim between 1740 and 1778 produced an abundance of musical innovations and compositions. Composers such as Johann Stamitz and Christian Cannabich revolutionized orchestral playing in a multitude of ways, including the establishment of unified bowings and combining the roles of concert master and conductor. Perhaps most important are the stylistic innovations that these composers developed. The Mannheim Style was significant to the propulsion of music from the Baroque to...
Show moreThe court at Mannheim between 1740 and 1778 produced an abundance of musical innovations and compositions. Composers such as Johann Stamitz and Christian Cannabich revolutionized orchestral playing in a multitude of ways, including the establishment of unified bowings and combining the roles of concert master and conductor. Perhaps most important are the stylistic innovations that these composers developed. The Mannheim Style was significant to the propulsion of music from the Baroque to Classical eras. The melodic ornaments, dynamic effects, thematic differentiation, and orchestration tendencies that resulted from the virtuosic players in the orchestra spread throughout Europe, and a multitude of composers were influenced by them. This treatise seeks to identify Mannheim influences in two pieces of the oboe repertoire. First, the Concerto for Oboe and Orchestra, K. 314 (285d) is used to find how Wolfgang Amadeus Mozart employed these techniques. As one of the most important compositions of the oboe repertoire, this oft-performed work is exemplary of how the Mannheim Style influenced even those composers who had not yet visited the city. Second, the Duo Sonata for Oboe and Piano is one of Jacques-Christian-Michel Widerkehr’s small number of surviving compositions. Although it was composed after the Mannheim orchestra was past its prime, his compositions demonstrate the lasting effects of Mannheim Style into the early 19th century. This treatise identifies the impact of Mannheim Style’s idioms on these two works and offers a greater understanding of the pervasiveness and importance of the Mannheim Style’s influence throughout Europe.
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Date Issued: 2018
Identifier: 2018_Sp_Erickson_fsu_0071E_14341
Format: Thesis

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