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Title: Evidence-Based Research for the Geriatric Population.
Creator: Thomason, Danae Katherine, Standley, Jayne M., Darrow, Alice-Anne, Gregory, Sarah, College of Music, Florida State University
Abstract/Description: The purpose of this study was to analyze the existing quantitative experimental research evaluating the effect of music on symptoms of the geriatric population. A review of literature was conducted on 47 studies found in twelve refereed journals evaluating. Common objectives, assessments, and procedures were identified and clinical guidelines for evidence-based procedures were developed. Results and further quantitative research are suggested and discussed.
Date Issued: 2007
Identifier: FSU_migr_etd-0377
Format: Thesis

Title: Louis Moreau Gottschalk, John Sullivan Dwight, and the Development of Musical Culture in the United States, 1853-1865.
Creator: Pruett, Laura Moore, Glahn, Denise Von, Shaftel, Matthew, Seaton, Douglass, College of Music, Florida State University
Abstract/Description: This dissertation investigates the relationships between the lives and works of Louis Moreau Gottschalk (1829-69) and John Sullivan Dwight (1813-93). It demonstrates that the points of intersection were influenced not only by musical concerns – composition, performance, and criticism – but also by larger social and cultural issues that shaped mid-nineteenth-century America, including race, religion, politics, and philosophy. A broader goal of this project is to gain a fuller understanding of...
Show moreThis dissertation investigates the relationships between the lives and works of Louis Moreau Gottschalk (1829-69) and John Sullivan Dwight (1813-93). It demonstrates that the points of intersection were influenced not only by musical concerns – composition, performance, and criticism – but also by larger social and cultural issues that shaped mid-nineteenth-century America, including race, religion, politics, and philosophy. A broader goal of this project is to gain a fuller understanding of the culture of America at mid-century and most specifically of its musical life. This was a crucial time for the formation of the musical styles and tastes that prepared the way for the current conditions of American musical culture. The final purpose of this dissertation is to reveal the far-reaching influence of the connections explored here. Through the combination of social and cultural research, style analysis, and reception history, I demonstrate that the music composed and performed by Louis Moreau Gottschalk and the critical writings of John Sullivan Dwight were shaped by a variety of social forces, including the cult of virtuosity, blackface minstrelsy, exoticism, nationalism, sentimentalism, and New England Transcendentalism. The effects of the careers of Dwight and Gottschalk can still be felt in the ways music is seen, heard, and performed in America. The two men were connected within a web of cultural intersections that thrives in the diversity of American music today.
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Date Issued: 2007
Identifier: FSU_migr_etd-0466
Format: Thesis

Title: An Analysis of Gender, Authority and Educational Background of Voice Teachers in Undergraduate Degree-Granting Institutions.
Creator: Puller, Shawn I., Weelden, Kim Van, Morris, Richard, Madsen, Clifford, Geringer, John, College of Music, Florida State University
Abstract/Description: Music education is a predominantly female occupation; however while women dominate the ranks of elementary and choral education they lose representation as grade level increases. In addition sex-role segregation within the field is also evidenced by the domination of males in the areas of instrumental and jazz music education. As with other areas of post-secondary education, females have made gains and now occupy 43% of music faculty positions, however it may be that the males and females...
Show moreMusic education is a predominantly female occupation; however while women dominate the ranks of elementary and choral education they lose representation as grade level increases. In addition sex-role segregation within the field is also evidenced by the domination of males in the areas of instrumental and jazz music education. As with other areas of post-secondary education, females have made gains and now occupy 43% of music faculty positions, however it may be that the males and females have gender specific sex-roles. Due to the specific, gendered nature of voice parts, it may be that applied voice teacher training programs would have an equal distribution of females (sopranos, mezzo-sopranos, contraltos) and males (counter-tenors, tenors, baritone, basses). The distribution of the sexes within the career field may affect hiring practices, promotions, and access to administrative positions thereby mitigating sex inequalities and sex-role biases which exist in other areas of post-secondary education. This study was an initial step investigating biological sex and authority as they relate to applied voice teachers in four-year institutions in the United States. Voice-teaching was found to be a predominantly female occupation with men and women holding a near equal number of full-time professor status positions. Upon closer examination, sex-role stratification within the field may be evidenced. For example, the proportion of males increased as faculty rank increased while the proportion of females decreased as faculty rank increased. There also seemed to be sex-role stratification with regard to specific teaching responsibilities held by males and females. The reasons for these differences are explored.
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Date Issued: 2009
Identifier: FSU_migr_etd-0468
Format: Thesis

Title: The Effects of Music Therapy and Relaxation Prior to Breastfeeding on the Anxiety of New Mothers and the Behavior State of Their Infants during Feeding.
Creator: Procelli, Danielle Elizabeth, Standley, Jayne M., Madsen, Clifford, Gregory, Dianne, College of Music, Florida State University
Abstract/Description: This study examined the effects of music therapy and relaxation techniques with first time mothers who were breastfeeding. Dependent variables were behavior state of the mother during breastfeeding, behavior state of the infant during breastfeeding, the mother's self-reported perception of anxiety and relaxation during breastfeeding, and the mother's perception of breastfeeding and her use of music one week post discharge. Subjects were sixty (N=60) women who had chosen breastfeeding as their...
Show moreThis study examined the effects of music therapy and relaxation techniques with first time mothers who were breastfeeding. Dependent variables were behavior state of the mother during breastfeeding, behavior state of the infant during breastfeeding, the mother's self-reported perception of anxiety and relaxation during breastfeeding, and the mother's perception of breastfeeding and her use of music one week post discharge. Subjects were sixty (N=60) women who had chosen breastfeeding as their preferred feeding method for their infant. Between 24-48 hours after giving birth to their infant, subjects were randomly assigned to either an experimental group (N=30) who received music therapy prior to breastfeeding or a no music control group (N=30). Results showed a statistically significant difference between the behavior-state of the mothers during their breastfeeding attempt. The experimental group displayed significantly less anxiety-related behaviors and more behaviors associated with relaxation and comfort. There was no significant difference between the behavior-state of the infants during breastfeeding. Data from self-report surveys revealed that mothers in the experimental music group reported feeling significantly more relaxed and less anxious after breastfeeding in the hospital then did the control group. No significant difference was found between groups based on mothers' perceptions of breastfeeding one week post hospital discharge. Additional data were collected for further analysis and implications are discussed.
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Date Issued: 2005
Identifier: FSU_migr_etd-0463
Format: Thesis

Title: Classical Saxophone Transcriptions: Role and Reception.
Creator: Etheridge, Kathryn Diane, Seaton, Douglass, Glahn, Denise Von, Meighan, Patrick, College of Music, Florida State University
Abstract/Description: Transcriptions occupy a fundamental place in Western musical development, having been created used since the Middle Ages Composers, performers, and arrangers are still constantly adapting music in order to learn various musical styles and to bring variety to their programs. Besides the advantages to composers, musicians, and students of music, transcriptions allow audiences to hear repertoire that would be unavailable to them in its original format. Transcriptions may also permit listeners to...
Show moreTranscriptions occupy a fundamental place in Western musical development, having been created used since the Middle Ages Composers, performers, and arrangers are still constantly adapting music in order to learn various musical styles and to bring variety to their programs. Besides the advantages to composers, musicians, and students of music, transcriptions allow audiences to hear repertoire that would be unavailable to them in its original format. Transcriptions may also permit listeners to hear familiar works through fresh interpretations that can illuminate aspects of the music not heard in the original instrumentation. Classical saxophonists, in particular, use transcriptions for various purposes, including those previously mentioned. This study of saxophone transcriptions raises three overarching points: • Transcriptions have been and remain an important component of classical saxophone performance and recording. • Recorded saxophone transcriptions range from high art to popular music, their material borrowed from the last nine centuries or more of Western music history—and these works are reviewed differently in different journals. • The key to a successful programming of transcriptions lies in historical and performance practice research, and in awareness of one's audience. A study of transcriptions within the context of the saxophone's history, how these pieces are interpreted by the performers and organized on recordings next to—or instead of—original works for the saxophone, and reviews of these recordings were all employed in the present study in order to determine how transcriptions represent the instrument. Analysis of saxophone recordings and reviews, including four case studies that take a closer look at individual saxophone CDs, demonstrates how saxophone transcriptions portray the classical saxophone to various audiences. The study of this repertoire, and of saxophonists performing it, must go hand in hand with a study of the saxophonists themselves and the ways in which they view these works. Most saxophonists are arrangers; many of the pieces they perform and record were created by them, as well. The choice to perform these transcriptions should prompt more decision-making on the part of the saxophonist than does that of completely original works, especially if the performer is also the arranger. This study shows that, whether practiced by a saxophonist or any other performing musician, creation and performance of transcriptions are multi-faceted activities. Transcriptions remain an important and valuable component of the recorded saxophone repertoire. They offer to audiences the opportunity to hear a stylistically appropriate rendition of music that adds variety and broader appeal to the mostly twentieth-century classical saxophone repertoire, thus opening the way for more listeners to discover and enjoy this sound resource.
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Date Issued: 2008
Identifier: FSU_migr_etd-0499
Format: Thesis

Title: El Gato Montés: A Victim in Spain's Struggle to Establish A National Operatic Identity.
Creator: Esquivel, Karen, Darrow, Alice Ann, Gerber, Larry, College of Music, Florida State University
Abstract/Description: The task of creating Spanish opera in a musical environment which was hostile and critical has been a consternation and challenge for almost every Spanish composer with a desire to create a Spanish national operatic identity. The opera El Gato Montés, by composer-librettist Manuel Penella Moreno (1880-1939) premiered in 1916. The work achieved great public success in and outside of Spain, including a 10 week sold-out performance run in New York City in 1920. Penella's talent for composing...
Show moreThe task of creating Spanish opera in a musical environment which was hostile and critical has been a consternation and challenge for almost every Spanish composer with a desire to create a Spanish national operatic identity. The opera El Gato Montés, by composer-librettist Manuel Penella Moreno (1880-1939) premiered in 1916. The work achieved great public success in and outside of Spain, including a 10 week sold-out performance run in New York City in 1920. Penella's talent for composing lovely melodies is manifest in the music for El Gato Montés. The libretto is dramatic and effective. Its appeal to the public at large was demonstrated with its triumphant premiere and following successful performances. Ultimately, this opera met the same fate as the great majority of Spanish operas. It was set aside and forgotten. The only exception to this pattern was Manuel de Falla's (1876-1946) La vida breve (1913). The purpose of this study is to present Penella's El Gato Montés as an exceptional example of Spanish opera and present a brief history of the development of this genre, from its birth with the opera La púrpura de la rosa by Juan Hidalgo de Polanca in 1660, through the premiere of El Gato Montés in 1916. An analysis of the work will identify and discuss the variety of characteristics of Spanish society, culture and music which are incorporated in the opera, and make the opera a distinctly Spanish work. These characteristics include: the representation of Catholic morality and customs, machismo, familial aspects of a matriarchal society, the gypsies of Southern Spain and their cante flamenco, and the bullfight with its associated musical form, the pasodoble. Several of the criticisms that appeared at the time of the opera's premiere will be discussed, including the accusation that the opera was nothing more than an "españolada," an artificial caricature of the true Spain. It is the author's opinion that El Gato Montés is a work worthy of consideration as an important contribution to Spanish music and the operatic repertoire.
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Date Issued: 2009
Identifier: FSU_migr_etd-0506
Format: Thesis

Title: Muzikmafia: Community, Identity, and Change from the Nashville Scene to the Popular Mainstream.
Creator: Pruett, David B., Gunderson, Frank, Faulk, Barry, Olsen, Dale A., College of Music, Florida State University
Abstract/Description: In this dissertation I examine the MuzikMafia, a distinct musical community that developed from a stylistically diverse Nashville scene into a social collective and commercial enterprise, both of which emphasize musical excellence and promote musical and artistic diversity. In order to understand the MuzikMafia more deeply, I explore three of its defining structures: community, identity, and change. Analysis of each aspect provides insight into what the MuzikMafia actually is, the role of...
Show moreIn this dissertation I examine the MuzikMafia, a distinct musical community that developed from a stylistically diverse Nashville scene into a social collective and commercial enterprise, both of which emphasize musical excellence and promote musical and artistic diversity. In order to understand the MuzikMafia more deeply, I explore three of its defining structures: community, identity, and change. Analysis of each aspect provides insight into what the MuzikMafia actually is, the role of music in the lives of its members, and the reasons behind the MuzikMafia's period of commercial growth and development from 2001 through 2005. I observe how a shared musical and social ideology created a bond between several marginalized Nashville artists and how that bond, or rather its commodification, transformed the MuzikMafia into a significant part of the commercial mainstream. The dispossessed interact with the dominant structures of capitalist society in a variety of ways. Music serves as a medium of expression and often as an agent of social change through individual and group action. The MuzikMafia is an example of one such dispossessed group that eventually gained national and international popularity. I argue that, despite its numerous anti-establishment sentiments, the MuzikMafia confirms if not supports the existing hegemony of Nashville's commercial music industry. Based upon participant observation, oral history fieldwork, and behind the scenes experiences among several platinum-selling artists, this research provides new insight into the study of popular music, presenting evidence that, not only is ethnomusicological fieldwork in the popular mainstream possible, but such research contributes much to the ongoing development of ethnomusicology and popular music studies.
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Date Issued: 2007
Identifier: FSU_migr_etd-0425
Format: Thesis

Title: The Life and Music of John Boda with an Emphasis on His Saxophone Works.
Creator: Powell, Daniel, Meighan, Patrick, Mathes, James, Kowalsky, Frank, keesecker, Jeff, Hodges, Anne, College of Music, Florida State University
Abstract/Description: John Boda (1922-2002) was a highly accomplished pianist, conductor, composer, and professor. His diverse musical talents and eclectic hobbies defined him and influenced countless students, colleagues, friends and family members. During his long and productive music career, he taught at The Florida State University for fifty-three years and wrote more than 150 compositions for every genre except opera. This study explores the life and music of Boda with particular attention given to his...
Show moreJohn Boda (1922-2002) was a highly accomplished pianist, conductor, composer, and professor. His diverse musical talents and eclectic hobbies defined him and influenced countless students, colleagues, friends and family members. During his long and productive music career, he taught at The Florida State University for fifty-three years and wrote more than 150 compositions for every genre except opera. This study explores the life and music of Boda with particular attention given to his saxophone works. Despite his success, many of Boda's compositions are unpublished and unrecognized for their merit. Of the four pieces he wrote for the saxophone, Perambulations (1977), Forest Sounds and Dance (1982), Concert Piece (1982), and Two Movements for Saxophone Quartet (1983), none are published and only two are listed in A Comprehensive Guide to the Saxophone Repertoire 1844-2003 by Jean-Marie Londeix. These works are valuable additions to the saxophone repertoire and warrant awareness within the saxophone community. Chapter One is a biography of John Boda, focusing on his musicianship. Chapter Two is a summary of Boda's compositional style at various stages throughout his career. Many compositions are referenced to illustrate the continuity of structure and form in his pieces. Chapters Three, Four, Five, and Six, respectively, examine each of Boda's four saxophone works. A historical background and stylistic overview are given for each piece and musical examples are taken from original manuscripts.
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Date Issued: 2009
Identifier: FSU_migr_etd-0444
Format: Thesis

Title: Form and Style in the Music of U2.
Creator: Endrinal, Christopher James Scott, Clendinning, Jane Piper, Mathes, James R., Shaftel, Matthew R., Brewer, Charles E., College of Music, Florida State University
Abstract/Description: The purpose of this study is to examine the formal designs and stylistic characteristics that U2 employs. It is my contention that, in addition to business savvy and commercial promotion, U2's sustained success has been a result of stylistic originality and musical complexity. The research in this dissertation is three-tiered. First, it identifies the salient sonic characteristics that distinguish U2's music from the music of other bands. Second, using those characteristics, it examines the...
Show moreThe purpose of this study is to examine the formal designs and stylistic characteristics that U2 employs. It is my contention that, in addition to business savvy and commercial promotion, U2's sustained success has been a result of stylistic originality and musical complexity. The research in this dissertation is three-tiered. First, it identifies the salient sonic characteristics that distinguish U2's music from the music of other bands. Second, using those characteristics, it examines the various formal organizations U2 uses throughout its catalogue. This step requires analysis of each section's function and relationship to surrounding sections as well as to the song as a whole, which entails detailed examination of several elements including harmony, melody, lyrics, instrumentation, timbre, recording and production techniques, rhythm, meter, and motivic content. Third, I provide detailed analyses of several songs across the band's career to demonstrate how U2 constructs songs and how each member incorporates his own unique musical perspective into these formal designs. This study adopts a hybrid outlook on form and formal process, one that combines aspects of several different theories of form with original analytical strategies. I employ both "bottom-up" and "top-down" approaches to formal construction, graphical analysis in the form of electronic waveforms and spectrographs, as well as linear reductive methods, and traditional rhythmic, metric, melodic, and harmonic analysis.
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Date Issued: 2008
Identifier: FSU_migr_etd-0564
Format: Thesis

Title: Gene Brooks and His Contributions to the American Choral Directors Association.
Creator: Zamer, Craig, Fenton, Kevin A., Gerber, Larry, Thomas, André J., Bowers, Judy, College of Music, Florida State University
Abstract/Description: In his thirty years as Executive Director of ACDA, Dr. Gene Brooks has demonstrated his passion for choral music through his work in the organization. The present study documents (1) Brooks' development from childhood through his early career as a musician and choral music educator; (2) his early involvements with ACDA; and (3) his contributions to ACDA as Executive Director. This study concludes that the contacts Brooks made in his early childhood proved to be beneficial in his work with...
Show moreIn his thirty years as Executive Director of ACDA, Dr. Gene Brooks has demonstrated his passion for choral music through his work in the organization. The present study documents (1) Brooks' development from childhood through his early career as a musician and choral music educator; (2) his early involvements with ACDA; and (3) his contributions to ACDA as Executive Director. This study concludes that the contacts Brooks made in his early childhood proved to be beneficial in his work with ACDA. Brooks' relationship with Louise D. McMahon and the McMahon Foundation allowed him to raise funds needed for the building of the original ACDA Headquarters in Lawton, Oklahoma, the expansion of the Lawton headquarters, and the McMahon International Museum of Choral Music which is part of the new national headquarters in Oklahoma City, Oklahoma. Former ACDA Presidents and officers credit Brooks for the financial success of ACDA, and for his commitment to promoting the organization and the choral music art through divisional and national conventions. Brooks enlisted Raymond W. Brock to establish the ACDA Endowment, which supports several projects and awards, including the Raymond W. Brock Commissions, the Raymond W. Brock Memorial Student Composition Competition, the Student Conducting Competition, the Colleen J. Kirk Award, the Allen Lannom Award, and the James Mulholland Fellowship. During Brooks' tenure, the membership of the organization grew from 4,000 to over 20,000.
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Date Issued: 2007
Identifier: FSU_migr_etd-0595
Format: Thesis

Title: Educational Values of Popular Musicians.
Creator: Zacharias, Melissa, VanWeelden, Kimberly, Dunnigan, Patrick, Kelly, Stephen, College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate the musical demographics and educational values of popular musicians and music education majors. Participants (N=60) were musicians performing popular music (n=30) and undergraduate and graduate music education majors (n=30) at a large southeastern university. All participants responded to the same questionnaire, which included personal and musical demographics, such as age, gender, musical training, school experience, as well as instruments and...
Show moreThe purpose of this study was to investigate the musical demographics and educational values of popular musicians and music education majors. Participants (N=60) were musicians performing popular music (n=30) and undergraduate and graduate music education majors (n=30) at a large southeastern university. All participants responded to the same questionnaire, which included personal and musical demographics, such as age, gender, musical training, school experience, as well as instruments and styles played. The second section of the questionnaire addressed participants' musical values, as evidenced by their Likert-type ratings of eleven musical goals, which were based on the national standards for music education. Participants also listed their opinion concerning the most important skill for a musician to have. Results displayed many similarities between the two groups. Among the differences in demographics was a higher average number of styles of music played reported by popular musicians. Ratings of musical goals revealed that music education majors value singing, reading, listening, and having formal training significantly higher than popular musicians. A high number of participants from both groups reported aural skills as the most important skill for a musician to have. Significant differences in ratings of musical goals were also found between: participants with and without self-teaching, participants playing classical music and those not playing classical, and participants playing rock and those not playing rock. Recommendations for further research include using a mixed approach of questionnaires and interviews.
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Date Issued: 2011
Identifier: FSU_migr_etd-0596
Format: Thesis

Title: Evolution of Choral Sound of the St. Olaf Choir and the Westminster Choir.
Creator: Zabriskie, Alan, Fenton, Kevin, Shaftel, Matthew, Thomas, André J., Bowers, Judy, College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the evolution of choral sound of the St. Olaf Choir and the Westminster Choir, by describing the choral sound employed by each conductor throughout the history of the choirs including F. Melius Christiansen, Olaf C. Christiansen, Kenneth Jennings, and Anton Armstrong of the St. Olaf Choir and John Finley Williamson, George Lynn, Joseph Flummerfelt, and Joe Miller of the Westminster Choir. After describing each conductor's desired choral sound, their...
Show moreThe purpose of this study was to examine the evolution of choral sound of the St. Olaf Choir and the Westminster Choir, by describing the choral sound employed by each conductor throughout the history of the choirs including F. Melius Christiansen, Olaf C. Christiansen, Kenneth Jennings, and Anton Armstrong of the St. Olaf Choir and John Finley Williamson, George Lynn, Joseph Flummerfelt, and Joe Miller of the Westminster Choir. After describing each conductor's desired choral sound, their methodologies were determined using the following research questions: 1) What methodologies were utilized by each conductor in the selection of singers? 2) What methodologies were utilized by each conductor in the placement of singers? 3) What methodologies were utilized by each conductor with regards to vowels and diction? 4) What methodologies were utilized by each conductor with regards to vocal pedagogy? The St. Olaf Choir began by achieving a blended overall choral sound that matched the tone quality of one individual voice in each section. The choral sound evolved to include an ensemble of intelligent soloists based on the lyric, art-song approach to singing. F. Melius Christiansen sought a dark blended choral sound where singers matched individual tone quality to that of an ideal. Olaf Christiansen developed a bright overall choral sound that emphasized clarity and meaning of text. Kenneth Jennings produced a free, relaxed choral sound by developing a lyric, art-song approach to choral singing. Anton Armstrong also crafted a lyric art-song approach to choral sound, but one that was made up of a combination of intelligent soloists. In the beginning, the main choral sound created by the Westminster Choir consisted of a group of singers who produced their own individual tone quality, which was full, dark, and vibrant. The sound has evolved to include a greater emphasis on core, resulting in a bright, blended choral sound. John Finley Williamson sought a dark, rich, vibrant tone quality that emphasized the individual voices within the ensemble rather than blend. George Lynn approached choral sound in a similar way to John Finley Williamson. Joseph Flummerfelt also employed a soloistic approach to choral singing, but achieved a sense of blend through rhythmic alignment of vowels and placement of singers. Joe Miller generated a core in the choral sound that resulted in a bright, less-soloistic overall sound.
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Date Issued: 2010
Identifier: FSU_migr_etd-0673
Format: Thesis

Title: The Musicologist Behind the Composer: The Impact of Historical Studies Upon the Creative Life in Joaquín Rodrigo's Guitar Compositions.
Creator: Donis, Josã© Antonio, Brewer, Charles E., Kite-Powell, Jeffery T., Holzman, Bruce, College of Music, Florida State University
Abstract/Description: The neoclassical movement in France influenced Spanish composers whose classical musical culture had been exhausted and overplayed. The Spanish composers of the early Twentieth Century were looking for new and fresh ideas to include in their musical works. Although some Spanish composers had great success composing in late Romantic and impressionist styles, French neoclassicism was the new concept they needed in order to transform their compositions from having only local significance into...
Show moreThe neoclassical movement in France influenced Spanish composers whose classical musical culture had been exhausted and overplayed. The Spanish composers of the early Twentieth Century were looking for new and fresh ideas to include in their musical works. Although some Spanish composers had great success composing in late Romantic and impressionist styles, French neoclassicism was the new concept they needed in order to transform their compositions from having only local significance into works which would have an artistic impact outside of Spain. JoaquÃn Rodrigo was influenced by this new trend, and, in turn, created his own style of Spanish neoclassicism known as neocasticismo. Apart from composition, Rodrigo was also interested in musicology, which he studied while in Paris in the mid 1930s. He presented these interests through various media. As a musicologist, he wrote a paper about the vihuela and vihuelist composers of the Sixteenth Century, which he presented in 1936 at an event celebrating the works of the sixteenth-century Spanish composer Luis de Milán. In his music, Rodrigo incorporated in his guitar works the forms and compositional techniques commonly found in Renaissance, Baroque, and Classical music. Moreover, he quoted several works by prominent sixteenth- and seventeenth-century composers. This thesis illustrates how JoaquÃn Rodrigo's interest in musicology influenced what and how he composed for guitar, and demonstrates how Rodrigo contributed to Spanish musicology by revealing the importance of sixteenth-century vihuelist composers. The paper Rodrigo wrote is transcribed in its original Spanish along with an English translation, followed by a brief analysis of the paper. This thesis also elucidates the importance of Rodrigo's guitar compositions within a musicological and historical context. Finally this research essentially shows how Rodrigo combined his musicological studies and interests along with his knowledge of composition to create guitar works that led him to worldwide fame and popularity. Analysis of three guitar concertos provides evidence of the use of musicological research as a tool, resource, and influence in these works.
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Date Issued: 2005
Identifier: FSU_migr_etd-0709
Format: Thesis

Title: Women in Music: The Experiences of Bassoonists Nancy Goeres, Judith Leclair, Isabella Plaster, and Jane Taylor.
Creator: Woolly, Kimberly A., Keesecker, Jeff, Croft, James, Fowler, Nancy, Kowalsky, Frank, College of Music, Florida State University
Abstract/Description: Women have participated in making music for centuries, but it has only been since the latter part of the twentieth century that women have been widely accepted into the arena of public performance. With few exceptions, nineteenth-century women were to perform only in the home with small gatherings of friends and family. Conductors and male musicians felt that female musicians were unsuited both physically and technically for the orchestra. The most commonly accepted instruments a woman could...
Show moreWomen have participated in making music for centuries, but it has only been since the latter part of the twentieth century that women have been widely accepted into the arena of public performance. With few exceptions, nineteenth-century women were to perform only in the home with small gatherings of friends and family. Conductors and male musicians felt that female musicians were unsuited both physically and technically for the orchestra. The most commonly accepted instruments a woman could play were the piano, harp and string instruments. Wind instruments were deemed too difficult and unsightly for women to play, particularly the larger instruments that were awkward to hold or took large amounts of air to play. Society of the period perceived the bassoon as one of these instruments. In the present day, through their successes in their respective positions, Nancy Goeres, Judith LeClair, Isabelle Plaster, and Jane Taylor have become prominent in the bassoon-playing world. They describe, in their words, the journey they took to get where they are. By reading their stories it is possible to see how the roles of women in music have changed since the nineteenth century.
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Date Issued: 2003
Identifier: FSU_migr_etd-0759
Format: Thesis

Title: Musical Change and Contunuity of Huayin: The Essence of Chinese Zheng Music.
Creator: Deng, Haiqiong, Koen, Ben, Gunderson, Frank, Clendinning, Jane Piper, College of Music, Florida State University
Abstract/Description: In this thesis, I use huayin (the left-hand bending techniques on the zheng) as a tool to discuss the evolution and continuity of modern zheng music. My focus is on bringing out ancient aesthetic and philosophical meanings that are embedded within traditional zheng music, and comparing these meanings to the multi-faceted cultural and social changes of the modern world. Moreover, modern zheng musicians' thoughts become my focal point while discussing the transformation of the contemporary...
Show moreIn this thesis, I use huayin (the left-hand bending techniques on the zheng) as a tool to discuss the evolution and continuity of modern zheng music. My focus is on bringing out ancient aesthetic and philosophical meanings that are embedded within traditional zheng music, and comparing these meanings to the multi-faceted cultural and social changes of the modern world. Moreover, modern zheng musicians' thoughts become my focal point while discussing the transformation of the contemporary zheng tradition. I also integrate my own reflections along with the selected interviews. By reexamining the use and transformation of the zheng tradition through the lens of the huayin, I aim to reflect the essential aesthetic and philosophical meanings in Chinese zheng musical culture, and reemphasize the value of these meanings when dealing with the ever-changing modern tradition.
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Date Issued: 2006
Identifier: FSU_migr_etd-0765
Format: Thesis

Title: First Remembrances of Creative Musical Activity.
Creator: Woodward, Gregory A., Madsen, Clifford K., Gaber, Brian, Brewer, Charles, Bowers, Judy, College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine creative musical development through a multidisciplinary review of literature and college student metanarratives, which focused on first remembrances of music creativity and developmental events that led to and followed first remembrances. Initial information was gathered through surveys. An interview format was used in order to obtain more in-depth information. The interviewee sample included 20 students at a large university in a southeastern state....
Show moreThe purpose of this study was to examine creative musical development through a multidisciplinary review of literature and college student metanarratives, which focused on first remembrances of music creativity and developmental events that led to and followed first remembrances. Initial information was gathered through surveys. An interview format was used in order to obtain more in-depth information. The interviewee sample included 20 students at a large university in a southeastern state. This group of interviewees included 15 music majors and 5 non-music majors. The music majors were further divided into the following categories: (a) music education, (b) music business, (c) music composition, and (d) Bachelor of Arts in music. All of the interviewees had participated in creative musical activity, and they provided a wide range of ages for their first remembrances of creative musical activity. The age of a first remembrance was partially determined by the student's willingness to label a particular activity with a creative term such as improvisation or composition. This researcher examined creative development through four categories of influence: (a) what are interpretive frameworks for creative development, (b) where and with whom does creativity occur, (c) how does creativity occur, and (d) why does creativity occur. The interviewees' perceptions of past experiences and inner motivation appeared to determine their willingness to create. All of the interviewees appeared to be willing to create music during childhood even though their social contexts often did not promote such activity. During adolescence, some of the interviewees successfully engaged in creative musical activity independently or in a comfortable social setting. Upon reaching adulthood, students who had successfully participated in creative musical activities at the adolescent level continued to do so, but a desire to create appeared to override the absence of past creative experiences. Thus, music creativity appeared to be accessible even for adult students with minimal formal music training, particularly in the form of creative thinking. These students may be willing to think creatively with music or about music if they are shown the importance of music in their identities.
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Date Issued: 2006
Identifier: FSU_migr_etd-0774
Format: Thesis

Title: Bakhtin and Genre: Musical-Social Interaction at the Cape Breton Milling Frolic.
Creator: Woods, Bret D., Gunderson, Frank, Galeano, Juan Carlos, Bakan, Michael B., Brewer, Charles E., College of Music, Florida State University
Abstract/Description: This dissertation explores a Bakhtinian approach to genre and musical-social interaction, and the ways in which they serve the invention of various categories of identity, as evident in the milling frolic. The milling frolic is a social musical gathering where people celebrate their cultural heritage through the singing of a body of Scottish Gaelic songs, while reenacting a labor tradition. The genres consist of an ever-growing and ever-changing repertoire of songs that ebb and flow in a...
Show moreThis dissertation explores a Bakhtinian approach to genre and musical-social interaction, and the ways in which they serve the invention of various categories of identity, as evident in the milling frolic. The milling frolic is a social musical gathering where people celebrate their cultural heritage through the singing of a body of Scottish Gaelic songs, while reenacting a labor tradition. The genres consist of an ever-growing and ever-changing repertoire of songs that ebb and flow in a continuum of music that perpetually reinvents and rediscovers concepts of tradition. In music, genres provide a tangible connection among people and place through communication and interpretation. The cultural traditions, real and invented, emerge and are made evident through dialogic performance. Bakhtin observed that people communicate through genres—contextually defined and articulated expressions that negotiate perception and interaction. I further this notion in that, beyond a simple taxonomic classification of varying styles of music, genres constitute the communicative framework through which all musical-social distinction is made relevant. If language is one type of communicative social interaction, then Bakhtin's literary genre model can be applied to other social interactions in the same theoretical sense; specifically with music and other performative social situations, genre is a pragmatic link that brings together text and context, form and function, performer and audience—genre networks—in varying hierarchical dimensions of both communication through music and speech utterances about musical experience and reception. Essentially, genre makes all communication possible in the social dimension. In understanding the various ways in which Gaelic song genres are important for Cape Bretoners, a more fundamental understanding of Cape Breton Gaelic identity can be achieved. I use genre theory to articulate the social distinctions regarding the traditional music of Cape Breton as performed at the milling frolic, and within these hierarchies articulate the way in which genres allow people to identify with themselves, their environment, and each other. Such a framework will provide a fitting metaphor for the negotiation of Gaelic and Celtic identity in Cape Breton, through varying dimensions. Indeed, genre theory and social anthropology can be applied to many popular interdisciplinary concepts in the field of ethnomusicology, such as invented tradition, imagined communities, and the link between changing contexts and changing ideas about textual meaning.
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Date Issued: 2011
Identifier: FSU_migr_etd-0775
Format: Thesis

Title: Violin Bow Construction and Its Influence on Bowing Technique in the Eighteenth and Nineteenth Centuries.
Creator: Dell'Olio, Pepina, Chapo, Eliot, Brewer, Charles E., Punter, Melanie, College of Music, Florida State University
Abstract/Description: The following treatise is based on information that relates to the bow construction and its influence on the bowing technique of the eighteenth and nineteenth centuries. This period is especially important because major changes happened in this period. In the history of the bow's development, there were many different shapes of the bows. Among them were the short French bow that was found among the players of dances and the long Italian bow used for playing the sonatas. It was in the second...
Show moreThe following treatise is based on information that relates to the bow construction and its influence on the bowing technique of the eighteenth and nineteenth centuries. This period is especially important because major changes happened in this period. In the history of the bow's development, there were many different shapes of the bows. Among them were the short French bow that was found among the players of dances and the long Italian bow used for playing the sonatas. It was in the second half of the eighteenth century that the bow took its final form owing to Tourte, an excellent bow maker. He made major changes that contributed to performing various bow strokes. In the romantic period there was an intention to imitate the human voice and the modern Tourte bow facilitated this need. Therefore, more sustained musical phrases were encountered after its emergence. There are several violin methods that relate to the bowing technique of the eighteenth and nineteenth centuries. Among them are treatises by Francesco Geminiani, Leopold Mozart, Giuseppe Tartini, Jean-Baptiste Lully's analysis explained by Georg Muffat, Louis Spohr, and Pierre Baillot. Geminiani offered information regarding the various expressive elements in music. Mozart wrote a treatise in which he analyzes "correct" and "incorrect" bow grips. He also discusses four dynamic divisions that are important in playing various dynamic shadings with the pre-Tourte bow. Mozart mentioned in his treatise the important rule of the down-bow that was first found in Italian music. Mozart suggested that each measure should start with the down-bow stroke in order to emphasize the strong beats in the measures. Muffat also explained the importance of the down-bow rule (based on information by Lully) that was so much discussed between the authors of violin methods. Many authors of that time accepted this rule. However, Geminiani and Tartini emphasized that all the strokes should be practiced with both down and up-bow. Nevertheless, the rule of the down-bow was accepted by a majority of the authors of that time. Various bow grips co-existed in the eighteenth and nineteenth centuries and L'abbe le fils was a supporter of the bow hold at the frog, which was in contradiction to that of Geminiani who emphasized that the bow should be held a little above the frog (but not at it). Spohr was a follower of holding all four fingers together, which was a different technique to that of Mozart who was a supporter of separating the index finger from the others in order to achieve a powerful sound. Baillot wrote a massive treatise in which he explained the various bow strokes that existed in the period before and after Tourte. The major transformation that happened in the late eighteenth century influenced changes and improvements in sound as well as supplying the solo performers with a great device such as the modern Tourte bow. Thanks to the improvements that Tourte invented, the bow is able to produce the best possible sound on the violin and to give us all the pleasure that is found in the music.
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Date Issued: 2009
Identifier: FSU_migr_etd-0773
Format: Thesis

Title: A Preliminary Investigation into the Effects of a Brief Mindfulness Induction on Perceptions of Attention, Aesthetic Response, and Flow during Music Listening.
Creator: Diaz, Frank Michael, Madsen, Clifford K., Jiménez, Alexander E., Chapo, Eliot, Geringer, John M., Allen, Michael, College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate the effects of a brief mindfulness induction technique on subjective reports of attention, aesthetic response, and flow during music listening as measured by Continuous Response Digital Interface (CRDI) and questionnaire. Additionally, differences between aesthetic response and flow were explored in the context of verbal and CRDI responses. Participants were undergraduate and graduate students enrolled in music classes or ensembles at the College...
Show moreThe purpose of this study was to investigate the effects of a brief mindfulness induction technique on subjective reports of attention, aesthetic response, and flow during music listening as measured by Continuous Response Digital Interface (CRDI) and questionnaire. Additionally, differences between aesthetic response and flow were explored in the context of verbal and CRDI responses. Participants were undergraduate and graduate students enrolled in music classes or ensembles at the College of Music at Florida State University (N=132), and were randomly assigned to one of four groups: mindfulness induction paired with aesthetic response (n=34), mindfulness induction paired with flow response (n=35), aesthetic response (n=32), and flow response (n=31). For all groups, a questionnaire was used to gather data on self-reported measures of attention, and all participants were asked to manipulate a CRDI which registered either their aesthetic or flow response to a 10 ½ minute audio excerpt of Giacomo Puccini's opera, La Bohème. In groups in which a mindfulness induction was used, participants were asked to listen to a previously recorded fifteen minute guided mindfulness audio presentation and report on their experiences. Responses to Likert-type questionnaire items suggests that participants experienced a subjective "heightening" of attention during music listening compared to baseline in all conditions, with no specific modification attributable to the mindfulness task. A majority of respondents in the mindfulness groups, however, reported that the task had modified their listening experience by increasing their ability to focus on the music without distraction. Composite CRDI graphs suggest unique response patterns between groups based on both the presence of a mindfulness task as well as the construct for focus of attention (flow or aesthetic response). In general, composite graphs for flow indicated less decrease in response magnitude between the end of peak responses compared with aesthetic response, and longer and higher magnitude plateau responses. For aesthetic response groups, mindfulness increased the overall magnitude of peak responses, and decreased the depth of valley responses. In flow response groups, mindfulness attenuated both peaks and valleys and increased plateaus. Additionally, verbal accounts imply phenomenological differences between flow and aesthetic responses, with each accounting for a unique type of heightened and positively valenced psychological experience.
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Date Issued: 2010
Identifier: FSU_migr_etd-0736
Format: Thesis

Title: A Conductor's Guide to the Wind Music of Joseph Schwantner with a Transcription of the Composer's "New Morning for the World".
Creator: Pilato, Nikk, Clary, Richard, Jiménez, Alexander, Allen, Michael, Dunnigan, Patrick, Madsen, Clifford, College of Music, Florida State University
Abstract/Description: This study is an examination of the music for wind ensemble by Joseph Scwhantner. It is divided into two parts: a transcription of the composer's New Morning for the World (originally for Narrator and Orchestra), and a study of the composer's four original works for winds: ...and the mountains rising nowhere, From a Dark Millennium, In evening's stillness..., and Recoil, with emphasis on guiding the conductor through the many challenges presented by Schwantner's music.
Date Issued: 2007
Identifier: FSU_migr_etd-0737
Format: Thesis

Title: Industrial Music for Industrial People: The History and Development of an Underground Genre.
Creator: Woods, Bret D., Gunderson, Frank D., Bakan, Michael B., Clendinning, Jane Piper, College of Music, Florida State University
Abstract/Description: Industrial music was born in 1976 in London, England with the creation of Industrial Records. Originally, "industrial music" referred to the musical output of the label, which included a variety of experimental, electronic, often noise-oriented compositions, altered instruments, and music-accompanied performance art. The first artists that recorded at Industrial Records were Throbbing Gristle, Non (Boyd Rice), Cabaret Voltaire, The Leather Nun, Surgical Penis Klinik, and Clock DVA; each...
Show moreIndustrial music was born in 1976 in London, England with the creation of Industrial Records. Originally, "industrial music" referred to the musical output of the label, which included a variety of experimental, electronic, often noise-oriented compositions, altered instruments, and music-accompanied performance art. The first artists that recorded at Industrial Records were Throbbing Gristle, Non (Boyd Rice), Cabaret Voltaire, The Leather Nun, Surgical Penis Klinik, and Clock DVA; each sharing a similar anti-bourgeois rejection of mainstream culture and social order. Since those early days (often deemed the "first wave," 1976–c.1982) industrial music has come to represent any underground electronic music either directly tied to or influenced by Industrial Records as well as those musicians who share in the cultural and musical aesthetic of industrial. In the second decade as the genre grew in relative popularity (referred to as the "second wave," c.1982–c.1990), several sub-genres emerged and many bands began to change the shape, sound, and style of the genre as the fan base became more populous and diverse. This thesis examines the elements that comprise this broadly-encompassing music genre, the influence it has had throughout history, and its current concepts and practice in order for a well-informed and contextually working definition to become evident. What follows is a look into the history of industrial music since its inception three decades ago, as well as a genre-based approach to music. The focus of this study is three-fold. First, the ambiguity of industrial music will be addressed by discussing the history and development of the genre. Second, the textual versus contextual aspects of industrial culture, and of the music itself, will be explored. Lastly, the nature of genre in music will be addressed. This thesis will look at genre in the theoretical sense, as it represents communication in culture. In communication about music–stylistic elements, genre classification, influences, history, and sound–generalized speech become part of a dialogue which consists of shared understanding about issues of text and context concerning the music. In industrial culture we can see an example of how these issues can generate debate regarding the nature of genre, as well as how genre studies can reveal an understanding of the music not only through its purely musical features, but through communicative elements of culture.
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Date Issued: 2007
Identifier: FSU_migr_etd-0781
Format: Thesis

Title: Assessment and Grading in the Beginning Band Classroom.
Creator: Antmann, Michael, Kelly, Steven, Dunnigan, Patrick, VanWeelden, Kimberly, College of Music, Florida State University
Abstract/Description: While much attention has been given to the need for assessment and accountability in education, little research has been done showing how to assess and grade music students effectively. There is very little research or information about the grading and assessment in the beginning band, a stage that might possibly be the most important concerning instrumental music. The study sought to determine how and what successful middle school band directors are assessing in beginning band, and how that...
Show moreWhile much attention has been given to the need for assessment and accountability in education, little research has been done showing how to assess and grade music students effectively. There is very little research or information about the grading and assessment in the beginning band, a stage that might possibly be the most important concerning instrumental music. The study sought to determine how and what successful middle school band directors are assessing in beginning band, and how that information is being used when grading students. Surveys were sent to band directors at middle schools with "successful" middle school band programs. The survey asked the participants to rate how often they used various assessment tools, how often they used various assessment tools in determining a student's grade, how important various categories are in a performance assessment, and how often various musical skills are assessed in a beginning band class. For this study, "successful" middle school band programs were defined as band programs who have received a "superior" rating at the Florida Bandmasters Association district concert band music performance assessment with at least one band each of the last four years (N = 59). Surveys were returned by 27 directors (45.8%). Results found that performing on instruments and reading/notating music were the most commonly assessed skills by the participants. The most commonly used assessment tool was found to be the individual playing test. The participants rated posture and air support as the two most important criteria in a beginning band student performance assessment. Finally, the participants rated playing tests, concert attendance, conduct/discipline, and participation as the most important factors in determining a student's final grade.
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Date Issued: 2007
Identifier: FSU_migr_etd-0224
Format: Thesis

Title: Symphony No. 2.
Creator: Anderson-Himmelspach, Neil, Kubík, Ladislav, Thomas, André J., Wingate, Mark, Callender, Clifton, College of Music, Florida State University
Abstract/Description: Symphony No. 2 is an attempt at synthesizing differing musical styles into a single cohesive symphonic work. The musical styles that are consciously alluded to in the symphony are the block textures of Stravinsky and Xenakis, 19th c. lyricism of Brahms and Mahler, aleatoric passages similar to that of Lutos³awski and Corigliano, spectral orchestration of Grisey and Lindberg, and the melodic and harmonic language of Berg and Ives. I started composing this piece by improvising on an (012)...
Show moreSymphony No. 2 is an attempt at synthesizing differing musical styles into a single cohesive symphonic work. The musical styles that are consciously alluded to in the symphony are the block textures of Stravinsky and Xenakis, 19th c. lyricism of Brahms and Mahler, aleatoric passages similar to that of Lutos³awski and Corigliano, spectral orchestration of Grisey and Lindberg, and the melodic and harmonic language of Berg and Ives. I started composing this piece by improvising on an (012) trichord. I wanted to see if I could successfully compose a piece using highly chromatic materials. I extended the (012) trichord into a motive that is pervasive throughout the piece. The thematic material reveals itself in all of the movements except the prologue. The thematic unity allows the piece to be performed straight through without pause; except for the end of the first movement where there is an inclusion of a grand pause. The Prologue is a quasi-fanfare that is in three sections. This brief A section, mm.1-13, explodes quickly into a boisterous repetition by the brass and percussion that followed by a brief moment of silence. The B section, mm. 15-27, is characterized by the timpani and chimes making a declamation and then being answered by the woodwinds. This happens three times. The third timpani and chimes declamation is answered by the entire orchestra making a dramatic reinterpretation of the boisterous repetition of the first A section, mm. 28-39. The prologue leads directly into the first movement. Movement I is a sonata form with a very short recapitulation. The sections are as follows; A mm. 40-52, B mm. 55-86, closing mm. 89-104. Section A is rhythmically inspired and is in stark contrast to the lyrical B section. The development is heard in mm. 114-209 and develops primarily the B section material. The recapitulation is heard from mm. 210-225 and uses only the A and the closing sections. Movement I ends with a coda that has the timpani make a solo declamation of the material heard in the prologue. The melodic material from section B that is presented in the first movement is the primary melodic material that is used throughout the rest of the symphony. The initial melodic fragment, mm. 55-57, is highly chromatic seven note pitch collection. Movement II has three sections that each end with a climactic moment, A mm.243-265, B mm. 266-282, C mm. 282-295. After the climactic moment the energy level backs off immediately and the energy begins building again. An introduction and coda frame the three waves of energy heard in the second movement. The second movement employs a 12-tone serial technique as its primary melodic and harmonic framework. This technique is not strictly used. There are moments where esthetic musical intuition prevails over adherence to the serial technique. The row as it was conceived is performed by the first violins in mm. 238-243. Movement III is parsed into three sections similar to the Prologue and Movement II. The first section is from mm. 32-369, the second is from mm. 370-401, and the third mm. 401-435. There is a coda at the end of this movement that opens the dense texture that has been used throughout this movement into a much more transparent orchestration. The solo viola that opens the movement is the first thing that was written for the Symphony. This line is the generator for most of the melodic material for the entire symphony. For example, the first six pitches, excluding grace notes, of the viola line were used as a spectral chaconne in the development section of the first movement. Another way the viola line was worked into the piece was using the quintuplet from m. 331 as the melody in the coda of the third movement. These are just two of the many places that the viola solo contributes to the melodic and harmonic framework of Symphony No. 2.
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Date Issued: 2009
Identifier: FSU_migr_etd-0201
Format: Thesis

Title: Experienced Teachers Use of Time in Choral Rehearsals of Beginning and Advanced Choirs.
Creator: Arthur, Judy Russell, Bowers, Judy K., Corzine, Michael, Madsen, Clifford K., Thomas, Andre J., Fenton, Kevin, College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate instructional pace by observing choral rehearsals of experienced teachers, describing teacher and student behaviors, and comparing usage of time to multiple descriptions of pacing drawn from the literature. Five teachers were selected based on professional and educational qualifications. Subjects were videotaped in two rehearsals, one regular rehearsal of their beginning choir and advanced choir. Teacher and student behaviors were observed and...
Show moreThe purpose of this study was to investigate instructional pace by observing choral rehearsals of experienced teachers, describing teacher and student behaviors, and comparing usage of time to multiple descriptions of pacing drawn from the literature. Five teachers were selected based on professional and educational qualifications. Subjects were videotaped in two rehearsals, one regular rehearsal of their beginning choir and advanced choir. Teacher and student behaviors were observed and recorded in seconds for analysis. Categories of behaviors were developed using existing categories from previous studies as models. Six of the 10 rehearsals used a rehearsal structure that varied familiar with new music, easy with difficult and changed pace frequently (Cox, 1989, Structure C). After behaviors were recorded and analyzed, the beginning choirs showed a mean of 4.5 rehearsal segments (major activity shifts), advanced choirs showed a mean of 3.8 rehearsal segments, and all 10 recorded at least 3 rehearsal segments. The shortest rehearsal segment was 4.6% of the total rehearsal time, and the longest was 49.7%. All observed rehearsals contained examples of faster and slower pacing. Consistent with previous studies, teacher instruction and student performance were the highest recorded behaviors. Mean durations of teacher instruction were 17 and 16 seconds (beginning and advanced) and 26 and 31 seconds of student performance (beginning and advanced). The lowest rate per minute (change of activity) for any rehearsal segment was .75 and the highest rate per minute was 7.7. The mean rate per minute for beginning choirs was 2.94 (teacher) and 3.04 (student). For advanced choirs the mean rate per minute was 3.53 (teacher) and 2.74 (student). Three teachers were more approving than disapproving and ratios of student response to teacher feedback varied widely from 2:1 to 6:1. These results indicate pacing is a complex part of effective teaching and good teachers with classroom experience use fast and slow pacing in rehearsals, suggesting that slow may play an important role in pace within the full rehearsal. Pacing a choral rehearsal is an essential part of a music teacher's repertoire of effective teaching strategies, thus more study is needed. of teacher instruction were 17 and 16 seconds (beginning and advanced) and 26 and 31 seconds of student performance (beginning and advanced). The lowest rate per minute (change of activity) for any rehearsal segment was .75 and the highest rate per minute was 7.7. The mean rate per minute for beginning choirs was 2.94 (teacher) and 3.04 (student). For advanced choirs the mean rate per minute was 3.53 (teacher) and 2.74 (student). Three teachers were more approving than disapproving and ratios of student response to teacher feedback varied widely from 2:1 to 6:1. These results indicate pacing is a complex part of effective teaching and good teachers with classroom experience use fast and slow pacing in rehearsals, suggesting that slow may play an important role in pace within the full rehearsal. Pacing a choral rehearsal is an essential part of a music teacher's repertoire of effective teaching strategies, thus more study is needed.
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Date Issued: 2002
Identifier: FSU_migr_etd-0241
Format: Thesis

Title: The Effect of Patient Preferred Live versus Recorded Music on Non-Responsive Patients in the Hospice Setting as Evidenced by Physiological and Behavioral States.
Creator: Segall, Lorna E., Darrow, Alice-Ann, Standley, Jayne M., Gregory, Dianne, College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the effect of music therapy interventions utilizing two types of patient-preferred music—recorded and live, on the behavior states, respiration rates and heart rates of hospice patients who were labeled non-responsive. Participants were 10 older adults (ranging from 60-90 years of age) who were labeled by a nurse or family support counselor as non-responsive. For this study, non-responsive was defined as not reacting to vocal stimulation. Each...
Show moreThe purpose of this study was to examine the effect of music therapy interventions utilizing two types of patient-preferred music—recorded and live, on the behavior states, respiration rates and heart rates of hospice patients who were labeled non-responsive. Participants were 10 older adults (ranging from 60-90 years of age) who were labeled by a nurse or family support counselor as non-responsive. For this study, non-responsive was defined as not reacting to vocal stimulation. Each participant participated in sessions that were 40 minutes in length occurring on two consecutive days. The design for this study was Day 1: ABCA and Day 2: ACBA, with A-initial baseline condition, B-participant-preferred recorded music, C-participant-preferred live music, A-return to baseline condition, and patient-preferred live and recorded music conditions alternated between days. All sessions were videotaped for analysis and coded to measure the time participants spent in each of the eight behavior states according to the behavioral state coding system (Guess et al., 1990). Results indicated that the patient-preferred live music condition was significantly more effective than the patient-preferred recorded music condition and the baseline condition in eliciting participants' most alert states. Further analysis revealed no significant difference between the baseline, patient-preferred live music, or participant-preferred recorded music conditions on participants' respiration or heart rates. The live versus recorded music findings of the present study have important implications for the role of music therapists in hospice programs, and for the use of nonverbal forms of communication to evaluate the responses of patients with end-of-life diagnoses.
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Date Issued: 2007
Identifier: FSU_migr_etd-0282
Format: Thesis

Title: An Analysis of Mario Castelnuovo-Tedesco's Vogelweide: Song Cycle for Baritone and Guitar.
Creator: Robles, Eric B., Shaftel, Matthew, Holzman, Bruce, Punter, Melanie, College of Music, Florida State University
Abstract/Description: Castelnuovo-Tedesco's meeting with the great Spanish guitarist, the late Andres Segovia, began a collaboration between composer and performer that lasted over thirty years. This friendship resulted in not only a wealth of solo guitar repertoire, but inspired Castelnuovo-Tedesco to write music for the guitar in combination with other instruments, including works for guitar and voice. Whereas the vocal music by his countrymen in the Nineteenth-Century had reduced lyrics to being a vehicle for...
Show moreCastelnuovo-Tedesco's meeting with the great Spanish guitarist, the late Andres Segovia, began a collaboration between composer and performer that lasted over thirty years. This friendship resulted in not only a wealth of solo guitar repertoire, but inspired Castelnuovo-Tedesco to write music for the guitar in combination with other instruments, including works for guitar and voice. Whereas the vocal music by his countrymen in the Nineteenth-Century had reduced lyrics to being a vehicle for melodic expression, Castelnuovo-Tedesco's models for vocal composition were the German-Romantic composers of Lieder. Franz Schubert, Robert Schumann, and Hugo Wolf had chosen the texts of great literary figures and tried to respect and convey these words in sound. Castelnuovo-Tedesco pursued this approach in regard to his own vocal music. This treatise attempts to support Castelnuovo-Tedesco's philosophy of musical text depiction in his song-cycle for baritone and guitar, Vogelweide. Through harmonic and formal analysis, it will be shown that Castelnuovo-Tedesco respected and conveyed Walther von der Vogelweide's text through music.
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Date Issued: 2004
Identifier: FSU_migr_etd-0299
Format: Thesis

Title: Osvaldo Lacerda: His Importance to Brazillian Music and Elements of His Musical Style.
Creator: Audi, Carlos Eduardo, Jones, Evan Allan, Olsen, Dale, Allen, Michael, Holzman, Bruce, College of Music, Florida State University
Abstract/Description: Osvaldo Costa de Lacerda (b. 1927) is one of the most important composers of contemporary Brazilian music. His musical output has already reached over three hundred and fifty works in all areas including solo, chamber, orchestral, and vocal music. In addition, in the past sixty years, he has played a central role as a representative of Brazilian musical nationalism, as a music educator, and as an active promoter of national music and musicians. Lacerda also has achieved international stature,...
Show moreOsvaldo Costa de Lacerda (b. 1927) is one of the most important composers of contemporary Brazilian music. His musical output has already reached over three hundred and fifty works in all areas including solo, chamber, orchestral, and vocal music. In addition, in the past sixty years, he has played a central role as a representative of Brazilian musical nationalism, as a music educator, and as an active promoter of national music and musicians. Lacerda also has achieved international stature, having his works published and performed in countries such as the United States, Germany, and England. This treatise discusses Lacerda's ties to Brazilian nationalism by giving a historical background of the movement and showing the influence of some of its important figures such as Alexandre Levy, Alberto Nepomuceno, Mário de Andrade, Heitor Villa-Lobos, and Camargo Guarnieri on the composer's ideas and musical style. The study also outlines Lacerda's pedagogical career as a teacher and author of music theory books, and his membership in music organizations concerned with the spread and support of Brazilian music. This treatise then analyzes selected works by Lacerda – the string quartets, and pieces for cello, oboe, voice, percussion, and solo piano – to identify and demonstrate elements of his compositional style. These elements include melodic, rhythmic, polyphonic, and harmonic patterns present in Brazilian folk and popular music that are derived from European, African, and Amerindian music. Lacerda's music also shows traits that can be traced back to the styles of Debussy, Guarnieri, and Villa-Lobos.
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Date Issued: 2006
Identifier: FSU_migr_etd-0256
Format: Thesis

Title: The Effect of Individual Music Therapy Sessions on Mood and Motivation for Progress in Physical and Occupational Therapies Among Adult Rehabilitation Patients.
Creator: Aultman, Sean C., Standley, Jayne M., Madsen, Clifford K., Gregory, Dianne, College of Music, Florida State University
Abstract/Description: The purpose of this investigation was to determine if individual music therapy sessions had an effect on state mood levels and motivation to progress in physical and occupational therapies among adult patients in an inpatient rehabilitation facility. Subjects were referred for music therapy by the facility's rehabilitation therapist or music therapy staff for issues involving depression, anxiety and low motivation in other therapies. All subjects (N=17) served as their own controls and were...
Show moreThe purpose of this investigation was to determine if individual music therapy sessions had an effect on state mood levels and motivation to progress in physical and occupational therapies among adult patients in an inpatient rehabilitation facility. Subjects were referred for music therapy by the facility's rehabilitation therapist or music therapy staff for issues involving depression, anxiety and low motivation in other therapies. All subjects (N=17) served as their own controls and were placed in a pre-test/post-test design with each instance of data collection lasting one week. During the baseline week, the music therapist assessed subjects' mood on at least three separate days. During the treatment week, subjects received at least three individual music therapy sessions that took place in the patients' rooms. Goals included increasing mood, coping skills and quality of life measures as well as decreasing depression and anxiety. Mood was assessed immediately upon concluding each session. The Profile of Mood States – Brief Form (POMS-BF) was used to measure mood while physical therapy and occupational therapy weekly progress scores were used to measure patient motivation. Results of a one-tailed repeated-measures t-test revealed significant improvements in subject POMS-BF, PT and OT scores after receiving a week of individual music therapy sessions. Findings and suggestions for future research are discussed.
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Date Issued: 2009
Identifier: FSU_migr_etd-0258
Format: Thesis

Title: An Analytical Model for the Study of Multimedia Compositions: A Case Study in Minimalist Music.
Creator: Atkinson, Sean, Shaftel, Matthew, Glahn, Denise Von, Buchler, Michael, Jones, Evan Allan, College of Music, Florida State University
Abstract/Description: The examination of multimedia compositions by minimalist composers demands the analysis of not only the music, but also the visual and narrative domains. While there are many ways of addressing the music, there are relatively few methods that engage all of the constituent domains that comprise these multifaceted works. One of these existing methods, developed by Nicholas Cook, analyzes a multimedia work using a series of models based on the literary concepts of semiotics and metaphor. However...
Show moreThe examination of multimedia compositions by minimalist composers demands the analysis of not only the music, but also the visual and narrative domains. While there are many ways of addressing the music, there are relatively few methods that engage all of the constituent domains that comprise these multifaceted works. One of these existing methods, developed by Nicholas Cook, analyzes a multimedia work using a series of models based on the literary concepts of semiotics and metaphor. However, these models fail to address the underlying meaning of the composition. This dissertation addresses the problem of uncovering meaning in minimalist multimedia works by developing a new analytical model. The new model, like Cook's models, makes use of semiotic and metaphorical concepts, but uses them in an entirely different manner. The result is a comprehensive model designed to incorporate the music, visual, and narrative domains into an all-inclusive blended meaning. To demonstrate the model, four relatively recent multimedia works by minimalist or minimalist-influenced composers are examined: Three Tales by Steve Reich, Nixon in China by John Adams, Lost Objects by Bang-on-a-Can-composers Michael Gordon, Julia Wolfe, and David Lang, and Naqoyqatsi by Philip Glass. These analyses reveal nuanced interpretations and hidden subtexts that are only accessible through the examination of the entire multimedia structure.
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Date Issued: 2009
Identifier: FSU_migr_etd-0252
Format: Thesis

Title: The Comparison of Three Selected Music/Reading Activities on Second-Grade Students' Story Comprehension, on-Task/off-Task Behaviors, and Prefrences for the Three Selected Activities.
Creator: Azan, Amanda Marie, Darrow, Alice-Ann, Gregory, Dianne, Standley, Jayne M., College of Music, Florida State University
Abstract/Description: Research suggests that music is beneficial in teaching both academic and social skills to young children. The purpose of this study was to compare three selected music/reading activities on second-grade students' story comprehension scores, on-task/off-task behaviors, and preferences for the three selected activities. The control condition was reading story with no music (SNM). The two experimental music conditions were: (1) reading story with choral refrain throughout (SCR) and (2) reading...
Show moreResearch suggests that music is beneficial in teaching both academic and social skills to young children. The purpose of this study was to compare three selected music/reading activities on second-grade students' story comprehension scores, on-task/off-task behaviors, and preferences for the three selected activities. The control condition was reading story with no music (SNM). The two experimental music conditions were: (1) reading story with choral refrain throughout (SCR) and (2) reading story with instrumental accompaniment throughout (SIA). Participants in the study were children (N=38) ages 7-8 years old, enrolled in one of three second-grade classes at a public elementary school in Northern Florida. The order of conditions was counterbalanced among the classes to control for order effects. Each class received one reading activity per week for a total of three consecutive weeks. Following each reading activity, participants were given a 10-question story comprehension test and a preference assessment. Classes were also videotaped for later analyses of on-task and off-task behaviors during each reading activity. Results indicated a significant difference in story comprehension scores among the conditions for Classes B and C. Results indicated no significant difference in story comprehension scores among the conditions for Class A. Further analyses revealed that students in two of the three classes made significantly higher comprehension scores when story reading was paired with the music conditions than the no music condition. Analysis of participants' on-task behaviors revealed the highest percentage of on-task behaviors was during music condition two (story with instrumental accompaniment), followed by music condition one (story with choral refrain). The lowest percentage of on-task behaviors was during the control condition (story with no music). Results also revealed that participants had no significant preferences for the three conditions. These findings suggest that pairing stories with music can be an effective tool in promoting second-grade students' on-task behaviors, and enhancing their story comprehension scores and their preferences for reading activities.
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Date Issued: 2010
Identifier: FSU_migr_etd-0269
Format: Thesis

Title: The Synthesis of Taiwanese and Western Musical Elements: A Case Study of the Zheng Concerto—Dots, Lines, and Convergence by Chihchun Chi-Sun Lee.
Creator: Yiu, Shih-Chen, Shaftel, Matthew, Gunderson, Frank, Jones, Evan Allan, College of Music, Florida State University
Abstract/Description: A quintessential example of the synthesis of Taiwanese and Western musical elements can be found in the Zheng Concerto--Dots, Lines, and Convergence by Chihchun Chi-Sun Lee.
Date Issued: 2004
Identifier: FSU_migr_etd-0675
Format: Thesis

Title: The Effect of Music, Gestures, and Music with Gestures on the Sight-Word Recognition of Students with Dyslexia.
Creator: Draper, Ellary Anne, Darrow, Alice-Ann, Standley, Jayne M., Gregory, Sarah, College of Music, Florida State University
Abstract/Description: The purpose of this study was to compare the effects of music, gestures, and music with gestures on the sight-word recognition of students with dyslexia. Specifically, this study examined participants': 1) sight-word recognition in isolation, 2) time-delay in sight-word recognition, 3) sight-word recognition in reading passages, and 4) reading comprehension of reading passages. Students with dyslexia at a private school for students with dyslexia and attention deficit disorder served as...
Show moreThe purpose of this study was to compare the effects of music, gestures, and music with gestures on the sight-word recognition of students with dyslexia. Specifically, this study examined participants': 1) sight-word recognition in isolation, 2) time-delay in sight-word recognition, 3) sight-word recognition in reading passages, and 4) reading comprehension of reading passages. Students with dyslexia at a private school for students with dyslexia and attention deficit disorder served as participants (N = 6). All participants received reading instruction on the target sight-words using music, gestures, and music with gestures. During the music condition, participants sang the target words to short melodic motifs. During the gesture condition, participants signed the words. During the music with gesture condition, participants both sang and signed the target words. Results indicated that participants made significant improvement pre- to posttest for sight-word recognition in isolation and in reading passages. All conditions resulted in significant participant improvement pre- to posttest; however, both music and gestures used alone were significantly more effective than music with gestures. There was no significant difference in participants' time-delay of sight-words in isolation or in reading comprehension of selected passages.
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Date Issued: 2007
Identifier: FSU_migr_etd-0676
Format: Thesis

Title: "It's Not My Imagination, I've Got a Gun on My Back!": Style and Sound in Early American Hardcore Punk, 1978-1983.
Creator: Easley, David B., Clendinning, Jane Piper, Gunderson, Frank, Kraus, Joseph, Shaftel, Matthew, College of Music, Florida State University
Abstract/Description: Despite being the focus of studies in fields such as ethnomusicology, cultural studies, philosophy, and history, punk rock—and American hardcore punk rock in particular—has yet to fall under the analytical gaze of music theorists. In this dissertation I aim to fill this gap by examining some typical stylistic practices in hardcore punk, a repertoire described as aggressive, reflecting energy and intensity, and driven by an impulse toward brevity of song forms. In order to capture these...
Show moreDespite being the focus of studies in fields such as ethnomusicology, cultural studies, philosophy, and history, punk rock—and American hardcore punk rock in particular—has yet to fall under the analytical gaze of music theorists. In this dissertation I aim to fill this gap by examining some typical stylistic practices in hardcore punk, a repertoire described as aggressive, reflecting energy and intensity, and driven by an impulse toward brevity of song forms. In order to capture these elements, I examine instrument-specific items, such as drum patterns and guitar/bass riffs, as well as how repetitions of these play into creating form. Further, as the primary texts of hardcore are recordings, I also delve into matters of recording attributes. I argue that each of these items is integral in defining hardcore as a musical genre. While the first incarnation of hardcore took place from the late-1970s to the mid-1980s and included a number of bands, I focus on early hardcore (roughly 1978–1983) and on four main bands: Black Flag, Bad Brains, Minor Threat, and the Dead Kennedys. I begin the dissertation by examining previous studies of hardcore music, of which there are very few. Following this, I briefly outline some of the main characteristics of the genre before presenting a history of each main band, via their discography. Chapter Two turns to the construction of drum patterns and what I call "riff schemes": patterns of physical motion on the guitar that form the basis of several types of riffs. Further, this type of kinesthetic focus also informs my examination of common melodic and harmonic features of hardcore riffs, as I engage these patterns on a guitar's fretboard. Chapter Three moves to larger aspects of form and addresses the components of individual formal sections, such as verses and choruses. Previous literature devoted to form in popular music supplies definitions, but many are too restrictive for application to hardcore; thus, I frame my own understandings by seeking out the main elements of each section—as identified by others—and shape them to reflect hardcore practice. Chapter Four examines recording attributes; in particular, I discuss the spatial aspects of recordings, with a brief foray into timbre. Recordings reflect several dimensions, including width (the placement and total spread of instruments on a horizontal plane); depth (the placement and total spread of instruments on a receding plane, as well as their placement in a performance environment); and height (the placement of instruments on a vertical plane, which measures high to low and is based upon frequency spectra). I address each attribute as it is reflected in hardcore before ending the chapter with a discussion of texture, specifically relating the creation of texture to these three dimensions. Chapter Five provides four in-depth analyses that address all of the previous musical elements examined in the dissertation, but also seeks to identify how certain metaphors of hardcore are signified in the music. While aggression is found in rhythmic and textural practices, energy and intensity are reflected in the construction of riffs, their deployment throughout a song, and the tempo at which they are performed. Brevity is present in all musical parameters, from formal constructions to recording attributes. The dissertation ends with a series of conclusions and prospects for future research.
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Date Issued: 2011
Identifier: FSU_migr_etd-0606
Format: Thesis

Title: The Effect of Music Therapy Coursework on Taiwanese College Students' Music Therapy Knowledge.
Creator: Wu, Yang-Ching, Standley, Jayne M., Darrow, Alice-Ann, Gregory, Dianne, College of Music, Florida State University
Abstract/Description: The purpose of the study was to explore the music therapy knowledge among college music students in Taiwan. This study chose three groups of students. Group A (n = 50) included Junior and Senior music students who had taken or were currently taking music therapy courses. Group B (n = 57) consisted of music students selected from the ranks of Sophomore or Junior at each of the colleges offering music therapy courses, who had not taken any music therapy course. Group C (n = 83) was constituted...
Show moreThe purpose of the study was to explore the music therapy knowledge among college music students in Taiwan. This study chose three groups of students. Group A (n = 50) included Junior and Senior music students who had taken or were currently taking music therapy courses. Group B (n = 57) consisted of music students selected from the ranks of Sophomore or Junior at each of the colleges offering music therapy courses, who had not taken any music therapy course. Group C (n = 83) was constituted of students selected from among the Junior and Senior attending colleges that did not offer music therapy courses. The results of the study showed that students in group A were significantly more knowledgeable about music therapy than students in groups B and C. The music therapy courses did help to increase understanding of the diverse uses of music and its applications to specific populations in a variety of settings and using different techniques. A second analysis indicated that there were no significant difference among those three groups on evaluation of music therapy interests and curriculum. The researcher suggested that music educators in Taiwan should take the benefits of course offerings in music therapy into consideration when contemplating the development of the curricula of their schools.
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Date Issued: 2005
Identifier: FSU_migr_etd-0707
Format: Thesis

Title: The Effect of Group Music Therapy Interventions and Individual Music Therapy Interventions on Changes in Depressive Symptoms in Elderly Persons with Dementia in Residential Facilities.
Creator: Dobbins, Sharon Rebecca, Standley, Jayne M., Madsen, Clifford K., Gregory, Dianne, College of Music, Florida State University
Abstract/Description: The purpose of this study is to determine which form of music therapy sessions, bi-weekly group sessions or weekly individual sessions, is more effective in increasing music participation and decreasing depressive symptoms in elderly persons with dementia in a residential facility environment. The Participants (N=13), were each chosen based on a diagnosis of dementia from two residential facilities in Florida. Participants in group one (N=7) received two 30 minute group music therapy sessions...
Show moreThe purpose of this study is to determine which form of music therapy sessions, bi-weekly group sessions or weekly individual sessions, is more effective in increasing music participation and decreasing depressive symptoms in elderly persons with dementia in a residential facility environment. The Participants (N=13), were each chosen based on a diagnosis of dementia from two residential facilities in Florida. Participants in group one (N=7) received two 30 minute group music therapy sessions twice a week for three weeks, while participants in group 2 (N=6) received a 20 minute individual music therapy session once a week for three weeks. Each group acted as its own control, so data were taken the week prior to treatment as well. The instruments used in this study were a simple on task/off task form to observe participation levels. Participation levels were converted into charts and graphs. Results showed that participation levels were consistently higher in the individual sessions than in group sessions. The researcher used the Cornell Scale for Depression in Dementia (CSDD) to observe depressive symptoms. The CSDD was administered four times, at the end of the first week to establish baseline and the following three weeks of music therapy intervention. Data for the CSDD were statistically analyzed using a two-way repeated measure, ANOVA. There were significant differences in both groups on the CSDD between no intervention and the music therapy conditions (F=23.091, df=3,α=.000). However, there was no significant difference between group vs. individual music therapy sessions (F=1.247, df=3, α=.309).
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Date Issued: 2005
Identifier: FSU_migr_etd-0723
Format: Thesis

Title: The Effect of One-to-One Music Therapy on Attitudes, Behaviors, and Body Image Dissatisfaction for University Students with Body Image Issues.
Creator: Dinkel, Rachel N., Standley, Jayne M., Madsen, Clifford, Gregory, Diane, College of Music, Florida State University
Abstract/Description: Body image, body dissatisfaction, and eating disorders are issues for which more and more people are seeking treatment. Children and adults alike are experiencing these problems in our society, and there are many aspects to body image problems and disordered eating that merit assistance. Research shows that recovery from eating disorders is possible with a variety of interventions, including therapy, counseling, and medication. To date there is little published research about the effects of...
Show moreBody image, body dissatisfaction, and eating disorders are issues for which more and more people are seeking treatment. Children and adults alike are experiencing these problems in our society, and there are many aspects to body image problems and disordered eating that merit assistance. Research shows that recovery from eating disorders is possible with a variety of interventions, including therapy, counseling, and medication. To date there is little published research about the effects of music therapy counseling interventions on eating disorder behaviors and issues. The purpose of this study was to investigate the effects of a variety of music therapy interventions on the amount of self-conscious behaviors observed during one-on-one sessions. Two males and two females participated once per week for six weeks in 30- to 45-minute music therapy sessions consisting of counseling with movement-to-music activities and song writing/lyric analysis activities. Each session was videotaped for observation of self-conscious behaviors. Mean scores of pre- and post-test data as well as observational data were taken over the course of the 6 weeks. Results showed changes in clothes tugging behaviors and body-shifting behaviors at baseline from before and after the application of music and movement. Results showed that overall the participants experienced an increase in positive attitudes and behaviors related to their body image. Also, participants reported positive experiences regarding the study's effect on their body image.
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Date Issued: 2010
Identifier: FSU_migr_etd-0728
Format: Thesis

Title: The Oboe Works of Benjamin Britten.
Creator: Djiovanis, Sotos G., Ohlsson, Eric, Brewer, Charles, Keesecker, Jeff, Kowalsky, Frank, College of Music, Florida State University
Abstract/Description: Benjamin Britten is regarded as one of the most prominent British composers of the Twentieth Century. His music covers nearly all genres and can routinely be heard in many different types of performances. Britten worked diligently throughout his life to produce a large body of works that are in most cases accessible to the listener, yet highly detailed in their construction. For a large part of his life Britten enjoyed celebrity as a composer, having had his works performed in the world's...
Show moreBenjamin Britten is regarded as one of the most prominent British composers of the Twentieth Century. His music covers nearly all genres and can routinely be heard in many different types of performances. Britten worked diligently throughout his life to produce a large body of works that are in most cases accessible to the listener, yet highly detailed in their construction. For a large part of his life Britten enjoyed celebrity as a composer, having had his works performed in the world's most prestigious musical venues by many of the most renowned virtuosi. Through his work as a composer, Britten worked to revive English opera. He also increased outreach to schoolchildren in an effort to boost national musical awareness and musical literacy throughout the population. Britten wrote four pieces for the oboe, each of which is now a standard in the Twentieth Century repertoire for the instrument. All four of these pieces feature the use of harmonies that are very characteristic of the composer's writing—tonal, yet tinted with slight ambiguity and/or dissonance. In addition, all of Britten's oboe pieces represent the high level of detail for which he was known. This treatise chronologically depicts the life and career of Benjamin Britten as a whole. For each of the four oboe pieces in question, historical elements such as time, place, reasons for composition, similarities with other pieces by the composer, relationships to musical trends of the respective period, as well as British and/or world issues of the time are examined. Harmonic and formal analysis is also provided for each piece. Several commercial recordings of today's most famous oboists playing the pieces in question are examined and evaluated in this document. Particular attention is paid to performance practice and the adherence, or lack thereof, to Britten's intentions for each piece.
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Date Issued: 2005
Identifier: FSU_migr_etd-0725
Format: Thesis

Title: He Scars of Yggdrasill: A Comparative Study of the Conflict Between Selected Familial Relationships and the Will to Power in Richard Wagner's Der Ring Des Nibelungen.
Creator: Smithey, David Bret, Fisher, Douglas, Beckman, Seth, Lata, Matthew, Pope, Jerrold, College of Music, Florida State University
Abstract/Description: The purpose of this paper is to explore the conflict between power, politics and family relationships in Richard Wagner's Der Ring des Nibelungen. Selected familial relationships between characters will be analyzed using various method , including Jungian analysis, comparative mythology and musical analysis. The project will attempt to show that intepretations of the Ring have not given enough attention to the tension and paradoxes inherent in family relationships in Wagner's tetralogy and...
Show moreThe purpose of this paper is to explore the conflict between power, politics and family relationships in Richard Wagner's Der Ring des Nibelungen. Selected familial relationships between characters will be analyzed using various method , including Jungian analysis, comparative mythology and musical analysis. The project will attempt to show that intepretations of the Ring have not given enough attention to the tension and paradoxes inherent in family relationships in Wagner's tetralogy and will provide for a more human understanding of the cycle.
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Date Issued: 2006
Identifier: FSU_migr_etd-0370
Format: Thesis

Title: Commercialism, Accessibility, Popularity, and Originality in American High-Art Music: Richard Danielpour, a Case Study.
Creator: Akers, Ruth Ruggels, Glahn, Denise Von, Jumonville, Neil, Brewer, Charles, Bridger, Carolyn Ann, College of Music, Florida State University
Abstract/Description: This dissertation considers the life and music of Richard Danielpour (b. 1956) and how they intersect with the issues of commercialism, accessibility, popularity, and originality in twentieth- and twenty-first century American art music. It also explores Danielpour's motivations for composing and the position of his music in American culture within the context of the changes that have occurred–particularly in the last twenty to thirty years–in the criteria for assessing musical value and...
Show moreThis dissertation considers the life and music of Richard Danielpour (b. 1956) and how they intersect with the issues of commercialism, accessibility, popularity, and originality in twentieth- and twenty-first century American art music. It also explores Danielpour's motivations for composing and the position of his music in American culture within the context of the changes that have occurred–particularly in the last twenty to thirty years–in the criteria for assessing musical value and meaning in American high art. Much of the music being written and performed well into the third quarter of the twentieth century was completely unintelligible to a majority of concert goers, and a huge gap had developed between classical composers and their public. Richard Danielpour is one of many composers in the late twentieth- and early twenty-first centuries who have sought to bridge that gap, in part by aligning themselves with the tradition of writing music that is emotionally evocative and musically valid. Danielpour's concern for reaching his audience underscores his sincere desire to be appreciated artistically and understood intellectually. Danielpour writes in an accessible, neo-romantic style that embraces tonality despite frequent dissonances. Some critics suggest that he borrows too much from others, but his music possesses many distinctive qualities. In addition, Danielpour's detailed programs help listeners relate to music that they might not otherwise understand. Of the ten recordings of his music, the Pittsburgh Symphony's CD of his Concerto for Orchestra was nominated for a Grammy in the category of "classical contemporary composition." Yo-Yo Ma's recording that included Danielpour's first cello concerto won three Grammies. Frequent commissions from major orchestras and well-known soloists indicate the degree of popularity that Danielpour has achieved in the classical musical world. Although this may not equal the commercial success of pop composers, Danielpour can still be considered financially successful: in an age when many contemporary composers struggle to be heard at all, Danielpour's compositions receive multiple performances here and abroad.
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Date Issued: 2004
Identifier: FSU_migr_etd-0020
Format: Thesis

Title: Musical Culture in New York in the 1960S: Interviews with Clarinetists Who Auditioned for Leopold Stokowski and the American Symphony Orchestra.
Creator: Detweiler, Julie L. Schumacher, Kowalsky, Frank, Darrow, Alice Ann, Bish, Deborah, Keesecker, Jeffrey, College of Music, Florida State University
Abstract/Description: This treatise is an exploration of the distinctiveness of the American Symphony Orchestra. The American Symphony Orchestra was a unique organization that combined contemporary music and young musicians of diverse backgrounds with a famous conductor. Although Leopold Stokowski used a rather archaic method of auditioning, his inclusion of women and minorities in the orchestra was progressive and his championing of young musicians was legendary. The orchestra resided in New York, a city that...
Show moreThis treatise is an exploration of the distinctiveness of the American Symphony Orchestra. The American Symphony Orchestra was a unique organization that combined contemporary music and young musicians of diverse backgrounds with a famous conductor. Although Leopold Stokowski used a rather archaic method of auditioning, his inclusion of women and minorities in the orchestra was progressive and his championing of young musicians was legendary. The orchestra resided in New York, a city that already had a rich, albeit very different, symphonic tradition in 1962 when the American Symphony was founded. There were no women and only one African-American musician in the New York Philharmonic at that time, and most orchestras in the country were not yet using screens to audition potential candidates for open positions. This distinct set of circumstances can be seen as a cultural microcosm for the creation and development of the symphony orchestra, including the transformation of the audition process and the introduction of women and minorities to the symphony orchestra. At the heart of this microcosm are Leopold Stokowski and the musicians who dreamed to be a part of his orchestra. Two of the interviews for this treatise were convenience samples due to proximity, and the other six interviews were randomly selected from the list that Stokowski kept on every musician who auditioned for him. Interviews were conducted either in person or by phone, recorded and later transcribed. This treatise begins with a history of the development of the American Symphony and is followed by the history of the audition process in the United States. A brief overview of Stokowski's audition process for the American Symphony provides some insight and context for the interviews that follow.
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Date Issued: 2010
Identifier: FSU_migr_etd-0074
Format: Thesis

Title: The Origin and Performance History of Carl Maria Von Weber's Das Waldmädchen (1800).
Creator: Deal, Bama Lutes, Seaton, Douglass, Fisher, Douglas, Brewer, Charles, Kite-Powell, Jeffery, College of Music, Florida State University
Abstract/Description: Carl Maria von Weber's (1786–1826) early opera Das Waldmädchen (J. Anh. 1, 1800) was considered a lost work until a complete score and set of orchestral parts was discovered at the central library of the Mariinsky State Theater in St. Petersburg in 2000. Although Weber's music has survived, little else is known about the work's librettist or the opera's subject matter and performance history. This study examines the historical and cultural context from which Weber's opera emerged,...
Show moreCarl Maria von Weber's (1786–1826) early opera Das Waldmädchen (J. Anh. 1, 1800) was considered a lost work until a complete score and set of orchestral parts was discovered at the central library of the Mariinsky State Theater in St. Petersburg in 2000. Although Weber's music has survived, little else is known about the work's librettist or the opera's subject matter and performance history. This study examines the historical and cultural context from which Weber's opera emerged, establishing the composer's musical background and knowledge of popular German opera at the time of his collaboration with librettist and theater company director Karl Franz Guolfinger, Ritter von Steinsberg (c. 1757–1806). Das Waldmädchen is of particular interest as Weber's first professionally produced stage work, and also as the original version of his more mature opera, Silvana (J. 87, 1808–10). It was composed when Weber was thirteen years old. This study shows that Steinsberg, Weber's talented Czech-born librettist and the original producer of the opera, was the Director of the German company at Prague's Nostitz Theater (Estates Theater) in 1798, a position Weber himself held from 1813–16. Steinsberg's libretto to Das Waldmädchen was modeled after a popular Viennese pantomime ballet by Paul Wranitzky (Das Waldmädchen, 1796), a ballet inspired by contemporary reports of feral children. Musical and dramatic aspects of Weber's opera score are compared to Wranitzky's ballet score, highlighting similarities in both works and demonstrating how some of the musical conventions of Viennese pantomime ballet found their way into Weber's music for the German opera stage. The migratory path of the Waldmädchen story as a ballet and an opera is traced from Vienna to Prague and beyond by consulting theater playbills, calendars, and other extant records, and charting the movements of theater-company personnel involved in various productions. The careers of several of the original cast members of Das Waldmädchen are described, and evidence is offered to support Weber's claim that his early opera was performed at Prague in Czech, a claim previously doubted by scholars.
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Date Issued: 2005
Identifier: FSU_migr_etd-0059
Format: Thesis

Title: The Effects of Music Therapy and Deep Breathing on Pain in Patients Recovering from Gynecologic Surgery in the Pacu.
Creator: Adams, Kristen S., Standley, Jayne M., Gregory, Dianne, Madsen, Clifford, College of Music, Florida State University
Abstract/Description: This study examined the effects of music therapy paired with deep breathing in the PACU. Dependent variables were amount of pain medication administered (measured in morphine equivalents), hospital length of stay, and perceptual data. Subjects were fifty (N=50) women undergoing gynecologic surgery requiring a hospital stay of at least one night. Subjects were randomly assigned to an experimental music group (N=25) or control group (N=25). Results showed no significant differences for pain...
Show moreThis study examined the effects of music therapy paired with deep breathing in the PACU. Dependent variables were amount of pain medication administered (measured in morphine equivalents), hospital length of stay, and perceptual data. Subjects were fifty (N=50) women undergoing gynecologic surgery requiring a hospital stay of at least one night. Subjects were randomly assigned to an experimental music group (N=25) or control group (N=25). Results showed no significant differences for pain medication between groups. The length of hospital stay was significantly shorter for the music group. Subjects in the music group also reported their post-PACU pain levels to be significantly lower than the control group. Further results and implications are discussed.
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Date Issued: 2005
Identifier: FSU_migr_etd-0042
Format: Thesis

Title: An Arrangement of Franz Schubert's Cycle of Songs Die Schöne Müllerin for Double Bass and Piano.
Creator: Acerb, Sergio, Jones, Evan Allan, Buchler, Michael, Punter, Melanie L., College of Music, Florida State University
Abstract/Description: Franz Schubert wrote "Die schöne Müllerin" (The Beautiful Maid of the Mill) originally for high voice and piano. This cycle of 20 songs is one of Schubert's most performed and recorded work. The love story of optimism, despair and tragedy between the miller's boy and the beautiful maid continues to fascinate and inspire composers, performers and music lovers today. The purpose of this treatise is to present an arrangement of Schubert's "Die schöne Müllerin" for Double Bass and Piano....
Show moreFranz Schubert wrote "Die schöne Müllerin" (The Beautiful Maid of the Mill) originally for high voice and piano. This cycle of 20 songs is one of Schubert's most performed and recorded work. The love story of optimism, despair and tragedy between the miller's boy and the beautiful maid continues to fascinate and inspire composers, performers and music lovers today. The purpose of this treatise is to present an arrangement of Schubert's "Die schöne Müllerin" for Double Bass and Piano. Transcriptions and arrangements in the nineteenth century were largely intended to supplement an instrument's literature, and continued to be part of the instrument's literature in the twentieth century. Through chapters 1 to 4, I discuss the significance of presenting the richness and art of Schubert's musical setting of Wilhelm Müller's poems through this new medium: the double bass. Along with a brief historical context of transcription and arrangement from the nineteenth century, I analyze the songs of "Die schöne Müllerin" explaining such aspects of the arrangement as transpositions, revoicings, articulations, dynamics and performance practices.
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Date Issued: 2008
Identifier: FSU_migr_etd-0107
Format: Thesis

Title: The Effect of Differential Feedback on Closed-versus Open-Hand Conducting Position.
Creator: Dease, Joseph Paul, VanWeelden, Kimberly, Madsen, Clifford K., Holzman, Bruce, Thomas, André, Fenton, Kevin, College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate the effects of differential feedback (external versus internal feedback) on closed-hand position of conductors while conducting. Closed-Hand conducting was operationally defined as palm facing down. Subjects (N = 126) were undergraduate and graduate music majors at a large southern comprehensive college of music who were divided into two groups: choral (n = 63) and instrumental (n = 63). The subjects were further divided by random assignment into...
Show moreThe purpose of this study was to investigate the effects of differential feedback (external versus internal feedback) on closed-hand position of conductors while conducting. Closed-Hand conducting was operationally defined as palm facing down. Subjects (N = 126) were undergraduate and graduate music majors at a large southern comprehensive college of music who were divided into two groups: choral (n = 63) and instrumental (n = 63). The subjects were further divided by random assignment into one of three conditions: the external condition (n = 21), the internal condition (n = 21), or the control condition (n = 21). The independent variables were an external feedback condition during which subjects were asked to balance a coin on top of their hand while conducting, and the internal feedback condition where subjects were instructed to stabilize their wrist and hand so that they face the ground while conducting. A pretest/posttest design was used to assess the effect of the independent variables on the duration of the conductor's closed hand position while conducting. A one-way ANOVA revealed that at pretest all groups were equal. Results of a two-way ANOVA revealed significant differences between pretest and posttest. There was no significant difference from pretest to posttest between choral and instrumental groups. In addition, results from pretest to posttest by treatment group (external, internal, and control) and by choral and instrumental groups suggested no significant difference. When pretest and posttest by treatment groups (external, internal, and control) were analyzed, there was a significant interaction. This interaction indicated that the amount of time spent in closed-hand conducting during pretest and posttest was contingent upon treatment group.
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Identifier: FSU_migr_etd-0064
Format: Thesis

Title: Alma Mahler and Vienna: The City That Loved Her.
Creator: Dilkey, Angela, Fisher, Douglas, Bridger, Carolyn Ann, Gerber, Larry, Pope, Jerrold, College of Music, Florida State University
Abstract/Description: From the peak of the Habsburg dynasty, fin-de-siècle Vienna offered the Viennese bourgeoisie a unique place to broaden their intellectual and artistic creativity. Artists of such caliber as Gustav Mahler and Arnold Schoenberg flocked to this enticing city at the turn of the twentieth century. Alma Mahler was a strong woman and a product of her time. Other women wanted her in their circle of friends and men desired her. The list of her acquaintances, friends, and lovers includes some of the...
Show moreFrom the peak of the Habsburg dynasty, fin-de-siècle Vienna offered the Viennese bourgeoisie a unique place to broaden their intellectual and artistic creativity. Artists of such caliber as Gustav Mahler and Arnold Schoenberg flocked to this enticing city at the turn of the twentieth century. Alma Mahler was a strong woman and a product of her time. Other women wanted her in their circle of friends and men desired her. The list of her acquaintances, friends, and lovers includes some of the most brilliant artists of the twentieth century. Through her marriages to Gustav Mahler, Walter Gropius, and Franz Werfel, she influenced the creative output of three primary artistic figures in music, architecture, and literature. Her presence in the art world is documented in the work of Oskar Kokoschka. She used her influence throughout her life to further music, art, and literature. Although her biography reveals character flaws, such as egotism and anti-Semitism, Alma Mahler is illuminated as an important historical figure due to her consistently close proximity to genius.
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Date Issued: 2005
Identifier: FSU_migr_etd-0079
Format: Thesis

Title: The Development of Alban Berg's Compositional Style: A Study of His Jugendlieder (1901-1908).
Creator: Adams, Sara Ballduf, Seaton, Douglass, Shaftel, Matthew, Brewer, Charles E., Glahn, Denise Von, College of Music, Florida State University
Abstract/Description: This dissertation explores the compositional and stylistic development of Alban Berg (1885-1935), as demonstrated in his Jugendlieder, two volumes containing 81 art songs composed between 1901 and 1908. The biographical and cultural context in which they were composed is explained, and each volume of song manuscripts is separately described with respect to poetic, rhythmic, formal, melodic, and harmonic elements. The first 34 songs (volume 1, 1901-1904) demonstrate Berg's initial efforts to...
Show moreThis dissertation explores the compositional and stylistic development of Alban Berg (1885-1935), as demonstrated in his Jugendlieder, two volumes containing 81 art songs composed between 1901 and 1908. The biographical and cultural context in which they were composed is explained, and each volume of song manuscripts is separately described with respect to poetic, rhythmic, formal, melodic, and harmonic elements. The first 34 songs (volume 1, 1901-1904) demonstrate Berg's initial efforts to set German poetry to music. Due to his limited musical training and skill during these years, the earliest songs contain unconventional traits that would only be produced by a novice, but they also suggest that Berg modeled his compositions after nineteenth-century art songs, particularly those of Schubert, Schumann, and Brahms, which were performed in the family home by his siblings. Berg's first love was literature, and it is therefore not surprising that illustrating the poetic images in the texts appears to have been his primary focus. During the time when Berg composed the second volume of songs (1904-1908), he began to study music theory and composition with Arnold Schoenberg. As a result, the songs of the second phase reveal an improved understanding of tonality, chord function, and formal structure. The illustration of poetic topics, themes, and images remained a principal focus for Berg, but the texts were treated in a more subtle manner, allowing for the appearance of a greater concentration on musical devices. These songs implement exercises in variation techniques, rhythmic devices, chromaticism, and dissonance, pointing to the development of his personal style. Ultimately, this study demonstrates that the Jugendlieder served as the foundation upon which Berg cultivated the skills needed to develop a mature compositional style that balanced Romantic conventions and modern practices.
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Date Issued: 2008
Identifier: FSU_migr_etd-0115
Format: Thesis

Title: The Effect of Conducting on Ensemble Performance: A "Best-Evidence" Synthesis.
Creator: Acklin, Amy I., Madsen, Clifford K., Jiménez, Alexander, Clary, Richard, Dunnigan, Patrick, Kelly, Steven N., College of Music, Florida State University
Abstract/Description: The first purpose of this study was to provide an overview of experimental and descriptive research lines within the field of conducting. The findings of this literature search reflect the tremendous growth of inquiries and findings since the 1970's (Ostling, 1976). Research studies were broadly categorized into two overarching themes: conducting competencies and conducting pedagogy. Lines within conducting competencies included: 1) nonverbal communication, 2) perception studies, and 3)...
Show moreThe first purpose of this study was to provide an overview of experimental and descriptive research lines within the field of conducting. The findings of this literature search reflect the tremendous growth of inquiries and findings since the 1970's (Ostling, 1976). Research studies were broadly categorized into two overarching themes: conducting competencies and conducting pedagogy. Lines within conducting competencies included: 1) nonverbal communication, 2) perception studies, and 3) teacher/conductor effectiveness. Conducting pedagogy revealed studies in 1) methodology, 2) physical/aural skill development, and 3) conducting technology. The second purpose of this study was to examine the effect of conducting on ensemble performance through the meta-analytic techniques of "best-evidence synthesis." Developed by Robert Slavin (1986), this process compares similar studies through the common statistical metric of effect size. Results can then be discussed for practical applications in the relative terms of small effect size: d = .2; medium effect size: d = .5; and large effect size: d = .8 (Cohen, 1977). Twenty-three studies, divided into five categories, met the inclusion criteria. Results from studies examining expressive versus nonexpressive conducting on the impact of ensemble sound were mixed. While some research suggested that expressive conducting only influences listener perceptions, other research indicated that specific conducting gestures do, in fact, shape the sound of an ensemble. Results also suggested a positive and large effect size in the area of conducting-gesture instruction with young ensembles. Other studies examined the effect of conducting in combination with verbal and modeling rehearsal techniques. Conducting gestures were effective, but only within a combination of other rehearsal techniques, suggesting that many skills define conductor competencies. Lastly, studies were examined to explore the synchronization between conductor and ensemble members. Results suggest that musicians with previous conducting experience maintain steadier tempi while following a conductor than musicians without conducting training.
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Date Issued: 2009
Identifier: FSU_migr_etd-0110
Format: Thesis

Title: An Exploration of Potential Factors Affecting Persistence to Degree Completion in Undergraduate Music Teacher Education Students.
Creator: Gavin, Russell Bonner, Fredrickson, William E., Bish, Deborah, Kelly, Steven N., Madsen, Clifford K., College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the withdrawal rates and patterns of undergraduate Music Education majors, with a specific focus on the individual experiences of students withdrawing from the major. In examining these experiences, the potential for identification of possible commonalities among withdrawn students was explored. The overall subject population (N = 1103) consisted of students enrolled in the undergraduate Music Education program at a large southeastern university...
Show moreThe purpose of this study was to examine the withdrawal rates and patterns of undergraduate Music Education majors, with a specific focus on the individual experiences of students withdrawing from the major. In examining these experiences, the potential for identification of possible commonalities among withdrawn students was explored. The overall subject population (N = 1103) consisted of students enrolled in the undergraduate Music Education program at a large southeastern university between the years of 1995 and 2010. A mixed-methods approach consisting of a quantitative analysis of students enrolled in the Music Education major for a 10-year period from 1995 to 2005 (n = 868) and a qualitative analysis of semi-structured interviews of recently withdrawn students (n = 14) were identified from the total population. Results from the quantitative portion of the study indicated that approximately half of the student population enrolled in the Music Education major withdrew from that major prior to degree completion. These results also indicated that degree completion rates varied according to the specific Music Education track, with students majoring in Music Education – General completing the degree at the highest rate, followed by Music Education – Choral and Music Education – Instrumental, respectively. Results of the qualitative portion of the study on subjects' pre-college experiences found commonalities in their enjoyment of music performance, opportunities to teach, and the impact of school music teachers. Subjects' experiences during college were diverse, with concerns focusing on the applied music component of the degree surfacing as being important to a majority of interviewees. The reasons given for withdrawal from the Music Education program were also diverse, including dismissal from the applied music studio, erosion of personal confidence as a musician, realizations about their feelings towards music versus their feelings about teaching in general as it related to their personal career goals, and finally, personal life issues. Following withdrawal from Music Education, student experiences showed no consistent pattern in terms of regret over their decision to leave Music Education, though all interviewed subjects reported that they remained actively involved in music in some way. Implications of these results are discussed in relation to individual experiences and the function of those experiences within the context of current models of student persistence.
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Date Issued: 2010
Identifier: FSU_migr_etd-0134
Format: Thesis

Title: The Effect of Playbased Music Therapy on the Motor and Communication Skills with a Child with Partial Agenesis of the Corpus Callosum.
Creator: Albright, Jessica P., Standley, Jayne M., Madsen, Clifford K., Gregory, Dianne, College of Music, Florida State University
Abstract/Description: The purpose of this case study was to examine the effect of playbased music therapy on the motor and communication skills with a child with partial agenesis of the corpus callosum. The subject participated in 30 minute playbased music therapy sessions three times a week for three months. Data were collected using the Developmental Assessment of Young Children as a pretest and posttest over the same three month time period. Additionally, free text documentation notes and a checklist of...
Show moreThe purpose of this case study was to examine the effect of playbased music therapy on the motor and communication skills with a child with partial agenesis of the corpus callosum. The subject participated in 30 minute playbased music therapy sessions three times a week for three months. Data were collected using the Developmental Assessment of Young Children as a pretest and posttest over the same three month time period. Additionally, free text documentation notes and a checklist of targeted skills with corresponding attempts and skill achievement was completed after each music therapy session. Results indicate that the subject showed significant improvement. On the pretest and posttest the subject improved 12.29% on the communication standard score and 5.29% on the motor standard score, from a one to a four in the communication percentile and from a four to a six in the motor percentile, from 24 months to 31 months in the communication age equivalent and from 28 to 33 months in the motor age equivalent. There were no changes in the pretest and posttest in communication for rating as the subject stayed in the poor level, with a standard score of 70-79. For the pretest and posttest in motor the subject moved from the very poor level, standard score of 70 and below, to the poor level standard score of 70-79. Results in the month to month comparison for communication show correlations in positive directions for times attempted versus improvement in emergent verbalization in month one (r= 0.829), in month two (r= 0.698), and in month three (r= 0.864). For times attempted versus improvement for communication gestures the correlations were moderate in month one (r= 0.654) and, in month two (r= 0.485). In month three, eight out of 27 items attempted were improved. Functional assisted verbalization was used one time during the experiment and six items out of 26 items attempted improved. Small improvement was seen in functional verbalizations in month one in two out of 26 items, one out of 29 items in month two, and four out of 27 items in month three. The subject perfected the verbalization of two words in month two and six words in month three. The month to month comparison for motor skills show moderate to strong correlations in positive directions in times attempted versus improvement in month one (r= 0.642), in month two (r= 0.839), and in month three (r= 0.718). This study demonstrates the first known music therapy results with an individual with partial agenesis of the corpus callosum. These findings support the theory that music would benefit neurologic development and demonstrate a need for further music therapy investigations with individuals with partial or full agenesis of the corpus callosum.
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Date Issued: 2011
Identifier: FSU_migr_etd-0159
Format: Thesis

Title: The Effect of a Computerized Training Program on the Participants' Knowledge of Nonverbal Communication in Medical, Educational, and Therapeutic Settings.
Creator: Alexander, Jessica Kay, Darrow, Alice-Ann, Gregory, Dianne, Standley, Jayne M., College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the effectiveness of a computerized training program on participants' knowledge concerning the role of nonverbal communication in medical, educational, and therapeutic settings. Participants in the study (n = 50) were music therapy majors (n = 35) and music education majors (n = 15) from a large Southeastern university. Two 30-minute training modules were designed and programmed for the purposes of the study utilizing the computer software program...
Show moreThe purpose of this study was to examine the effectiveness of a computerized training program on participants' knowledge concerning the role of nonverbal communication in medical, educational, and therapeutic settings. Participants in the study (n = 50) were music therapy majors (n = 35) and music education majors (n = 15) from a large Southeastern university. Two 30-minute training modules were designed and programmed for the purposes of the study utilizing the computer software program Adobe Captivate 3. Participants were individually pre- and posttested before and after completing the modules during two 45-minute separate sessions. Participants' made significant gains from pre- to posttest indicating that the computerized training modules were effective for teaching music therapy and music education students knowledge of nonverbal communication. There were no significant differences between music therapy or music education majors or between males and females in their abilities to learn information utilizing the computerized training program. Previous research indicates that nonverbal communication is an important factor in effective clinical and educational practice; however, nonverbal communication is not typically a part of most music therapy or music education curricula. The present study indicates that the computerized instruction utilized in this study is a viable method for teaching students, and perhaps practitioners, information related to the effective use of nonverbal communication in clinical and education practice.
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Date Issued: 2008
Identifier: FSU_migr_etd-0163
Format: Thesis

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