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Title: The Clarinet in D: History, Literature, and Disappearance from Current Repertoire.
Creator: Smith, Corinne Alyssa, Bish, Deborah, Fredrickson, William E., Hodges, Anne R., Holden, Jonathan, Florida State University, College of Music
Abstract/Description: In its early years, composers often treated the clarinet as if it were a brass instrument, particularly a trumpet, by writing bugle-like lines for the instrument. By the end of the 18th century, the word ‘clarinet’ was used to denote a woodwind instrument played with a single reed and included a bell attachment. As advancements were made by instrument-makers, the clarinet developed into an instrument that was no longer compared strictly to the trumpet. D clarinets were used by many composers...
Show moreIn its early years, composers often treated the clarinet as if it were a brass instrument, particularly a trumpet, by writing bugle-like lines for the instrument. By the end of the 18th century, the word ‘clarinet’ was used to denote a woodwind instrument played with a single reed and included a bell attachment. As advancements were made by instrument-makers, the clarinet developed into an instrument that was no longer compared strictly to the trumpet. D clarinets were used by many composers between approximately 1710 and 1750. However, a few composers continued to write for the instrument after 1750. Some of the most well-known orchestral excerpts for E-flat clarinet were originally written for the D clarinet, including: Strauss’s Till Eulenspiegel, Stravinsky’s Rite of Spring and Firebird, Bartok’s Miraculous Mandarin, and Mahler’s fifth and sixth symphonies. The D clarinet has steadily declined in popularity after its peak in the middle of the eighteenth century, possibly due to the rise in popularity of the military band, which used the E-flat clarinet. However, some orchestral works are still being performed regularly that utilize the D clarinet, including those previously mentioned. Most orchestras will substitute the E-flat clarinet for these performances even though the score was written for D clarinet. Often times, the parts are in a more challenging key due to transposition and would be better suited for the D clarinet. The instrument blends particularly well with the strings in the orchestra, and has a darker sound than its E-flat counterpart. Major orchestras spend a large amount of money locating specific instruments to fulfill the needs of the original score, yet the E-flat clarinet is still allowed to substitute for the instrument the scores were originally intended for. While D clarinets are no longer regularly produced in most countries, it is still possible to acquire one. The focus is to provide a detailed history of the D clarinet, including its appearances and development throughout the world. Because there is limited material dedicated to the D clarinet, the treatise aims to provide a list of solo, chamber and orchestral repertoire utilizing the instrument. In combining the collection of repertoire, historical research and interviews with D clarinet specialists, it is my hope to highlight the repertoire of an instrument that rarely receives attention in lesson and performance settings and articulate a practical application of the D clarinet in current music.
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Date Issued: 2017
Identifier: FSU_FALL2017_Smith_fsu_0071E_14172
Format: Thesis

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

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

Title: Two Examples of Music in 1920S France: A Study of Sergei Prokofiev's 1924 Quintet, Op. 39 and the Subsequent Ballet TrapÈZe, and Francis Poulenc's 1926 Trio for Oboe, Bassoon, and Piano.
Creator: Maczko, Mary Rachel, Ohlsson, Eric Paul, Clary, Richard, Bish, Deborah, Keesecker, Jeff, Florida State University, College of Music
Abstract/Description: This treatise discusses two works by Francis Poulenc and Sergei Prokofiev that became a part of the music culture of France in the 1920s. Sergei Prokofiev's 1924 Quintet, Op. 39 for Oboe, Clarinet, Violin, Viola, and Double Bass, and the subsequent ballet Trapèze, as well as Francis Poulenc's 1926 Trio for Oboe, Bassoon, and Piano, will each be studied. Compositional trends common in France of the 1920s had abandoned the Romanticism of previous decades and new musical ideas were tested and...
Show moreThis treatise discusses two works by Francis Poulenc and Sergei Prokofiev that became a part of the music culture of France in the 1920s. Sergei Prokofiev's 1924 Quintet, Op. 39 for Oboe, Clarinet, Violin, Viola, and Double Bass, and the subsequent ballet Trapèze, as well as Francis Poulenc's 1926 Trio for Oboe, Bassoon, and Piano, will each be studied. Compositional trends common in France of the 1920s had abandoned the Romanticism of previous decades and new musical ideas were tested and established by composers of this time. Many of those styles were reflections of cultural shifts coming from world political issues leading up to and beyond World War I. The contrasting natures of chromaticism and diatonicism in Prokofiev's Trapèze and heavily neoclassical elements from Poulenc's Trio for Oboe, Bassoon, and Piano will be examined.
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Date Issued: 2016
Identifier: FSU_FA2016_Maczko_fsu_0071E_13612
Format: Thesis

Title: A Comparison of Four Selected American Flute Method Books from the 20th and Early 21st Centuries: Ernest F. Wagner, William Kincaid with Claire Polin, Robert Dick, and Patricia George with Phyllis Avidan Louke.
Creator: Boatman, Olivia Suzanne, Amsler, Eva, Clary, Richard, Ohlsson, Eric Paul, Bish, Deborah, Florida State University, College of Music
Abstract/Description: ABSTRACT This document will compare four American flute methods: Ernest Wagner’s Foundation to Flute Playing, William Kincaid with Claire Polin’s The Art and Practice of Modern Flute Technique volumes 1 through 3, Robert Dick’s The Other Flute 2nd edition, and Patricia George with Phyllis Avidan Louke’s Flute 101: Mastering the Basics, Flute 102: Mastering the Basics, and Flute 103: Mastering the Basics. There are brief biographies of each author, an overview of the structure of each method,...
Show moreABSTRACT This document will compare four American flute methods: Ernest Wagner’s Foundation to Flute Playing, William Kincaid with Claire Polin’s The Art and Practice of Modern Flute Technique volumes 1 through 3, Robert Dick’s The Other Flute 2nd edition, and Patricia George with Phyllis Avidan Louke’s Flute 101: Mastering the Basics, Flute 102: Mastering the Basics, and Flute 103: Mastering the Basics. There are brief biographies of each author, an overview of the structure of each method, and a comparison of the approach to teaching the following topics: posture, breathing, embouchure, tone, technique, and musicality. The purpose of this study is to provide flutists with a clearer perspective of the evolution of American flute pedagogy by comparing selected method books that were all inspired by the teaching of William Kincaid. This document has comparison tables, which allow students and teachers the ability to quickly review what is available in each method. The biographical information also provides insight into the personalities and teaching philosophies of each author.
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Date Issued: 2016
Identifier: FSU_FA2016_Boatman_fsu_0071E_13592
Format: Thesis

Title: A Study of Franz Schubert's Arpeggione Sonata and Claude Debussy's Premiére Rhapsodie: A Performer's Perspective.
Creator: Brooks, Jeffrey Michael, Bish, Deborah, Clary, Richard, Ohlsson, Eric Paul, Keesecker, Jeff, Florida State University, College of Music
Abstract/Description: This treatise, comprised of the transcriptions from two lecture recitals, discusses Franz Schubert's Arpeggione Sonata as transcribed for clarinet and piano and Debussy's Première Rhapsodie. Schubert composed his Arpeggione Sonata on the cusp of his great Beethoven Project, a project that defined his legacy. It was subsequently transcribed by four different clarinetists. Debussy composed his Première Rhapsodie during a period when he was learning to master his own musical style through...
Show moreThis treatise, comprised of the transcriptions from two lecture recitals, discusses Franz Schubert's Arpeggione Sonata as transcribed for clarinet and piano and Debussy's Première Rhapsodie. Schubert composed his Arpeggione Sonata on the cusp of his great Beethoven Project, a project that defined his legacy. It was subsequently transcribed by four different clarinetists. Debussy composed his Première Rhapsodie during a period when he was learning to master his own musical style through musical imagery. Both pieces helped to define these composers' musical focus and have become important pieces in the clarinet repertoire. Topics of discussion include comparisons of selected editions and arrangements, fingerings, tessitura, intonation, ensemble balance, instrumentation, and tempi.
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Date Issued: 2017
Identifier: FSU_2017SP_Brooks_fsu_0071E_13827
Format: Thesis

Title: Two Examples of Neo-Classicism in France from the Early and Late Twentieth Century: Francis Poulenc's Trio for Oboe, Bassoon, and Piano (1926) and Jean Françaix's Trio for Oboe, Bassoon, and Piano (1994).
Creator: Ciulla, Siobhán Marie, Ohlsson, Eric Paul, Clary, Richard, Bish, Deborah, Keesecker, Jeff, Florida State University, College of Music
Abstract/Description: This document is a compilation of two lecture recitals held on 5 December 2016 and 1 March 2017. The first recital was based on Francis Poulenc's Trio for Oboe, Bassoon, and Piano, completed in 1926 and the second was based on Jean Françaix's Trio for Oboe, Bassoon, and Piano written in 1994. In each lecture, compositional elements and influences were examined to highlight the impact of neo-classicism on the composer. The purpose of this research is to examine two French Trios in order to...
Show moreThis document is a compilation of two lecture recitals held on 5 December 2016 and 1 March 2017. The first recital was based on Francis Poulenc's Trio for Oboe, Bassoon, and Piano, completed in 1926 and the second was based on Jean Françaix's Trio for Oboe, Bassoon, and Piano written in 1994. In each lecture, compositional elements and influences were examined to highlight the impact of neo-classicism on the composer. The purpose of this research is to examine two French Trios in order to provide a musical perspective of neo-classicism during the early and late twentieth century. In studying both works it quickly becomes apparent that while Poulenc and Françaix used traditional formal models and tonalities for inspiration, they were still writing new music during the twentieth century. As a result, a multitude of twentieth century compositional devices such as planing, octatonicism, and chromaticism are used to embellish the neo-classical music of these composers. By exploring the compositional elements in each work, one can see a clear connection between Poulenc's Trio for Oboe, Bassoon, and Piano and Françaix's Trio for Oboe, Bassoon, and Piano. Each composer aspired to write music that was easily understood, while combining classical artistic values and twentieth century techniques to create truly ‘neo'-classical works. Due to their popularity and exposure, the Poulenc Trio and the Françaix Trio are now considered "standards" for this combination of instruments. By studying these trios, we are able to gain greater musical perspective, as we examine the influence of neo-classicism on these composers during the early and late twentieth century.
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Date Issued: 2017
Identifier: FSU_2017SP_Ciulla_fsu_0071E_13834
Format: Thesis

Title: Using Jazz Pedagogy to Supplement the Undergraduate Classical Lesson Setting.
Creator: Haley, Lilly Deborah, Holden, Jonathan, Fredrickson, William E., Bish, Deborah, Keesecker, Jeff, Florida State University, College of Music, College of Music
Abstract/Description: The goal of this treatise is to examine elements of jazz pedagogy that can be applied to improve musicianship in the undergraduate classical lesson setting. I have identified areas of classical pedagogy that would benefit most from these elements and have corroborated them with information from respected classical pedagogues. These concepts are addressed by examining both the classical and jazz pedagogical traditions and determining which approaches from the jazz methodology are conducive to...
Show moreThe goal of this treatise is to examine elements of jazz pedagogy that can be applied to improve musicianship in the undergraduate classical lesson setting. I have identified areas of classical pedagogy that would benefit most from these elements and have corroborated them with information from respected classical pedagogues. These concepts are addressed by examining both the classical and jazz pedagogical traditions and determining which approaches from the jazz methodology are conducive to supplementing the undergraduate classical lesson experience. I have provided suggestions for adapting and implementing these methods, with examples of supplemental exercises that may be incorporated by classical teachers included at the end of each section. The aspects of pedagogy that were chosen for this research were aural skills, harmonic awareness and application, and improvisation. More specific topics relevant to each to each of these are discussed within each chapter. All of the above are areas in which jazz musicians typically excel, so I studied their pedagogical methods to see what could be applied to the classical lesson structure for undergraduates. I conducted the research for this project primarily through interviews with pedagogues and performers of each style. Further evidence was gathered through lesson observations and examination of syllabi, articles, dissertations, and books.
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Date Issued: 2018
Identifier: 2018_Su_Haley_fsu_0071E_14623
Format: Thesis

Title: The Creation of the Taneycomo Festival Orchestra: The Performer’s Field Guide to Music Festival Foundation.
Creator: Sanders, Larkin Elizabeth, Bish, Deborah, Kelly, Steven N., Amsler, Eva, Hodges, Anne R., Florida State University, College of Music, College of Music
Abstract/Description: In July 2011, I began to lay the foundation of the Taneycomo Festival Orchestra (TFO) in Branson, Missouri, and we completed our fourth successful concert season in June 2015. The TFO is a two-week classical music festival in Branson, Missouri that thrives on experimentation—both programmatically and institutionally—and community building through music. I wanted to create something that is satisfying for musicians and accessible to modern audiences. This is its mission: The Taneycomo Festival...
Show moreIn July 2011, I began to lay the foundation of the Taneycomo Festival Orchestra (TFO) in Branson, Missouri, and we completed our fourth successful concert season in June 2015. The TFO is a two-week classical music festival in Branson, Missouri that thrives on experimentation—both programmatically and institutionally—and community building through music. I wanted to create something that is satisfying for musicians and accessible to modern audiences. This is its mission: The Taneycomo Festival Orchestra is a nonprofit organization that provides a free two-week concert series of classical music in Branson, Missouri. We seek to break the 19th century tradition that attending a symphony concert is a formal and elitist event by providing an accessible and casual series of concerts and educational programs while continuing to preserve these great works of art in our destination city. Come as you are and enjoy the beautiful music! I embarked on this adventure with little administrative experience. However, I had a strong background in clarinet performance and music composition, a great network of friends and colleagues, and determination to bring my dream to fruition. In laying the TFO's foundation, I completed almost every administrative task on my own. I filed all of the legal documents (Articles of Incorporation, Employee Identification Number, and 501(c)(3)) successfully and without any legal aid. In the first year, I also recruited thirty-five musicians to perform in the orchestra and programmed eight concerts (two orchestral, six chamber) for the two-week series. In 2015, we had one hundred musicians and gave fourteen concerts (four orchestral, nine chamber, one big band) over the course of our two-week series. Our programming is diverse and includes standard repertoire, contemporary repertoire, commissioned repertoire, children's programming, and jazz. Our venues are eclectic and include schools, hotels, cafés, bars, shops, churches, and homes. We save a lot of money while simultaneously engaging the community by placing each of our traveling musicians with host families and providing the orchestra with nightly dinner parties at various community members' homes. The Festival continues to grow and is immersed deeper into the community each year. After our fourth season, community members have remarked that the TFO is no longer a luxury but a necessity. This paper is a concise guide to music festival creation for performers. It discusses the path that I took to create the Taneycomo Festival Orchestra and reveals the successes and failures of the process. I started the Taneycomo Festival Orchestra to make classical music more accessible, enjoyable, and relevant to a modern, rural community. The events created under these circumstances are often high-quality musical experiences that are fun for audiences. I also aspired to separate music festival creation from traditional institutional structure. If a performer takes a similar path and wishes to create such an organization, he or she will have little to no familiarity with the traditional or nontraditional institutional structures. My unique perspective offers a multidisciplinary approach to music festival foundation. Most of this paper is structured around a narrative about my experiences in running TFO, but also refers to many valuable resources to aid the beginning arts administrator in the creation and management of a music festival.
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Date Issued: 2015
Identifier: FSU_2015fall_Sanders_fsu_0071E_12942
Format: Thesis

Title: The Life and Teachings of John D. Mohler.
Creator: Eastwood, Sara Kathaleen, Bish, Deborah, Jordan, Rodney, Holden, Jonathan, Keesecker, Jeff, Florida State University, College of Music, College of Music
Abstract/Description: John D. Mohler was born October 30, 1929 in Lancaster, Pennsylvania. His earliest teachers include Joseph Leptich, clarinetist of the Lancaster Symphony and Salvadore Colangelo, Principal Clarinetist of the Harrisburg Symphony. After graduating from Litiz High School, Mohler continued his studies at the Curtis Institute of Music in Philadelphia studying under the tutelage of Ralph McLane, and served in the United State Marine Band and Orchestra for four years from 1950-1954 in Washington D.C....
Show moreJohn D. Mohler was born October 30, 1929 in Lancaster, Pennsylvania. His earliest teachers include Joseph Leptich, clarinetist of the Lancaster Symphony and Salvadore Colangelo, Principal Clarinetist of the Harrisburg Symphony. After graduating from Litiz High School, Mohler continued his studies at the Curtis Institute of Music in Philadelphia studying under the tutelage of Ralph McLane, and served in the United State Marine Band and Orchestra for four years from 1950-1954 in Washington D.C. He received Bachelor of Music, Master of Music and Doctor of Musical Arts in Clarinet Performance degrees from the University of Michigan under the study of William Stubbins. He served on the woodwind faculty at Drake University in Des Moines, Iowa, for two years before joining the University of Michigan School of Music faculty as an Assistant Professor of Clarinet and clarinetist in the University Woodwind Quintet in 1962. In addition to his faculty appointment as Professor of Clarinet, he served as the University of Michigan School of Music Wind and Percussion Instruments Department Chair from 1979-1994. In 1979, he received the Harold Haugh Award in Excellence and in 1986 received the University of Michigan School of Music Outstanding Studio Teacher Award. Mohler was also awarded the University of Michigan School of Music Alumni Society Citation of Merit in 1992. The John Mohler Clarinet Scholarship was endowed in 1993 to provide annual scholarships for students majoring in clarinet at the University of Michigan. Mohler retired from the University of Michigan in 1994 and the Regents awarded him Professor Emeritus of Music. In 2003, Mohler was presented the Lifetime Achievement Award from the International Clarinet Association. In 2012, Mohler was honored with the University of Michigan Band Alumni Association Lifetime Achievement Award. John Mohler maintains his role as mentor even in retirement and many of his students now hold teaching, performance, and university faculty positions across the country. His ongoing enthusiasm and rapport has affected numerous students and their careers. He possesses the willingness to share his knowledge and expertise in an in-depth and personal manner. John Mohler's biographical and teaching doctrine is underrepresented and recorded, and the personal narrative interviews will help to provide an insight into the life and teachings of John Mohler.
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Date Issued: 2015
Identifier: FSU_2015fall_Eastwood_fsu_0071E_12909
Format: Thesis

Title: Pedagogical and Performance Practices of the E-Flat Clarinet: Teaching Methods and Solo Repertoire.
Creator: Tinberg, Jennifer Michelle, Holden, Jonathan, Callender, Clifton, Bish, Deborah, Keesecker, Jeff, Florida State University, College of Music, College of Music
Abstract/Description: The focus of this treatise is pedagogical material and solo literature for the E-flat clarinet. Despite the E-flat clarinet's inclusion in many pieces for orchestra and wind band, the instrument is rarely incorporated into an applied clarinet curriculum. Perceptions of the instrument as piercing, shrill, and out of tune only perpetuate the discomfort and apprehension many clarinetists experience when faced with situations in which they must perform or teach E-flat clarinet. Discussion of the...
Show moreThe focus of this treatise is pedagogical material and solo literature for the E-flat clarinet. Despite the E-flat clarinet's inclusion in many pieces for orchestra and wind band, the instrument is rarely incorporated into an applied clarinet curriculum. Perceptions of the instrument as piercing, shrill, and out of tune only perpetuate the discomfort and apprehension many clarinetists experience when faced with situations in which they must perform or teach E-flat clarinet. Discussion of the instrument's development, along with its treatment in large ensembles, serves to demonstrate how the stereotypes associated with the E-flat clarinet may have evolved. Several excerpts from orchestral and wind band literature are included as examples of the instrument's typical functions in ensemble writing. Since there is limited pedagogical material available for E-flat clarinet besides orchestral excerpts, the second half of this treatise provides suggestions for teaching methods and solo repertoire to be used in private lesson or practice settings. Conceptual exercises adapted from B-flat clarinet etude and method books, as well as recommendations by several performers and educators who specialize in playing the E-flat clarinet are presented. Standard excerpts are also adapted as examples of potential fundamental exercises. The final chapter of this treatise includes descriptions of six pieces for E-flat clarinet and piano, along with performance and teaching considerations. This material is intended to aid clarinetists in their teaching and practice of E-flat clarinet, and to highlight selected repertoire of an instrument that does not often receive attention in lesson or recital settings.
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Date Issued: 2015
Identifier: FSU_2015fall_Tinberg_fsu_0071E_12923
Format: Thesis

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

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

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

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

Title: The Basset Clarinet: An Examination of Basset Clarinet Works and Their Adaptations.
Creator: Petrucelly, Paul Vincent, Bish, Deborah, Clary, Richard, Keesecker, Jeff, Ohlsson, Eric Paul, Florida State University, College of Music, College of Music
Abstract/Description: The focus of this treatise is the examination of newer works for the basset clarinet and various techniques composers employed when adapting their compositions for other instruments. While nearly every university-level clarinetist is aware that Mozart's Concerto for Clarinet KV622 was written for the basset clarinet, for many, their knowledge of the instrument remains relatively sparse. Chapters 1 and 2 provide a brief overview of the basset clarinet's history, information on acquiring an...
Show moreThe focus of this treatise is the examination of newer works for the basset clarinet and various techniques composers employed when adapting their compositions for other instruments. While nearly every university-level clarinetist is aware that Mozart's Concerto for Clarinet KV622 was written for the basset clarinet, for many, their knowledge of the instrument remains relatively sparse. Chapters 1 and 2 provide a brief overview of the basset clarinet's history, information on acquiring an instrument, and a comparison of several editions of Mozart's Clarinet Concerto. In chapter 3, special focus is given to newer works written for the basset clarinet that have adaptations for more readily available instruments (A clarinet, B-flat clarinet, basset horn, and bass clarinet). Primary attention is directed toward the composers' methods in transcribing for these instruments. Works discussed are: Enchantment of Venus (Howard Blake), Solistice (Theresa Martin), Duo Sonata (Peter Schickele), Swan Song (Paul Richards), and Nocturne étincelant (Roger Zare). The ultimate goal of this material is for clarinetists to enhance their knowledge of the basset clarinet both historically and as a modern instrument, and provide a starting point to explore the basset clarinet repertoire.
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Date Issued: 2018
Identifier: 2018_Fall_Petrucelly_fsu_0071E_14882
Format: Thesis

Title: Cultivating a Living Education: An Anthroposophic Approach to Teaching Overtones.
Creator: Hernandez, Michael N. (Michael Nandin), Meighan, Patrick, Callender, Clifton, Bish, Deborah, Keesecker, Jeff, Florida State University, College of Music, College of Music
Abstract/Description: The daily production of overtones is not typically thought of as an elementary exercise for young saxophonists; in fact, the subject of overtones does not appear in most widely used method books designed for children. There are however a handful of books that have been written to help facilitate the student with playing in the altissimo range, and these books do in fact discuss overtones. However, these methods are aimed at the advanced player, not the young child, this is clear in the...
Show moreThe daily production of overtones is not typically thought of as an elementary exercise for young saxophonists; in fact, the subject of overtones does not appear in most widely used method books designed for children. There are however a handful of books that have been written to help facilitate the student with playing in the altissimo range, and these books do in fact discuss overtones. However, these methods are aimed at the advanced player, not the young child, this is clear in the language that is used. Many collegiate saxophonists will be familiar with a few of these texts; Top Tones (S. Raschèr), Saxophone High Tones (E. Rousseau), and Voicing (D. Sinta). It is true that 80 years ago the altissimo register was thought of by most saxophonists to be an extended technique, but today the idea of playing high on saxophone is generally accepted if not unavoidable. Why is it that 80 years after the composition of some of the saxophone's most notable masterworks such as the concerti by Glazunov and Ibert, works that require 3 and a half to 4 octaves, does one still encounter students of various ages and ability opting to take certain passages down the octave? The student is not to blame here, the underlying issue is one of pedagogy. While saxophonists have come to terms with the altissimo range and its practicality, educators have still not reevaluated the way in which the student is prepared for this particular challenge. Perhaps when this situation is viewed under the gaze of Anthroposophy, educators might glean insight into the importance of early overtone study. This treatise will examine some of the core principles that form the pedagogical philosophy of Waldorf Education as prescribed by the Austrian-born scientific, literary and philosophical scholar Rudolf Steiner as well as their application to modern day saxophone pedagogy.
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Date Issued: 2018
Identifier: 2018_Fall_Hernandez_fsu_0071E_14495
Format: Thesis

Title: Performing Live with Electronics: A Percussionist's Guide to the Performance Practice of Electroacoustic Percussion Music.
Creator: Jordan, Matthew G. (Matthew Gray), Clary, Richard, Bish, Deborah, Moore, Christopher, Florida State University, College of Music, College of Music
Abstract/Description: This treatise seeks to examine performance practice of electroacoustic percussion music through the exploration of selected works for percussion and electronics, as well as provide a primer for students interested in becoming fluent in the language of music technology. The evolution of solo percussion music in the 20th and 21st centuries closely mirrors that of electronic instruments and audio technology, and several seminal works were composed due to the initially experimental nature of both...
Show moreThis treatise seeks to examine performance practice of electroacoustic percussion music through the exploration of selected works for percussion and electronics, as well as provide a primer for students interested in becoming fluent in the language of music technology. The evolution of solo percussion music in the 20th and 21st centuries closely mirrors that of electronic instruments and audio technology, and several seminal works were composed due to the initially experimental nature of both mediums and the relative ease of their integration. At present, percussion works with electronic elements have all but replaced the piano accompanist for many student percussion recitals; therefore, the need for a performer's guide to the intricacies and performance practice of electroacoustic percussion music through all difficulty levels is paramount as the classical percussion repertoire and curriculum continues to evolve. Chapter One comprises a brief summary of the history of electroacoustic percussion music, including compositional integration of electronic and acoustic elements and how technology affected the composers of these works. Chapter Two offers an overview of current music technology hardware and software required to realize these works. Chapters Three through Six analyze the four different categories of works for percussion and electronics: fixed media, electronic effects, live processing, and MIDI instruments. Suggested technical diagrams/setups, as well as related works, accompany each chapter.
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Date Issued: 2018
Identifier: 2018_Fall_Jordan_fsu_0071E_14909
Format: Thesis

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

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

Title: Astor Piazzolla’s Concierto Para Quinteto: A New Arrangement for Woodwind Quintet.
Creator: Peliska, Samuel, Bish, Deborah, Buchler, Michael Howard, Keesecker, Jeff, Ohlsson, Eric Paul, Florida State University, College of Music, College of Music
Abstract/Description: The music of Argentinian tango composer Astor Piazzolla (1921-1992) is currently enjoying greater worldwide popularity than ever before among musicians and audiences alike. Yet for much of his lifetime Piazzolla had to struggle for acceptance; his idiosyncratic style is the product of many disparate influences, such that he often found it difficult to appeal to the diverse sections of the public he hoped to win over with his music. Piazzolla referred to his own music as nuevo tango, an avant...
Show moreThe music of Argentinian tango composer Astor Piazzolla (1921-1992) is currently enjoying greater worldwide popularity than ever before among musicians and audiences alike. Yet for much of his lifetime Piazzolla had to struggle for acceptance; his idiosyncratic style is the product of many disparate influences, such that he often found it difficult to appeal to the diverse sections of the public he hoped to win over with his music. Piazzolla referred to his own music as nuevo tango, an avant-garde version of Buenos Aires' most popular dance form. He saw it as a natural evolution of the traditional tango style in which he was well versed, having performed in many of the greatest Buenos Aires tango bands of the 1940s. His detractors among Argentina's tango traditionalists, however, insisted for years that his more erudite compositions were not even tangos at all. Certainly, in some ways his music displays a closer kinship with Western classical music. Piazzolla had a lifelong love for the music of J.S. Bach, which he first heard as a child through the wall of his family's apartment in New York City. Later, as a pupil of Alberto Ginastera and Nadia Boulanger, he also became a devoted scholar and admirer of Stravinsky, Bartók, and Prokofiev, and his own compositions bear the mark of these twentieth-century giants. Another source of inspiration for Piazzolla was jazz: as a young man he would sneak out to Harlem to hear Duke Ellington and Cab Calloway, and his tastes later expanded to include the likes of Gil Evans and Gerry Mulligan. Piazzolla was able to fuse these various influences--classical, jazz, and tango--into a distinctive musical idiom that, while indebted to other styles, is nonetheless uniquely and unmistakably his own. Initially there was not much public support for this new musical voice, especially in his native Argentina. But through perseverance and relentless self-promotion over the course of a performing career that spanned more than fifty years, Piazzolla was able to increase his fan base from a small but loyal core of devotees into a worldwide following that has only continued to grow since his death. The eclecticism of his source material, once a stumbling block to his critics, is now a major source of appeal for today's increasingly diverse cosmopolitan audiences. Piazzolla's music has been especially embraced in the classical music community, where it has found such distinguished champions as Yo-Yo Ma, Gidon Kremer, and the Kronos Quartet. A growing number of arrangements of his works are being produced for ensembles of various sizes and configurations, so that more musicians can have the pleasure of bringing Piazzolla's music to an ever-wider public. The purpose of this treatise is to introduce my new arrangement for woodwind quintet of Piazzolla's original composition Concierto para Quinteto. This piece was premiered in 1971 and was designed to feature the musicians of the Quinteto Nuevo Tango, the most successful of Piazzolla's groundbreaking ensembles: it is scored for bandoneon, violin, electric guitar, piano, and double bass. It consists of three movements or sections (played attaca), and at nine minutes in length it is among his more substantial instrumental pieces. It exhibits all the traits of his mature compositional style, and while Piazzolla wrote this quintet during his most productive and creative period--the late 1960s and early 1970s--it remained in his active performance repertory until the end of his career. This treatise begins with a brief survey of Piazzolla's life and career. Full-length scholarly biographies of Piazzolla are widely available, so in keeping with the primary purpose of this treatise and in order to avoid redundancy, the first chapter focuses primarily on those aspects that will provide readers with a grasp of Piazzolla's musical style and influences, and the trajectory of his creative life. The second chapter features a discussion of the Quinteto Nuevo Tango--its instrumentation, the unique role of each instrument in the group, its importance within the totality of Piazzolla's oeuvre--an exercise necessary to understand the ensemble for which Piazzolla wrote Concierto para Quinteto. The third chapter provides an analytical commentary on Piazzolla's original version of Concierto para Quinteto, dealing with questions of form, harmony, and orchestration, and finishes by offering an in-depth look at my new arrangement, detailing the various challenges and decisions I faced when creating my own adaptation of the piece.
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Date Issued: 2014
Identifier: FSU_migr_etd-9228
Format: Thesis

Title: The Life and Music of Daniel Nelson with a Performer’s Guide to the Clarinet Concerto.
Creator: Kachouee, Lisa, Bish, Deborah, Clary, Richard, Meighan, Patrick, Ohlsson, Eric Paul, Florida State University, College of Music, College of Music
Abstract/Description: Composer Daniel Nelson (b. 1965) is a unique figure in the world of contemporary music. A dual citizen of the United States and Sweden, he received musical training in both countries and has had his music performed world-wide. Nelson's music is colorful, often rhythmic, neoclassical in formal construction, harmonically accessible, and includes influences ranging from Mozart to Depeche Mode. Critics have extolled his music as "exuberant" with "magnificently mobile orchestration." Daniel Nelson...
Show moreComposer Daniel Nelson (b. 1965) is a unique figure in the world of contemporary music. A dual citizen of the United States and Sweden, he received musical training in both countries and has had his music performed world-wide. Nelson's music is colorful, often rhythmic, neoclassical in formal construction, harmonically accessible, and includes influences ranging from Mozart to Depeche Mode. Critics have extolled his music as "exuberant" with "magnificently mobile orchestration." Daniel Nelson's Clarinet Concerto (2000) may be regarded as his professional breakthrough. The work was a success in Sweden and performed several times throughout Europe and in the United States. Clarinetist Niklas Andersson premiered and recorded the work in 2000 with the Västerås Sinfonietta. However, the work is still relatively unknown despite its superlative quality, accessibility, and promotion of the clarinet as a versatile instrument technically, stylistically, and emotively. This treatise provides information on all of the works in Nelson's catalogue as well as new pieces currently in production. In order to promote the Clarinet Concerto and further aid it in securing a deserved position in the standard repertoire, this treatise includes a performer's guide. The guide not only provides detailed advice for clarinetists tackling the concerto, but also for collaborative pianists or orchestra conductors.
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Date Issued: 2014
Identifier: FSU_migr_etd-9195
Format: Thesis

Title: The Electroacoustic Bassoon: An Exploration of a Modern Use for the Traditional Instrument.
Creator: Behr, Bradley S., Keesecker, Jeff, Jones, Evan Allan, Bish, Deborah, Ohlsson, Eric Paul, Florida State University, College of Music, College of Music
Abstract/Description: The inclusion of electronic equipment in the performance of traditionally acoustic instruments has sparked a new genre of musical possibilities. Through an exploration of the history of the electroacoustic musical genre, the technologies employed, performance practices, and the experiences of a representative sample of bassoonists currently performing within the field, this treatise demonstrates how the addition of electronics in music has developed the genre of electroacoustic bassoon...
Show moreThe inclusion of electronic equipment in the performance of traditionally acoustic instruments has sparked a new genre of musical possibilities. Through an exploration of the history of the electroacoustic musical genre, the technologies employed, performance practices, and the experiences of a representative sample of bassoonists currently performing within the field, this treatise demonstrates how the addition of electronics in music has developed the genre of electroacoustic bassoon performance. The experiences of four representative bassoonists, Michael Burns, Jeffrey Lyman, Jim Rodgers, and Paul Hanson, are highlighted to demonstrate how each uses electroacoustic performance in his career, as well as the specific technologies and equipment employed to transform the traditional acoustic bassoon into an electroacoustic instrument.
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Date Issued: 2014
Identifier: FSU_migr_etd-9138
Format: Thesis

Title: Time Use and Instructional Focus in Beginning and Advanced Middle School Band Settings.
Creator: Singletary, Laura, VanWeelden, Kimberly D., Bish, Deborah, Madsen, Clifford K., Fredrickson, William E., Bugaj, Kasia, Florida State University, College of Music
Abstract/Description: The purpose of this study was to observe time use and instructional focus in the middle school beginning band and advanced band settings. The analysis included the systematic recording of teacher behavior and student performance activities for the entire class period observed, as well as consideration of the relationship between teacher behaviors and student performance in specific instructional episodes during the class period. All timing data was recorded using the SCRIBE (Simple Computer...
Show moreThe purpose of this study was to observe time use and instructional focus in the middle school beginning band and advanced band settings. The analysis included the systematic recording of teacher behavior and student performance activities for the entire class period observed, as well as consideration of the relationship between teacher behaviors and student performance in specific instructional episodes during the class period. All timing data was recorded using the SCRIBE (Simple Computer Recording Interface for Behavioral Evaluation) software (Duke & Stammen, 2011). Participants in included five expert middle school band directors, who were video-recorded teaching a beginning band class and an advanced band class in the same instructional day. A total of 394.60 minutes (approximately 6 hours and 36 minutes) of rehearsal were observed; a total of 202.21 minutes were observed in the advanced band setting, and 192.39 minutes were observed in the beginning band setting. The first layer of observation included documentation of the whole class period using six categories: 1) teacher instruction, 2) instrumental modeling, 3) group performance, 4) section performance, 5) individual performance, and 6) student verbal behavior. Time devoted to warm-up and preparatory activities (prior to literature) was also documented in this layer of observation. The second layer of observation included documentation of the whole class period using three categories: 1) time on the podium, 2) active conducting, and 3) individualized instruction. The third layer of observation entailed identifying rehearsal frames in which targets were identified and categorized. Strategies identified as general music instructional strategies were documented in this layer as well. Results of this study revealed differences in the frequency of observed behaviors between the beginning and advanced band settings, with significantly more episodes of teacher modeling, individualized instruction, and student verbal questions/responses occurring in the beginning band setting. A significantly greater number of episodes of section performance occurred in the advanced band setting. Teachers spent more time on the podium and actively conducting the ensemble in the advanced band setting than in the beginning band setting, and more time was used for preparatory activities (prior to literature) in the beginning band setting than in the advanced band setting. Target categories emphasized in the beginning band setting reflected an emphasis on fundamentals and literacy, whereas the target categories in the advanced band setting reflected greater emphasis on performance-based goal achievement.
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Date Issued: 2016
Identifier: FSU_FA2016_Singletary_fsu_0071E_13495
Format: Thesis

Title: The Evolution of the Tuba Concerto: Significance and Musical Growth Beyond Tubby.
Creator: Edgley, Mackenzie Kay, Ebbers, Paul D., Buchler, Michael Howard, Drew, John Robert, Bish, Deborah, Florida State University, College of Music, College of Music
Abstract/Description: This treatise examines the evolution of the tuba concerto. The goals of this study are to show how the tuba concerto began, to illustrate the musical significance, and to provide an increased awareness of the positive attributes and importance of the tuba concerto genre. This discussion provides a clear, chronological look at different aspects of tuba concertos to show the progress the genre has made over time. The discussion begins with a selection of the early tuba concertos, from the late...
Show moreThis treatise examines the evolution of the tuba concerto. The goals of this study are to show how the tuba concerto began, to illustrate the musical significance, and to provide an increased awareness of the positive attributes and importance of the tuba concerto genre. This discussion provides a clear, chronological look at different aspects of tuba concertos to show the progress the genre has made over time. The discussion begins with a selection of the early tuba concertos, from the late nineteenth century through to the 1950s, and their characteristics. Following is an overview of general characteristics and trends in tuba concertos in each decade, starting in the 1960s. One concerto from each decade is examined in detail, emphasizing some of the interesting facets of each work, followed by a brief formal analysis. Review of specific concertos from each decade shows the growth of the tuba concerto over time. The appendices will then provide an index of tuba concertos. While the genre began as almost a novelty, tuba concertos have evolved into works that are substantial in their artistry and musical value. Today, tuba concertos are performed, composed, and commissioned by major artists and groups worldwide. The findings of this paper support this thesis and documents evolution of the tuba concerto into a form of serious and well- respected composition.
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Date Issued: 2016
Identifier: FSU_2016SU_Edgley_fsu_0071E_12851
Format: Thesis

Title: Is There Romance after Schumann: An Analysis and Discussion of Robert Schumann's Three Romances for Oboe and Piano, Op. 94, Clara Schumann's Three Romances for Violin and Piano, Op. 22, and Other Selected Romances for Violin and Piano, Op. 22, and Other Selected Romances Written for Oboe and Piano.
Creator: Knowlton, Casey Leigh, Ohlsson, Eric Paul, Clary, Richard, Bish, Deborah, Keesecker, Jeff, Florida State University, College of Music, College of Music
Abstract/Description: This document is a compilation of two lecture recitals held on November 10, 2015 and April 27, 2016. Both of these recitals explored selected works performed by oboists written in the Romance genre. The lectures define stylistic characteristics distinctive to Romances composed in the nineteenth century. Musical analyses of selected pieces written from 1849 to 1988 are compared and contrasted with these typical features in order to highlight how composer’s asserted their unique style or how...
Show moreThis document is a compilation of two lecture recitals held on November 10, 2015 and April 27, 2016. Both of these recitals explored selected works performed by oboists written in the Romance genre. The lectures define stylistic characteristics distinctive to Romances composed in the nineteenth century. Musical analyses of selected pieces written from 1849 to 1988 are compared and contrasted with these typical features in order to highlight how composer’s asserted their unique style or how compositional conventions changed throughout history. Selections originally written for oboe and piano and published with the title of Romance is the focus of the latter lecture recital. In the former, Three Romances for Oboe and Piano, Op. 94 (1849) by Robert Schumann and Three Romances for Violin and Piano, Op. 22 (1853) by Clara Schumann are further explored to uncover musical evidence to prove the historical plausibility that Clara Schumann had written Robert Schumann’s Op. 94. Robert Schumann’s Three Romances, Op. 94 is one of the most recognized works from the nineteenth century repertoire for oboe and piano. The Romances of Op. 22 have increasingly been borrowed by oboists. Due to the loss of the original manuscript there is conjecture, based on the historical events in the Schumann family, that Clara Schumann could possibly have penned the Op. 94. In an effort to find musical evidence to prove the veracity of this claim, the Op. 94 and Clara Schumann’s Three Romances for Violin and Piano, Op. 22 will be analyzed and compared. Furthermore, comparing these works shows how Robert Schumann and Clara Schumann influenced one another and what features distinguish the two composers from one another. This musical evidence, primarily the piano writing, does not support the likelihood that Clara Schumann wrote Robert Schumann’s Op. 94. Examining the repertory for pieces composed for oboe and piano, with the title of Romance, since Robert Schumann wrote Op. 94 yields seven works written during 1849-1988. The pieces not written by Schumann exhibit departures from the earlier Romance genre that reflect shifts in compositional strategies. Many do share general characteristics found in Schumann’s Op. 94. Biographical information of the composer, premiere and publication details, musical analyses, stylistic comparison to Schumann’s Op. 94, and the performance challenges of each work will be discussed.
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Date Issued: 2016
Identifier: FSU_2016SU_Knowlton_fsu_0071E_13420
Format: Thesis

Title: Learning and Understanding the Piano Etudes of Chopin and Ligeti.
Creator: Miller, Nolan, Gainsford, Read, Buchler, Michael Howard, Kalhous, David, Bish, Deborah, Florida State University, College of Music
Abstract/Description: This treatise is in two distinct sections. The first part uses the Etudes Op. 10 by Frédéric Chopin as a vehicle through which to examine aspects of the learning process. Topics discussed include mindset, the role automatic behaviors play in learning music, and characteristics of deliberate practice. The paper proposes practice techniques for specific passages in the etudes based on the principles of these psychological theories, and discusses approaches to avoid. The second part deals with...
Show moreThis treatise is in two distinct sections. The first part uses the Etudes Op. 10 by Frédéric Chopin as a vehicle through which to examine aspects of the learning process. Topics discussed include mindset, the role automatic behaviors play in learning music, and characteristics of deliberate practice. The paper proposes practice techniques for specific passages in the etudes based on the principles of these psychological theories, and discusses approaches to avoid. The second part deals with compositional elements found in the Études pour piano, deuxième livre by György Ligeti. Several influences on Ligeti's style are examined, including artwork, mathematics, and non-Western music. The paper discusses Ligeti's use of asymmetrical rhythms and rhythmic ostinati, his treatment of multiple simultaneous pitch collections, and other features unique to specific etudes. In both sections of the paper, the primary focus is on practical and technical concerns for performers of these pieces, rather than on subjective aspects of musical interpretation.
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Date Issued: 2017
Identifier: FSU_2017SP_Miller_fsu_0071E_13724
Format: Thesis

Title: The Saxophone Music of Tristan Keuris and an Analysis of Music for Saxophones.
Creator: Belt, Cole Devan, Bish, Deborah, Clary, Richard, Jiménez, Alexander, Hodges, Anne R., Florida State University, College of Music
Abstract/Description: The role of the saxophone has been in a profoundly confusing state of limbo regarding identity, sound, and repertoire since its patent in 1846. Originally intended for the orchestra, it has struggled to see that intent realized and instead, in its tenacious struggle for survival, it has found a way into other legitimate yet misaligned mediums. Throughout history, one of the roles of great composers has been to help establish the identity and sound of deserving instruments through their...
Show moreThe role of the saxophone has been in a profoundly confusing state of limbo regarding identity, sound, and repertoire since its patent in 1846. Originally intended for the orchestra, it has struggled to see that intent realized and instead, in its tenacious struggle for survival, it has found a way into other legitimate yet misaligned mediums. Throughout history, one of the roles of great composers has been to help establish the identity and sound of deserving instruments through their writing of exemplary works for those instruments. The young age of the saxophone combined with its confused identity has made it difficult for composer and performer alike to sift through a saturated market in search of artistic product similar to the established canon of other instruments. Saxophone virtuoso John-Edward Kelly gave his 35-year career effort to overcoming this debacle and convincing dozens of exceptional composers to commit their masterworks to an instrument sorely in need of them. Tristan Keuris stands out among them. This treatise serves to introduce, analyze, and substantiate the saxophone works of Tristan Keuris, whom I believe to be a composer worthy of the highest praise and international attention. It will discuss the progression of the composer's relationship with the saxophone in coordination with his exposure to John-Edward Kelly and the Raschèr Saxophone Quartet as well as their influence on the repertoire overall. Combining primary sources, historical research, and analysis it is my hope that I and this document will become a reliable resource for future saxophonists and researchers.
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Date Issued: 2017
Identifier: FSU_2017SP_Belt_fsu_0071E_13799
Format: Thesis

Title: The Influence of Brazilian Choro on Selected Solo Bassoon Works of Francisco Mignone and Selected Chamber Works of Heitor Villa-Lobos.
Creator: Benites Felippe da Silva, Fabio, Keesecker, Jeff, Buchler, Michael Howard, Ohlsson, Eric Paul, Bish, Deborah, Florida State University, College of Music, College of Music
Abstract/Description: Choro is a genre of Brazilian popular music that emerged in Rio de Janeiro in the 1870s as an amalgamation of musical elements and instruments from Brazil, Europe, and Africa. It reached the height of its popularity in the 1920s and remains a fixture of Brazilian culture today. Many twentieth-century Brazilian classical composers incorporated elements of choro into their own works as a symbol of their nationalism. This treatise examines the influence of choro on the selected bassoon works of...
Show moreChoro is a genre of Brazilian popular music that emerged in Rio de Janeiro in the 1870s as an amalgamation of musical elements and instruments from Brazil, Europe, and Africa. It reached the height of its popularity in the 1920s and remains a fixture of Brazilian culture today. Many twentieth-century Brazilian classical composers incorporated elements of choro into their own works as a symbol of their nationalism. This treatise examines the influence of choro on the selected bassoon works of two such composers, Francisco Mignone (1897-1986) and Heitor Villa-Lobos (1887-1959). Although Mignone’s solo works for bassoon and Villa-Lobos’s chamber works including bassoon have been analyzed by Elione Medeiros, José Maria Neves, and others, an in-depth analysis of the choro influence in these pieces had not, until now, been undertaken. This treatise identifies characteristic melodic and rhythmic structures found in choro music as a foundation for the analysis of similar structures found in Mignone’s Concertino for Bassoon and Chamber Orchestra, Valsa-Choro, Apanhei-te Meu Fagotinho, Pattapiada, and Valsa Improvisada, and in Villa-Lobo’s Chôros Nº.7, Quinteto em Forma de Chôros, Noneto, and Bachianas Brasileiras Nº. 6.
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Date Issued: 2018
Identifier: 2018_Sp_BenitesFelippedaSilva_fsu_0071E_14517
Format: Thesis

Title: An Introduction to Alexander Technique, Feldenkrais, and Body Mapping for the Clarinet: A Personal Exploration.
Creator: Kabbas, Jennifer S., Bish, Deborah, VanWeelden, Kimberly D., Holden, Jonathan, Amsler, Eva, Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this research is to provide a foundational collection of activities and basic anatomy for beginning the transfer of concepts and techniques from Alexander Technique, Feldenkrais, and Body Mapping into daily clarinet practice for the sake of injury prevention and maintenance. It is not intended to be a comprehensive list of possible activities and relevant information, nor is it intended as medical advice, a cure for any disorder, or as a replacement for individual study of...
Show moreThe purpose of this research is to provide a foundational collection of activities and basic anatomy for beginning the transfer of concepts and techniques from Alexander Technique, Feldenkrais, and Body Mapping into daily clarinet practice for the sake of injury prevention and maintenance. It is not intended to be a comprehensive list of possible activities and relevant information, nor is it intended as medical advice, a cure for any disorder, or as a replacement for individual study of these methods with a licensed instructor. It is simply a list and basic instructions for activities and pieces of anatomy that I found to be particularly useful in approaching my own physical weaknesses at the clarinet. For my research, I consulted with the following experts: • Dr. Shawn Copeland (Moscow, Idaho): Assistant Professor of Clarinet at the University of Idaho, Certified Teaching Member of Alexander Technique International, and a Licensed Andover Educator. • Mr. Brian Baraszu (Atlanta, Georgia): Drummer, Martial Artist, and Guild Certified Feldenkrais Practitioner. • Dr. Andrée Martin (Columbus, Georgia): Professor of Flute at Columbus State University, and a Licensed Andover Educator. I spent several days working with each expert, during which I conducted a formal interview as well as engaging in no fewer than 3 one- to one-and-a-half hour private sessions. Based on our work together, I compiled an introductory set of core concepts and mindsets, basic explanations of anatomical structures, and exploratory movements and activities designed to assist clarinetists in achieving a healthier use of the self and the body while playing. The components were then sent to their respective experts for review to determine accuracy and help eliminate misinformation. The activities in this document address, but are not limited to, the following areas: • Building kinesthetic and general awareness • Practicing play and failure • The back, spine, hips, and sit bones • The jaw and the tongue • The shoulder • The forearms, hands, and wrists • Integration of the breath In addition to instruction and accompanying anatomical explanations, I provide with each activity a description of my own experiences as well as the application of the activity to clarinet performance.
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Date Issued: 2018
Identifier: 2018_Sp_Kabbas_fsu_0071E_14489
Format: Thesis

Title: A Guide to Orchestral Second Clarinet Performance.
Creator: Glazier, Jaclyn Surber, Bish, Deborah, Kelly, Steven N., Hodges, Anne, Holden, Jonathan, Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this research is to gain insight on different aspects of orchestral performance and ensemble skills from the perspective of the second clarinetist. Most of the existing literature related to orchestral clarinet performance focuses primarily on the audition process and the preparation of principal clarinet excerpts. The aim of this study is to examine the proficiencies needed to perform effectively in an orchestral setting. The focus is primarily on second clarinet playing...
Show moreThe purpose of this research is to gain insight on different aspects of orchestral performance and ensemble skills from the perspective of the second clarinetist. Most of the existing literature related to orchestral clarinet performance focuses primarily on the audition process and the preparation of principal clarinet excerpts. The aim of this study is to examine the proficiencies needed to perform effectively in an orchestral setting. The focus is primarily on second clarinet playing because it is particularly demanding in regards to ensemble skills. Through interviews with experts, this research examines the challenges involved in playing second clarinet in an orchestra, and the methods through which an orchestral musician can develop ensemble skills. All of the experts questioned have held a position with a major American symphony orchestra for a minimum of eight years. The experts were consulted about personal attitude and approach, balance, intonation, tone, articulation, preparation, collaboration, and other factors that exemplify excellent ensemble playing. Specific second clarinet excerpts were also addressed, particularly with advice on how to play them in the final round of an audition with a member of the orchestra. It is my goal to provide valuable information to help clarinetists and other musicians improve their ensemble skills, to assist teachers in passing on this expertise to their students, and to aid clarinetists seeking to win second clarinet auditions.
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Date Issued: 2016
Identifier: FSU_2016SU_Glazier_fsu_0071E_13443
Format: Thesis

Title: Clarinet Repair and Maintenance: Perspectives on Basic Repair Topics for Performers.
Creator: Holder, Ashley Elizabeth, Bish, Deborah, Kelly, Steven N., Holden, Jonathan, Keesecker, Jeff, Florida State University, College of Music, College of Music
Abstract/Description: The focus of this treatise is to provide information and opinions regarding clarinet repair and maintenance. There are few resources available on general maintenance and repair designed specifically for the clarinet teacher and performer. Since so many of the common maintenance issues clarinetists face do not have a simple answer, my hope is that by presenting varying opinions, the clarinet instructor can come to her own conclusions. Included in my research are interviews from expert...
Show moreThe focus of this treatise is to provide information and opinions regarding clarinet repair and maintenance. There are few resources available on general maintenance and repair designed specifically for the clarinet teacher and performer. Since so many of the common maintenance issues clarinetists face do not have a simple answer, my hope is that by presenting varying opinions, the clarinet instructor can come to her own conclusions. Included in my research are interviews from expert repairmen Tim Clark, Morrie Backun, and Bruce Marking. All are exceedingly skilled in the field of woodwind repair, particularly with clarinets, and each provided unique and inspiring knowledge about clarinet repair. The majority of literature on the subject is written for an audience that already possesses some knowledge about repair, or at the very least a working awareness of certain mechanical proficiencies. Ultimately, I found three sources to be of great help for those new to repair: Stephen Howard’s Clarinet Manual: How to Buy, Set Up, and Maintain a Boehm System Clarinet, Heather Karlsson’s Care and Feeding of Your Clarinet: A User’s Guide to Basic Maintenance, and Robert Schmidt’s A Clarinetist’s Notebook, Volume 1: Care and Repair. This treatise provides information regarding general maintenance topics and details short-term repair solutions. While clarinets will inevitably require some repair over time, many common problems are largely avoidable. Preventative care is the key to avoiding sudden repair needs. Yearly maintenance on a clarinet will reduce the wear of the mechanisms and keys, keep the tone holes free of debris, maintain the health of the wood, and address several other aspects discussed in this document. This document is designed to assist educators of students with basic repair and maintenance instructions.
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Date Issued: 2018
Identifier: 2018_Su_Holder_fsu_0071E_14630
Format: Thesis

Music (31)	+ -
Instruction and study (6)	+ -
Performing arts (4)	+ -
Education (3)	+ -
Study and teaching (3)	+ -

Arts (1)	+ -
Entrepreneurship (1)	+ -
Management (1)	+ -
Middle school education (1)	+ -

text (32)	+ -
doctoral thesis (20)	+ -

Bish, Deborah (32)	+ -
College of Music (32)	+ -
Florida State University (32)	+ -
Keesecker, Jeff (16)	+ -
Clary, Richard (14)	+ -

Ohlsson, Eric Paul (12)	+ -
Holden, Jonathan (9)	+ -
Amsler, Eva (6)	+ -
Buchler, Michael Howard (4)	+ -
Fredrickson, William E. (4)	+ -
Hodges, Anne R. (4)	+ -
Kelly, Steven N. (3)	+ -
VanWeelden, Kimberly D. (3)	+ -
Callender, Clifton (2)	+ -
Madsen, Clifford K. (2)	+ -
Meighan, Patrick (2)	+ -
Baumanis, Julia L. (Julia Lauren) (1)	+ -
Behr, Bradley S. (1)	+ -
Belt, Cole Devan (1)	+ -
Benites Felippe da Silva, Fabio (1)	+ -
Boatman, Olivia Suzanne (1)	+ -
Brewer, Charles E. (Charles Everett) (1)	+ -
Brooks, Jeffrey Michael (1)	+ -
Bugaj, Kasia (1)	+ -
Cetin, Ayca (1)	+ -
Childs, Nicholas James (1)	+ -
Ciulla, Siobhán Marie (1)	+ -
Clendinning, Jane Piper (1)	+ -
Deibel, Geoffrey (1)	+ -
Drew, John Robert (1)	+ -

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