Search results

Title: The History, Development, and Performance of Extended Techniques on the Bassoon with Special Focus on Philippe Hersant's Hopi and Kalevi Aho's Solo V.
Creator: Reynolds, Ryan R. (Ryan Raymond), Keesecker, Jeff, Clary, Richard, Ohlsson, Eric Paul, Williams, Heidi Louise, Florida State University, College of Music
Abstract/Description: The ability to learn and execute extended techniques is not universal among bassoonists, yet the concept of extending technique in general has been fundamental to the development and evolution of the bassoon over the centuries. Many of the techniques that are considered nontraditional and extended in today’s modern bassoon repertoire will most likely be considered commonplace in the future as many of the historical examples explored in this treatise are now. As there is no writing to date on...
Show moreThe ability to learn and execute extended techniques is not universal among bassoonists, yet the concept of extending technique in general has been fundamental to the development and evolution of the bassoon over the centuries. Many of the techniques that are considered nontraditional and extended in today’s modern bassoon repertoire will most likely be considered commonplace in the future as many of the historical examples explored in this treatise are now. As there is no writing to date on the history and development of extended techniques for bassoon, it is the goal of this treatise to explore the relationship between compositional demand, instrument design, and the historical trajectory towards what today’s bassoonists consider to be extended techniques. Additionally, this treatise will provide concrete performance instructions for the extended techniques found in two twentieth-century works: Philippe Hersant’s Hopi and Kalevi Aho’s Solo V. The advice given for these techniques offers bassoonists a set of tools that can be transplanted into many contemporary works and more that will be written in the future.
Show less
Date Issued: 2017
Identifier: FSU_SUMMER2017_Reynolds_fsu_0071E_13930
Format: Thesis

Title: The Influences of Stylistic and Programmatic Elements in Selected Works by Alyssa Morris.
Creator: Selkirk, Amy M., Ohlsson, Eric Paul, Clary, Richard, Amsler, Eva, Keesecker, Jeff, Florida State University, College of Music
Abstract/Description: This treatise discusses and exemplifies the stylistic and programmatic elements in three works by award-winning American oboist and composer, Alyssa Morris (b. 1984): Four Personalities for oboe and piano; Up and Away: The Story of a Balloon for oboe, bassoon, and piano; and Chrysalis for English horn and piano. Beginning with her first published work in 2007, Four Personalities, Morris’s music has become very popular. Several of her works have been recorded by prominent oboists and have been...
Show moreThis treatise discusses and exemplifies the stylistic and programmatic elements in three works by award-winning American oboist and composer, Alyssa Morris (b. 1984): Four Personalities for oboe and piano; Up and Away: The Story of a Balloon for oboe, bassoon, and piano; and Chrysalis for English horn and piano. Beginning with her first published work in 2007, Four Personalities, Morris’s music has become very popular. Several of her works have been recorded by prominent oboists and have been performed at conferences of the International Double Reed Society. The document provides biographical information on the composer and gives a detailed description of her compositional style and influences. This is followed by a thorough analysis of the form of each movement, and a discussion of the stylistic and programmatic elements utilized in each of these three works. The purpose of this research is to highlight the accomplishments of a composer who has made a significant contribution to woodwind music in the 21st Century, as well as to identify which qualities and compositional techniques allow her works to stand out in the wide selection of music written during this time period.
Show less
Date Issued: 2019
Identifier: 2019_Spring_Selkirk_fsu_0071E_15064
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.
Show less
Date Issued: 2018
Identifier: 2018_Fall_Petrucelly_fsu_0071E_14882
Format: Thesis

Title: Expressions of Integrity: Baroque Flute Players Reflect on Early Music.
Creator: Clapper, Laura M., Amsler, Eva, Clary, Richard, Ohlsson, Eric Paul, Keesecker, Jeff, Eyerly, Sarah, Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this treatise is to reframe the concept of "being authentic" as "expressing integrity," both in the context of early music performance and as a way to discuss the personal expression of the self. The culture of the early music movement in the twentieth century provides an interesting case study for understanding how a modern notion of authenticity impacted the beliefs, value system, and identity of early music's invested groups and individuals. "Expressing integrity" is a new...
Show moreThe purpose of this treatise is to reframe the concept of "being authentic" as "expressing integrity," both in the context of early music performance and as a way to discuss the personal expression of the self. The culture of the early music movement in the twentieth century provides an interesting case study for understanding how a modern notion of authenticity impacted the beliefs, value system, and identity of early music's invested groups and individuals. "Expressing integrity" is a new semantic model that better represents the process of musical performance as well as the unique experience of the individual. While authenticity in early music implies an extra-personal and extra-musical set of standards that limits personal expression in the music-making process, "expressing integrity" values each unique interpretation and performance as only one facet of an individual's personal experience. In this way, "expressing integrity" as a concept is not limited to early music but is also applicable to other areas of performance and creative expression. This treatise strives to define authenticity, identify its limitations, and re-cite authenticity to the individual as an expression of integrity. More specifically, this project aims to highlight the experiences of Baroque flute players from different generations of the early music movement and to create empathy for the processes of becoming an early music specialist. Three Baroque flute players contributed to this project: Stephen Preston, Jed Wentz, and Sarah Paysnick. Each of these flutists began his/her career at different times, and their early music training took place in three different countries. The first half of this treatise defines the philosophical concepts of sincerity and authenticity in the context of twentieth-century modernist thought. This also includes unpacking the language and mindset regarding authenticity within the context of the early music movement, discussing the moral implications of the "Authenticity Debate," and describing the "authentic" performance-practice principles central to the early music revival. Expressing integrity emerges from an understanding of the objective and subjective dimensions in early music performance and aims to re-cite authenticity to the individual. The second half of this treatise presents the three interviews with the Baroque flutists as discrete chapters. The interviews represent individual expressions of integrity and are reflections of these Baroque flute players' experiences as early music professionals. Through the interview process, Preston, Wentz, and Paysnick share their insight and wisdom on topics relevant to the practice of early music while contemplating its future trajectory.
Show less
Date Issued: 2018
Identifier: 2018_Su_Clapper_fsu_0071E_14607
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.
Show less
Date Issued: 2018
Identifier: 2018_Sp_Ross_fsu_0071E_14494
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.
Show less
Date Issued: 2018
Identifier: 2018_Sp_Erickson_fsu_0071E_14341
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.
Show less
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.
Show less
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.
Show less
Date Issued: 2014
Identifier: FSU_migr_etd-9138
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.
Show less
Date Issued: 2016
Identifier: FSU_2016SU_Knowlton_fsu_0071E_13420
Format: Thesis

Title: A Paradigmatic and Gestural Approach to Musical Meaning in Francis Poulenc's Sonata for Oboe and Piano.
Creator: Groskreutz, Shannon Sue, Jones, Evan Allan, Ohlsson, Eric Paul, Kraus, Joseph Charles, Mathes, James, Florida State University, College of Music, College of Music
Abstract/Description: This dissertation explores musical meaning and narrative in Francis Poulenc’s music through an interaction of three main analytic approaches: the paradigmatic method of analysis as previously demonstrated by Jean-Jacques Nattiez and Kofi Agawu, and Robert Hatten’s significant work in both musical meaning and gestural theory. The richly motivic and deeply poignant final substantial work of Francis Poulenc—Sonata for Oboe and Piano (1962)—is my composition of choice in undertaking this...
Show moreThis dissertation explores musical meaning and narrative in Francis Poulenc’s music through an interaction of three main analytic approaches: the paradigmatic method of analysis as previously demonstrated by Jean-Jacques Nattiez and Kofi Agawu, and Robert Hatten’s significant work in both musical meaning and gestural theory. The richly motivic and deeply poignant final substantial work of Francis Poulenc—Sonata for Oboe and Piano (1962)—is my composition of choice in undertaking this substantial analytic feat. Hatten’s gestural theory has a significant impact on the manner in which I segment each movement of the sonata and choose appropriate paradigms for the segmented motivic units. Likewise, Nattiez’s and Agawu’s paradigmatic analyses and charts play a substantial role in how I generate my own paradigmatic charts, yet I make significant adjustments to correct for what I believe to be shortcomings in my predecessors’ charts and to supplement the narrative trajectory that I trace through each movement. Hatten’s work in musical meaning, in particular, profoundly influences my narrative analysis of each movement. The first chapter serves as an introduction to the dissertation, followed by an in-depth review of the literature that aided me throughout this project. Sources reviewed include a variety of topics relevant to my dissertation: the paradigmatic method of analysis, narrative and musical meaning, topical analysis, tonal tensions and musical expression, intertextuality, harmonic theory, gestural theory, and Schoenbergian motivic relations. For each source I review, I consider what aspects propelled me forward in my dissertation. Additionally, when relevant, I discuss why I chose not to adopt the methods of a particular source, or I discuss how I adapted the methods of a source to help better fit my analytic needs. Chapter 2 begins with an explanation of my adaptations to the paradigmatic method of analysis and how it benefits my analytic approach. Introduced at the beginning of the chapter are two charts that are significant to my analytic approach, the paradigmatic chart (adapted to fit my analytic needs) and the Master Diachronic Motivic Event Chart, an in-depth diachronic picture of my process of segmenting the movement into motivic units and placing them into appropriate paradigms. The main body of Chapter 2 begins with an in-depth analysis of the two main oppositional motives of the first movement, followed by a phrase-by-phrase chronological tracing of motivic interactions and transformations that influence both the form and narrative trajectory of the movement. My conclusion that the first movement fails to provide motivic or tonal closure influences the direction in which I take the final chapter of my dissertation. The third and final chapter of my dissertation continues the investigation into the thematization of lack of closure in the remaining two movements of Poulenc’s Oboe Sonata. This lack of closure is approached through an examination of a series of phrase restarts that are brought on by unresolved dominant thirteenth harmonies functioning as undercutting agents in the second movement and a series of wrong dominant arrivals between the melody and underlying harmony in the third movement, with phrases either ending on functionally-mixed iv9 harmonies or transgressive minor thirteenth dominant harmonies in the wrong key. Finally, I discuss the parallel and contrasting features between the inconclusive endings of the first and final movements of the Oboe Sonata from both an analyst’s and a performer’s perspectives. The protagonist (from my narrative analysis) and the oboist both long for a resolution to scale-degree 1 that never arrives. The reader still has the option to follow a detailed chronological analysis of movements 2 and 3 by reading the analytic comments that align with my motivic segmentations within my Master Diachronic Motivic Event Charts for both movements.
Show less
Date Issued: 2016
Identifier: FSU_2016SU_Groskreutz_fsu_0071E_13178
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.
Show less
Date Issued: 2018
Identifier: 2018_Sp_BenitesFelippedaSilva_fsu_0071E_14517
Format: Thesis

Music (12)	+ -
Instruction and study (1)	+ -

text (12)	+ -
doctoral thesis (7)	+ -

College of Music (12)	+ -
Florida State University (12)	+ -
Ohlsson, Eric Paul (12)	+ -
Keesecker, Jeff (9)	+ -
Bish, Deborah (8)	+ -

Clary, Richard (8)	+ -
Amsler, Eva (3)	+ -
Buchler, Michael Howard (2)	+ -
Jones, Evan Allan (2)	+ -
Behr, Bradley S. (1)	+ -
Benites Felippe da Silva, Fabio (1)	+ -
Clapper, Laura M. (1)	+ -
Erickson, Scott D. (1)	+ -
Eyerly, Sarah (1)	+ -
Groskreutz, Shannon Sue (1)	+ -
Kachouee, Lisa (1)	+ -
Knowlton, Casey Leigh (1)	+ -
Kraus, Joseph Charles (1)	+ -
Mathes, James (1)	+ -
Meighan, Patrick (1)	+ -
Peliska, Samuel (1)	+ -
Petrucelly, Paul Vincent (1)	+ -
Reynolds, Ryan R. (Ryan Raymond) (1)	+ -
Ross, John Michael (1)	+ -
Selkirk, Amy M. (1)	+ -
VanWeelden, Kimberly D. (1)	+ -
Williams, Heidi Louise (1)	+ -

Search In

Sort Results By:

Narrow results by:

Collection

Topical Subject

Genre

Type of Resource

Language

Creator

Format

Owner