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

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

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

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

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

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

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

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

Title: ELECTRONIC DETECTION OF NASALITY IN THE SINGING VOICE USING WAVESHAPE ANALYSIS.
Creator: BURKE, BARBARA PATRICIA., Florida State University
Abstract/Description: The purpose of this study was to investigate the possibility of the identification of nasality using waveshape analysis, as opposed to spectrum analysis. Previously attempted spectrographic studies have revealed no consistent or reliable results. Further spectrum analysis failed to discover any consistent distinguishing accoustical characteristics that could reliably aid in the discrimination between nasality and other vocal qualities., The results of this study indicate that the number of...
Show moreThe purpose of this study was to investigate the possibility of the identification of nasality using waveshape analysis, as opposed to spectrum analysis. Previously attempted spectrographic studies have revealed no consistent or reliable results. Further spectrum analysis failed to discover any consistent distinguishing accoustical characteristics that could reliably aid in the discrimination between nasality and other vocal qualities., The results of this study indicate that the number of zero crossings in a waveform varies directly with the degree of nasality in a singer's voice. Electronic instrumentation was desgned to measue the frequency of the zero crossing in a waveshape. This instrumentation was used in the analysis procedure., It was found that the zero crossing circuit correctly identified nasal samples in 9 out of 10 cases. These results indicate that the electronic zero crossing indicator used in this study provided a valid means of detection of the presence of nasality in the singing voice., Continued investigation is urged to utilize waveshape analysis in the design of an electronic nasality detection system. Zero crossing measurements should be used either as the basis of the design or in conjunction with other identifying characteristics of nasality that may be determined from further analysis.
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Date Issued: 1982, 1982
Identifier: AAI8217968, 3085281, FSDT3085281, fsu:74776
Format: Document (PDF)

Title: RHAPSODY FOR VIOLONCELLO AND ORCHESTRA. (ORIGINAL COMPOSITION).
Creator: DECKWERTH, RANDY MARTIN., Florida State University
Abstract/Description: A concerted work for Violoncello solo and symphony orchestra, approximately 23 minutes in duration. The composition is in one continuous movement, divided into three major sections with distinct subsections.
Date Issued: 1982, 1982
Identifier: AAI8225282, 3085339, FSDT3085339, fsu:74834
Format: Document (PDF)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Title: Phrase rhythm and form: The scherzi of Beethoven's late string quartets.
Creator: Carr-Richardson, Amy., Florida State University
Abstract/Description: Through a distinction between tonal rhythm (based on a combination of tones) and durational rhythm (based on groupings that are not created by tones), the rhythmic properties of tonal music may be analyzed and the interaction of these rhythmic properties may be studied. Durational rhythm of tonal works of music may be investigated through analysis of phrase rhythm, which includes both phrase structure and hypermeter. Tonal rhythm may be investigated through voice-leading reductions., A...
Show moreThrough a distinction between tonal rhythm (based on a combination of tones) and durational rhythm (based on groupings that are not created by tones), the rhythmic properties of tonal music may be analyzed and the interaction of these rhythmic properties may be studied. Durational rhythm of tonal works of music may be investigated through analysis of phrase rhythm, which includes both phrase structure and hypermeter. Tonal rhythm may be investigated through voice-leading reductions., A comparison of the durational rhythm and tonal rhythm of a given work yields insights as to how these parameters interact: the ways in which a work's tonal organization shapes its segmentation into periods and phrases and conversely, the manner in which rhythmic details of a work contribute to the shaping of its tonal pacing., The scherzo movements of Beethoven's late string quartets provide an excellent vehicle through which to study these rhythmic aspects of tonal music. These movements provide clear and extended examples of hypermeter, which may be studied in relationship to phrase structure. Likewise, these movements offer interesting formal and tonal variants of a well established classical genre, the scherzo. Related to the unique formal and tonal characteristics of these scherzi is a more general consideration of the stylistic traits associated with Beethoven's late compositions. Rhythmic analysis proves to be an effective tool both in offering a new perspective from which to study form and in clarifying the essence of Beethoven's late style.
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Date Issued: 1995, 1995
Identifier: AAI9537669, 3088674, FSDT3088674, fsu:77476
Format: Document (PDF)

Title: A comparative analysis of selected works of Alexander Scriabin and Olivier Messiaen for solo piano (Russia, France).
Creator: Hopkins, Stephen O'Bryan., Florida State University
Abstract/Description: Alexander Scriabin (1872-1915) and Olivier Messiaen (1908-1992) are two prominent twentieth-century composers, each of whom is regarded as unique and unclassifiable within the context of his own musical/historical surroundings. There is a general perception that Scriabin and Messiaen share in common a number of elements of style and compositional technique. Yet, the precise nature of these similarities has not been thoroughly or systematically examined. The present study undertakes such an...
Show moreAlexander Scriabin (1872-1915) and Olivier Messiaen (1908-1992) are two prominent twentieth-century composers, each of whom is regarded as unique and unclassifiable within the context of his own musical/historical surroundings. There is a general perception that Scriabin and Messiaen share in common a number of elements of style and compositional technique. Yet, the precise nature of these similarities has not been thoroughly or systematically examined. The present study undertakes such an examination., Pitch organization is the area in which we see the most substantial similarities between the two composers. Messiaen's modes of limited transpositions could just as nearly represent the tonal theory behind Scriabin's music as Messiaen's. They provide one of the earliest codifications of what George Perle describes in terms of "interval cycles"--periodic scales generated by the intervals ic2, ic3, ic4, and ic6., The principles of symmetry and periodicity underlie the pitch organization of both Scriabin and Messiaen, and the tritone is the most important interval in the music of both. Each composer, though, conceives of the tritone somewhat differently. Scriabin's conception of the interval is essentially harmonic; his use of the tritone in his late works derives directly from his fascination with the juxtaposition of flat-II and V in the tonal works of his middle period. Messiaen's conception of the tritone, on the other hand, is essentially melodic, and the resultant tonality is related more to the medieval church modes than it is to the harmonic developments of the common practice period.
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Date Issued: 1993, 1993
Identifier: AAI9523909, 3088564, FSDT3088564, fsu:77366
Format: Document (PDF)

Title: Structural function and unifying processes in selected organ music by American composers of the twentieth century.
Creator: Matthes, Sandra Lee., Florida State University
Abstract/Description: The present study proposes the application of the principle of structural function as an analytical method for that music of the twentieth century which employs some tonal attributes but is not formally structured by tonality. Four basic structural functions are used in the analysis: expository, transitional, developmental, and terminative., The works chosen for this study are: (1) Resurrection (1981) by Larry King; (2) Versets (1988) by Daniel Pinkham; and (3) A Quaker Reader (1976) by Ned...
Show moreThe present study proposes the application of the principle of structural function as an analytical method for that music of the twentieth century which employs some tonal attributes but is not formally structured by tonality. Four basic structural functions are used in the analysis: expository, transitional, developmental, and terminative., The works chosen for this study are: (1) Resurrection (1981) by Larry King; (2) Versets (1988) by Daniel Pinkham; and (3) A Quaker Reader (1976) by Ned Rorem. The works were chosen because they represent recent organ works by American composers., The study begins with a summary of related research, including studies of form in twentieth-century music and a summary of literature related to structural function. The second part of the study identifies analytical techniques, and the third part is an analysis of each piece that identifies formal organization and the relation to structural function. The final chapter identifies any general findings of the study., A primary concern for this analysis was to decide the relationship between this music and tonality; specifically, to determine how structural processes may be projected without the influence of tonality. Stability and instability, clearly defined sections and themes, standard developmental procedures--all are characteristics of tonally controlled music as well as somewhat characteristic of music in which tonality exhibits little or no control. This suggests that analysis may be extended to the function of other musical elements which may control structural processes.
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Date Issued: 1995, 1995
Identifier: AAI9523912, 3088567, FSDT3088567, fsu:77369
Format: Document (PDF)

Title: THE LIFE AND WORKS OF JAMES CUTLER DUNN PARKER.
Creator: CALDWELL, JAMES L., The Florida State University
Date Issued: 1968, 1968
Identifier: AAI6816358, 2985802, FSDT2985802, fsu:70311
Format: Document (PDF)

Title: THE RELATIONSHIP BETWEEN ACADEMIC PREPARATION AND PROFESSIONAL RESPONSIBILITIES OF INSTRUMENTAL AND CHORAL INSTRUCTORS IN SOUTH CAROLINA.
Creator: FRANKLIN, ALTON DAVID., The Florida State University
Date Issued: 1968, 1968
Identifier: AAI6816369, 2985811, FSDT2985811, fsu:70320
Format: Document (PDF)

Title: AN ANALYSIS OF THE BACHELOR OF MUSIC EDUCATION CURRICULUM WITH A CHORAL MAJOR AT FLORIDA STATE UNIVERSITY.
Creator: FRANKLIN, BOB LAWRENCE., The Florida State University
Date Issued: 1968, 1968
Identifier: AAI6816370, 2985812, FSDT2985812, fsu:70321
Format: Document (PDF)

Title: ALLEGRO AND ADAGIO RHYTHMIC STYLE IN THE INSTRUMENTAL WORKS OF J.S. BACH.
Creator: SWEETKIND, DAVID WILLIAM., The Florida State University
Date Issued: 1968, 1968
Identifier: AAI6911333, 2985884, FSDT2985884, fsu:70393
Format: Document (PDF)

Title: IMPLICATIONS FROM CONTEMPORARY AESTHETIC THOUGHT FOR MUSIC EDUCATION.
Creator: SPANN, CARRY EDWARD., The Florida State University
Date Issued: 1969, 1969
Identifier: AAI7016348, 2986186, FSDT2986186, fsu:70695
Format: Document (PDF)

Title: A SURVEY OF THE INFLUENCES THAT AFFECT THE MUSIC CURRICULUM OF STATE-SUPPORTED UNIVERSITIES.
Creator: POOLOS, JAMES GEORGE., The Florida State University
Date Issued: 1968, 1968
Identifier: AAI6900599, 2985852, FSDT2985852, fsu:70361
Format: Document (PDF)

Title: A HISTORY OF MUSIC WRITTEN FOR PRESCHOOL CHILDREN.
Creator: RHODEN, JANE OTWELL., The Florida State University
Date Issued: 1969, 1969
Identifier: AAI6917681, 2985981, FSDT2985981, fsu:70490
Format: Document (PDF)

Title: A SURVEY-APPRAISAL OF THE MUSIC CURRICULA OF LIBERAL ARTS COLLEGES RELATED TO THE LUTHERAN CHURCH IN AMERICA.
Creator: WILLIAMS, FRANK MILLARD., The Florida State University
Date Issued: 1969, 1969
Identifier: AAI6917689, 2985985, FSDT2985985, fsu:70494
Format: Document (PDF)

Title: THE SACRED HARP TRADITION OF THE SOUTH: ITS ORIGIN AND EVOLUTION.
Creator: ELLINGTON, CHARLES LINWOOD., The Florida State University
Date Issued: 1969, 1969
Identifier: AAI7006294, 2986025, FSDT2986025, fsu:70534
Format: Document (PDF)

Title: SYMPHONY NUMBER ONE FOR ORCHESTRA. (ORIGINAL COMPOSITION).
Creator: PATTERSON, ANDY JAMES., The Florida State University
Date Issued: 1969, 1969
Identifier: AAI7008569, 2986058, FSDT2986058, fsu:70567
Format: Document (PDF)

Title: THE WING 'STANDARDIZED TESTS OF MUSICAL INTELLIGENCE': AN INVESTIGATION OF PREDICTABILITY WITH SELECTED SEVENTH-GRADE BEGINNING - BAND STUDENTS.
Creator: MITCHUM, JOHN PIOS., The Florida State University
Date Issued: 1969, 1969
Identifier: AAI7008565, 2986054, FSDT2986054, fsu:70563
Format: Document (PDF)

Title: THE STEPHEN FOSTER MEMORIAL 1931-1969: A SOCIO-CULTURAL FORCE IN A RURAL COMMUNITY.
Creator: CARPENTER, LOUIE WENDELL., The Florida State University
Date Issued: 1969, 1969
Identifier: AAI7016321, 2986168, FSDT2986168, fsu:70677
Format: Document (PDF)

Title: EDGAR STILLMAN KELLEY: AMERICAN COMPOSER, TEACHER, AND AUTHOR.
Creator: KING, MAURICE R., The Florida State University
Date Issued: 1970, 1970
Identifier: AAI7107041, 2986303, FSDT2986303, fsu:70812
Format: Document (PDF)

Title: THE CONSTRUCTION AND VALIDATION OF AN ACHIEVEMENT TEST IN THE BEGINNING BAND.
Creator: MARTIN, EARL HUBERT., The Florida State University
Date Issued: 1971, 1971
Identifier: AAI7200274, 2986554, FSDT2986554, fsu:71063
Format: Document (PDF)

Title: A COMPARATIVE ANALYSIS OF THE TREATMENT OF MUSIC IN SELECTED CHILDREN'S GENERAL ENCYCLOPEDIAS.
Creator: ROBERTSON, MARVIN LOOMIS., The Florida State University
Date Issued: 1970, 1970
Identifier: AAI7113511, 2986463, FSDT2986463, fsu:70972
Format: Document (PDF)

Title: PRINCIPLES AND PRACTICES PREVAILING IN CHURCH MUSIC EDUCATION PROGRAMS OFSELECTED PROTESTANT CHURCHES OF AMERICA.
Creator: COLLINS, DONNIE LEE., The Florida State University
Date Issued: 1970, 1970
Identifier: AAI7106985, 2986504, FSDT2986504, fsu:71013
Format: Document (PDF)

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