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Title: ABSENCES. (ORIGINAL COMPOSITION).
Creator: BROTONS, SALVADOR., Florida State University
Abstract/Description: Absences is a composition for large orchestra and narrator on thirteen poems from the "Book Absences" by the catalan poet Miguel Marti i Pol. Elaine Lilly translated the poems in English, and the score has both (Catalan and English) versions., The piece has a duration of approximately twenty-two minutes and it is conceived in a whole movement. The poems are about feelings of the poet after his wife's death. Although being a meditation on the death, the poet's viewpoint is not always dark or...
Show moreAbsences is a composition for large orchestra and narrator on thirteen poems from the "Book Absences" by the catalan poet Miguel Marti i Pol. Elaine Lilly translated the poems in English, and the score has both (Catalan and English) versions., The piece has a duration of approximately twenty-two minutes and it is conceived in a whole movement. The poems are about feelings of the poet after his wife's death. Although being a meditation on the death, the poet's viewpoint is not always dark or pessimistic. The poems offer the needed contasting thematic to make the piece interesting and varied.
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Date Issued: 1987, 1987
Identifier: AAI8723130, 3086653, FSDT3086653, fsu:76128
Format: Document (PDF)

Title: Adult community bands in the southeastern United States: An investigation of current activity and background profiles of the participants.
Creator: Bowen, Charles Kevin., Florida State University
Abstract/Description: Purposes were (1) to identify all current adult community band activity in the states of Alabama, Georgia, and Florida, and (2) to develop a profile of participants in community bands, to include educational level, personal and musical characteristics, other current musical activities, family influence on participation, and employment information., Identification of community bands was accomplished primarily through mail response from members of professional music organizations. The study...
Show morePurposes were (1) to identify all current adult community band activity in the states of Alabama, Georgia, and Florida, and (2) to develop a profile of participants in community bands, to include educational level, personal and musical characteristics, other current musical activities, family influence on participation, and employment information., Identification of community bands was accomplished primarily through mail response from members of professional music organizations. The study verified twelve community bands in Alabama, twenty-six in Georgia, and forty-four in Florida., A 60-item questionnaire was developed and distributed to the membership of fourteen community bands selected as a sample of small, medium, and large cities. Five hundred twenty-eight surveys were completed for a return rate of 74.6%., Responses revealed twice as many men as women playing in community bands, and a very low rate of participation by minorities. More than half of respondents held a college degree, and half had majored in music at some time during college., High school band was the most active level of school music participation, and positive indicators of continued adult activity were solo and small ensemble activity, private lessons, keyboard lessons, choir, and honor bands., Three-fourths of respondents were recently active in another instrumental ensemble. Most participants had played in the community band for five years or less. Family influence was not a positive indicator of continued activity. Half of respondents were employed in professional occupations, and one-third currently or had formerly taught music.
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Date Issued: 1995, 1995
Identifier: AAI9526740, 3088605, FSDT3088605, fsu:77407
Format: Document (PDF)

Title: Afro-Cuban rhythmic and metric elements in the published choral and solo vocal works of Alejandro Garcia Caturla and Amadeo Roldan.
Creator: Lezcano, Jose Manuel., Florida State University
Abstract/Description: The hypothesis of this study is that there are Afro-Cuban rhythmic elements that bear a marked similarity to African rhythmic elements. Concepts and terminology borrowed from ethnomusicological studies of African rhythm may contribute to an understanding of Afro-Cuban rhythmic characteristics, and how the sum of these characteristics within a given musical work may produce an identifiably Afro-Cuban rhythmic style. Previous studies of Cuban music, however, had not analyzed Afro-Cuban rhythmic...
Show moreThe hypothesis of this study is that there are Afro-Cuban rhythmic elements that bear a marked similarity to African rhythmic elements. Concepts and terminology borrowed from ethnomusicological studies of African rhythm may contribute to an understanding of Afro-Cuban rhythmic characteristics, and how the sum of these characteristics within a given musical work may produce an identifiably Afro-Cuban rhythmic style. Previous studies of Cuban music, however, had not analyzed Afro-Cuban rhythmic characteristics in depth with reference to concepts found in analyses of African rhythm., A Cuban musical repertory was chosen for analysis because of the documented high survival of African rhythmic characteristics in the island's music. The published vocal works of Caturla and Roldan were chosen because as art-music composers who consciously wrote nationalist, folk-inspired music, and who were aware of research into Afro-Cuban music and ethnography, there was a high likelihood of finding a fair sampling of Afro-Cuban rhythmic elements in their music., The following rhythmic characteristics were chosen as potential determinants of an Afro-Cuban rhythmic style: call-and-response form, polymeter, polyrhythms, vertical and horizontal hemiolas, rhythmic cells, use of silent downbeats, additive rhythm, time-lines, and metric modulation. The analytical method consisted of re-notating and re-scoring selected passages so that the genuine sense of audible Afro-Cuban rhythmic characteristics could be revealed, unencumbered by the preconceptions of Western notation., The study showed that nearly all of the characteristics could be found in both composers' works. Call-and-response form and metric modulation were absent from Caturla's works. The analytical method used here provides illuminating insights into Caturla's and Roldan' s use of rhythm. The method may also be applicable to other Afro-Cuban works, as well as other musics showing an African influence.
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Date Issued: 1991, 1991
Identifier: AAI9132977, 3087615, FSDT3087615, fsu:76431
Format: Document (PDF)

Title: Algorithms and criteria for a computer simulation of the evaluation of student sight singing ability by college music faculty.
Creator: Lorek, Mary Jo., Florida State University
Abstract/Description: A need was determined for a computer program which could evaluate sight singing performance with melodies of four or more measures and tempi established by the student. The present study was undertaken to provide algorithms for such a computer program, and to compare those algorithms to human evaluation., A computer program to record pitch and rhythmic errors in sight singing examples was written for use with the Roland VP-70 Voice Processor, a hardware device which converts real-time audio...
Show moreA need was determined for a computer program which could evaluate sight singing performance with melodies of four or more measures and tempi established by the student. The present study was undertaken to provide algorithms for such a computer program, and to compare those algorithms to human evaluation., A computer program to record pitch and rhythmic errors in sight singing examples was written for use with the Roland VP-70 Voice Processor, a hardware device which converts real-time audio input to MIDI information. Forty-six subjects sang a total of 249 test melody samples. Cassette recordings of 51 of these examples were evaluated by the researcher and two other college sight singing instructors. MIDI recordings of the same samples were processed through the computer evaluation program. Reliability coefficients were calculated for the instructors with each other and the computer. Comparisons of the human and computer evaluations were made for discrepancies which were studied in detail, and incorporated into the program so as to effectively simulate human evaluation., It was noted that instructors did not categorize as incorrect, intervals performed less than 60 cents sharp or flat; subsequently, the allowable cent deviation was increased from 50 cents to 59 cents. Durations of the last note performed as short as 20% and as long as 180% of the correct value were evaluated as correct by the instructors. The computer program was revised to reflect that judgment. The original fifteen percent deviation allowance for judgment of rhythm was increased to twenty percent for half notes, upon discovery that these notes were performed consistently short and not marked incorrect by the judges., Of 45 internal (excluding first and last) half notes sung, 32 (71%) were performed short when measured against surrounding quarter notes. In addition, of 110 groups of two eighths, 79 second notes (72%) were performed longer than first notes. These differences were not perceived by the human judges, but study of these phenomena might reveal some valuable insight into rhythmic performance.
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Date Issued: 1990, 1990
Identifier: AAI9024100, 3162070, FSDT3162070, fsu:78268
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: AN ANALYSIS OF AMERICAN COLLEGE LEVEL SIGHT SINGING MATERIALS PUBLISHED SINCE 1960.
Creator: HUTCHCROFT, JOHN CARTER., Florida State University
Abstract/Description: The purpose of this study is to perform a complete analysis of all sight singing materials published between 1960 and 1981 which are suitable for and oriented toward the study of college and university level sight singing in the United States. A comparative analysis of selected parameters is then made from among the twenty-six publications chosen for study, and the results of this comparison reveal both individual and collective characteristics of structure, organization, and content included...
Show moreThe purpose of this study is to perform a complete analysis of all sight singing materials published between 1960 and 1981 which are suitable for and oriented toward the study of college and university level sight singing in the United States. A comparative analysis of selected parameters is then made from among the twenty-six publications chosen for study, and the results of this comparison reveal both individual and collective characteristics of structure, organization, and content included within these materials which are being used during a period greatly influenced by the comprehensive musicianship concept. An individual and comparative analysis of physical format of the twenty-six texts includes a determination of preface, body, and appended material quantities, the quantity of musical exercise material presented, and a time period for which each text is designed to be completed. An investigation is made regarding the use of musical terms, dynamics, style and tempo indications, and articulation symbols. The point of introduction and the frequency of appearance of treble clef, bass clef, and the five "C" clefs is determined. A representative vocal range is calculated for each clef or combination thereof. The point of introduction of all melodic intervals is determined. A thorough analysis of tonal organization includes the examination of the point of introduction and frequency of appearance of all modulating and non-modulating major and minor keys, modal, artificial, free, and indeterminate methods of tonal organization. A method of classifying all rhythmic activity into one of six classes is developed, after which the point of introduction and frequency of appearance for each rhythmic class is documented. Observations regarding specific points of emphasis in particular individual texts are made, after which an overall determination is made of the characteristic manner in which the abovementioned parameters appear within the twenty-six publications.
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Date Issued: 1985, 1985
Identifier: AAI8517341, 3086106, FSDT3086106, fsu:75592
Format: Document (PDF)

Title: AN ANALYSIS OF COLLEGE BAND INSTRUMENTALISTS' DETECTION OF COMMON PERFORMANCE ERRORS (FLORIDA).
Creator: BLOCHER, LARRY ROSS., Florida State University
Abstract/Description: The purpose of the study was to evaluate college band instrumentalists' detection of common performance errors in an initial attempt to determine a hierarchy, by difficulty, of common performance error types. An additional aspect of the study investigated the effects of conducting on error detection ability. Post hoc comparisons involved subjects' college major, major instrument, and experience level., One hundred and forty-one instrumentalists enrolled in the Wind Orchestra, Symphonic Band,...
Show moreThe purpose of the study was to evaluate college band instrumentalists' detection of common performance errors in an initial attempt to determine a hierarchy, by difficulty, of common performance error types. An additional aspect of the study investigated the effects of conducting on error detection ability. Post hoc comparisons involved subjects' college major, major instrument, and experience level., One hundred and forty-one instrumentalists enrolled in the Wind Orchestra, Symphonic Band, Concert Band, Jazz Ensemble I and Jazz Ensemble II at The Florida State University served as subjects. All subjects were randomly assigned to a conducting or a non-conducting condition., The Error Detection Test (EDT), constructed for the study by the investigator, served as the data gathering instrument. The EDT consisted of eleven recorded, brass trio excerpts containing randomly assigned errors; articulation, dynamics, intonation, note accuracy, phrasing, and rhythm accuracy. Subjects were required to circle and identify, on scores provided, detected performance errors., The EDT was administered in group settings in the regular rehearsal hall for each ensemble during a thirty-minute segment of a regular rehearsal. Data used for statistical analyses were based on subjects' correct response scores., Results indicated that there was no significant difference in overall error detection performance across the error types selected. Additionally, conducting did not significantly affect overall error detection skills. Post hoc comparisons indicated that music majors detected errors with significantly greater accuracy than non-music majors and that brass instrument subjects performed the error detection task with significantly greater accuracy than non-brass instrument subjects. In addition, both an overall and a music major analysis indicated that the upper and graduate level experience groups detected errors with significantly greater accuracy than the lower level groups. There was, however, no significant difference between the upper and graduate experience groups.
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Date Issued: 1986, 1986
Identifier: AAI8708160, 3086480, FSDT3086480, fsu:75960
Format: Document (PDF)

Title: AN ANALYSIS OF INSERVICE TEACHER EVALUATIONS OF TEACHER PREPARATORY COURSES IN ELEMENTARY SCHOOL MUSIC AT FLORIDA STATE UNIVERSITY.
Creator: LOGAN, JOSEPH CLAYTON., The Florida State University
Date Issued: 1966, 1966
Identifier: AAI6609072, 2985459, FSDT2985459, fsu:69968
Format: Document (PDF)

Title: An analysis of selected piano works by Sergey Prokofiev using the theories of B. L. Yavorsky.
Creator: Thibodeau, Michael James., Florida State University
Abstract/Description: Much of the music of Sergey Prokofiev (1891-1953) cannot be categorized as either tonal or atonal--elements of both compositional approaches are often evident. While systems of analysis for clearly tonal and atonal works are in general use by music theorists, the music of Prokofiev frequently cannot be suitably analyzed using these techniques alone., Russian theorist Boleslav Yavorsky (1877-1942) developed a theory of music that includes both rhythmic and pitch-based aspects and pursues...
Show moreMuch of the music of Sergey Prokofiev (1891-1953) cannot be categorized as either tonal or atonal--elements of both compositional approaches are often evident. While systems of analysis for clearly tonal and atonal works are in general use by music theorists, the music of Prokofiev frequently cannot be suitably analyzed using these techniques alone., Russian theorist Boleslav Yavorsky (1877-1942) developed a theory of music that includes both rhythmic and pitch-based aspects and pursues tonally-based phenomena in a unique way. In 1931 Yavorsky's theories were compiled by his student, Sergey Protopopov, into a text entitled The Elements of the Structure of Musical Speech and in 1978 it was translated into English by Gordon D. McQuere. In this text, Yavorsky's analytical techniques are applied to selected pieces (none by Prokofiev), but the simultaneous inclusion of both rhythmic and pitch-based elements results in a rather general description of the music. His theories, however, provide for the development of a more detailed analytical approach., In this dissertation, greater attention to compositional detail has been accomplished by separating the rhythmic and pitch-based elements of Yavorsky's theories in order to more fully develop the latter. Three Prokofiev Visions Fugitives op. 17, nos, 5, 10, and 13, and one Sarcasm op. 22, no. 3, are analyzed by applying Yavorsky's systems, modes, and adaptations of other pitch-based aspects of his theories., Corollaries to Yavorsky's theories based upon his principles are developed and explained. Most notable of these is a theory to incorporate "excluded tones" (tones not included in the systems pertaining to the apparent mode of a piece) into the modal hierarchy. Some of the pieces analyzed include reductions and the concept of the prolongation of tones using Yavorsky's theories as a basis is discussed.
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Date Issued: 1993, 1993
Identifier: AAI9318528, 3088094, FSDT3088094, fsu:76901
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: An analysis of time usage, rehearsal activity, and student off-task behavior during the initial minutes of high school choral rehearsals.
Creator: Brendell, Janna Kay., Florida State University
Abstract/Description: The study investigated how high school choral music educators begin choral rehearsals. Utilization of rehearsal time from the sound of the tardy bell to the rehearsal of the first selection of choral literature (i.e., what is considered by many as the warm-up time) was examined. Data included the elapsed seconds prior to the conductors statement to begin, percentage of elapsed time prior to the rehearsal of the first selection of literature, time spent in rehearsal activities, and student off...
Show moreThe study investigated how high school choral music educators begin choral rehearsals. Utilization of rehearsal time from the sound of the tardy bell to the rehearsal of the first selection of choral literature (i.e., what is considered by many as the warm-up time) was examined. Data included the elapsed seconds prior to the conductors statement to begin, percentage of elapsed time prior to the rehearsal of the first selection of literature, time spent in rehearsal activities, and student off-task during these activities., Thirty-three high school choral directors were audio tape recorded and observed during one mixed ensemble rehearsal. Interval observation techniques were utilized in collecting student off-task data and in coding rehearsal activities. The start of each rehearsal and the percentage of time spent in each rehearsal activity were examined and timed during ex post facto tape analysis. Interobserver agreement averaged.93 for student off-task,.88 for activity coding, and.85 for rehearsal timing., Conductors averaged 43.45 elapsed seconds from the tardy bell to the first verbal statement to begin. Elapsed seconds ranged from 0 to 230 seconds. Conductors averaged 859.64 seconds or 14 minutes 19 seconds of elapsed time prior to the rehearsal of the first selection of choral literature. The range of elapsed time averaged from one minute 10 seconds to 32 minutes 32 seconds., Percentages of rehearsal time allotted to initial activities were: Sightreading, 22.23%; Vocal Warm-Up, 9.63%; Getting Ready, 6.75%, Physical Warm-Up, 3.37%; Lit/Instruction, 1.84%; and Other, 1.46%. Student off-task behavior during rehearsal activities averaged: Getting Ready, 26.14%; Physical Warm-Up, 18.48%; Other, 16.53%; Lit/Instruction, 16.27%; Vocal Warm-Up, 15.07%; and Sightreading, 9.22%., Results indicated that the highest percentages of off-task occurred during activities requiring less active participation. Off-task behavior appeared to be a function of the activity rather than the percentage of time spent in the activity.
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Date Issued: 1992, 1992
Identifier: AAI9234208, 3087851, FSDT3087851, fsu:76661
Format: Document (PDF)

Title: An annotated bibliography of trios for clarinet, one string instrument and piano composed between 1978 and 1990 by composers active in the United States.
Creator: Dannessa, Karen L., Florida State University
Abstract/Description: An Annotated Bibliography of Trios for Clarinet, One String Instrument and Piano Composed Between 1978 and 1990 by Composers Active in the United States is a collection of available published and unpublished trios. The treatise is a continuation of research completed by Thomas Montgomery Osborne and Sherrick Hiscock, III. Montgomery's lengthy monograph, Sixty Years of Clarinet Chamber Music: A Survey of Music Employing Clarinet with Stringed Instruments Composed 1900-1960 for Two to Five...
Show moreAn Annotated Bibliography of Trios for Clarinet, One String Instrument and Piano Composed Between 1978 and 1990 by Composers Active in the United States is a collection of available published and unpublished trios. The treatise is a continuation of research completed by Thomas Montgomery Osborne and Sherrick Hiscock, III. Montgomery's lengthy monograph, Sixty Years of Clarinet Chamber Music: A Survey of Music Employing Clarinet with Stringed Instruments Composed 1900-1960 for Two to Five Performers (D. M. A. Dissertation, University of Southern California, 1964) and Sherrick Hiscock's An Annotated Bibliography of Selected, Published Mixed Trios for one Clarinetist and two other Musicians. (D. M. A Dissertation, The University of Miami, 1977), include and annotate available trio material dating from 1900 to 1978. Trios composed before 1978, which were not included in either document, are included in this treatise. Some trios were written before 1978 and published later or were trios discovered in research that were simply not included in either document., Research for this treatise included a questionnaire sent to all composition teachers listed in the College Music Society Directory, an OCLC search for trios, visits to the Library of Congress-Music Division and the New York Public Library-Performing Arts, as well as visits to various music school libraries. Research also included visits to Luyben Music Company in Kansas City, Missouri and a search of all their catalogues, as well as special assistance from Eble Music Company of Iowa City, Iowa. All available music catalogues were also examined. The American Music Center and the American Composers Alliance of New York City assisted greatly by lending unpublished and published scores at no cost. In addition, notices or calls for trios fitting the treatise description were included in various composer's newsletters across the country, thanks to the American Music Center. Composers readily contacted me, called, sent scores, tapes and program notes., The treatise is divided into four sections: (1) a brief chapter of historical information on the clarinet in chamber music involving strings, (2) extensive annotated bibliographies of the 100 trios, (3) a summary chapter describing style, compositional techniques, and extended techniques used in the trios, and (4) an appendix, listing all trios by instrumentation., The treatise is a wealth of detailed information on the trios included. The majority of trios written between 1978 and 1990 were for clarinet, violin and piano, comprising 63%. 27% of the trios were for clarinet, cello and piano, 9% for clarinet, viola and piano and 1% was for clarinet, string bass and piano.
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Date Issued: 1994, 1994
Identifier: AAI9612458, 3088832, FSDT3088832, fsu:77631
Format: Document (PDF)

Title: An annotated international bibliography of doctoral dissertations/treatises/essays/theses/documents pertaining to the clarinet.
Creator: Cholka, Lynn Ann., Florida State University
Abstract/Description: This treatise presents a comprehensive annotated bibliography of 300 doctoral dissertations concerning all aspects of the clarinet and the clarinet family. It includes the completed and "in progress" research by doctoral students of universities and conservatories of the United States, Canada, and Europe through March 1994, regardless of discipline or degree title. It also includes doctorial dissertations that are not registered with University Microfilms, thus providing a list more complete...
Show moreThis treatise presents a comprehensive annotated bibliography of 300 doctoral dissertations concerning all aspects of the clarinet and the clarinet family. It includes the completed and "in progress" research by doctoral students of universities and conservatories of the United States, Canada, and Europe through March 1994, regardless of discipline or degree title. It also includes doctorial dissertations that are not registered with University Microfilms, thus providing a list more complete than previous bibliographies of this nature., The bibliography consists of the following subject areas: (1) Pedagogy, (2) Solo Literature, (3) Chamber Literature, (4) History, (5) Acoustics and Construction, (6) Contemporary Performance Techniques, (7) Biographies, (8) Bibliographies, and (9) Discographies. Entries that apply to more than one subject area are listed in each appropriate section of the bibliography and have a cross reference to the location of the annotated reference., Each entry includes the author's name, complete title, degree awarded, granting institution, date the degree was granted, number of pages, the source from which the document may be obtained, and an annotation summarizing the contents of the dissertation. An author index and an index of cited composers are provided., The final chapter presents a summary discussion of the status of clarinet research in the subject areas noted.
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Date Issued: 1994, 1994
Identifier: AAI9514093, 3088503, FSDT3088503, fsu:77305
Format: Document (PDF)

Title: An annotated list and survey of violin music by Icelandic composers.
Creator: Gudnadottir, Greta., Florida State University
Abstract/Description: This treatise presents an annotated list and survey of Icelandic violin music, including works for solo violin, violin and piano, violin and tape, and violin and orchestra. No prior list exists on this subject, thus leaving many works in oblivion., The compositions are organized alphabetically by the composers' last names. Included is a brief analysis of the compositional style, a description of the required violin technique, and musical characteristics of the work, thus assisting a violinist...
Show moreThis treatise presents an annotated list and survey of Icelandic violin music, including works for solo violin, violin and piano, violin and tape, and violin and orchestra. No prior list exists on this subject, thus leaving many works in oblivion., The compositions are organized alphabetically by the composers' last names. Included is a brief analysis of the compositional style, a description of the required violin technique, and musical characteristics of the work, thus assisting a violinist and/or a violin teacher in evaluating a work for study and performance. A short biography of the composer follows the annotation. At the conclusion of the treatise are five appendices: a list of addresses useful in obtaining the works or doing further research; a categorization of the works by medium, by difficulty, and by date of composition; and finally a complete list of works, in alphabetical order by composer, up to the fall of 1994 (including those works which could not be annotated due to lack of availability)., The seventy violin compositions by thirty-six composers exhibit a strong interest among Icelandic composers in writing for the violin. During the last few decades this interest has been aroused by the increased abilities of Icelandic violinists. The works vary in performance difficulty from those written for the early stages of study to those composed for an artist level, and represent a diversity of musical styles that reflects the variety in educational background of the composers.
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Date Issued: 1995, 1995
Identifier: AAI9605034, 3088770, FSDT3088770, fsu:77569
Format: Document (PDF)

Title: An annotated survey of original clarinet concertos with wind or chamber ensemble written by American composers between 1978 and 1987.
Creator: McClune, C. David., Florida State University
Abstract/Description: This study is an analytical survey of the known original clarinet concertos with wind accompaniment, written by American composers between January 1, 1978, and December 31, 1987. The accompanying wind groups were classified as either a symphonic band, wind ensemble, jazz ensemble, or any chamber ensemble which requires a conductor. Excluded were arrangements, transcriptions, and solo works with percussion ensemble. The twenty works located consisted of thirteen concertos with symphonic band...
Show moreThis study is an analytical survey of the known original clarinet concertos with wind accompaniment, written by American composers between January 1, 1978, and December 31, 1987. The accompanying wind groups were classified as either a symphonic band, wind ensemble, jazz ensemble, or any chamber ensemble which requires a conductor. Excluded were arrangements, transcriptions, and solo works with percussion ensemble. The twenty works located consisted of thirteen concertos with symphonic band or wind ensemble, three concertos with jazz ensemble, two concertos with a mixed chamber group of winds and solo strings, one concerto with clarinet choir, one double concerto for clarinet and saxophone with wind ensemble, and one triple concerto for clarinet, piano and string bass with a mixed chamber ensemble., The concertos were analyzed to determine the general stylistic, theoretical, technical, and musical characteristics which would provide a potential soloist or conductor with concise and accurate information to assist in determining the practicality of a performance. A brief biography of each composer was compiled using published information and biographical data supplied by the composer., The concertos represent a wide diversity in musical styles ranging from very conservative tonal writing through the most current contemporary techniques. The works vary in performance difficulty from those written for average high school performers to those composed for professional level artists., There appears to be a strong interest among American composers to write concerted works for clarinet and winds, as evidenced by a significant increase in the number of concertos written in the surveyed ten-year span as compared to any previous decade since 1900.
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Date Issued: 1990, 1990
Identifier: AAI9112107, 3162152, FSDT3162152, fsu:78350
Format: Document (PDF)

Title: THE APPLICATION OF EARLY STRING LITERATURE TO HETEROGENEOUS STRING CLASSES AT THE COLLEGE LEVEL.
Creator: WIKSTROM, THOMAS NORD., The Florida State University
Date Issued: 1960, 1960
Identifier: AAI6005509, 2984920, FSDT2984920, fsu:69376
Format: Document (PDF)

Title: THE APPLICATION OF SELECTED WRITINGS BY GAGNE, BRUNER, AND AUSUBEL TO MUSIC THEORY PEDAGOGY.
Creator: SLEDGE, LARRY JOE., The Florida State University
Date Issued: 1971, 1971
Identifier: AAI7213567, 2986697, FSDT2986697, fsu:71206
Format: Document (PDF)

Title: AN APPROACH FOR A KEYBOARD HISTORY/LITERATURE MINICOURSE FOR PERFORMING ADOLESCENT STUDENTS IN SUMMER KEYBOARD MUSIC PROGRAMS.
Creator: GRANVILLE-PRICE, PAULINA DELP., Florida State University
Abstract/Description: The purpose of this study was to develop a comprehensive musicianship approach for a keyboard history/literature mini-course for performing adolescent students in summer keyboard music programs., Reasons justifying the study were found in (1) reported literature which noted an imbalance between the teaching of performance skills and comprehensive musicianship; (2) summer camp literature which illustrated this imbalance; and (3) a lack of sufficient research into the above concerns directed...
Show moreThe purpose of this study was to develop a comprehensive musicianship approach for a keyboard history/literature mini-course for performing adolescent students in summer keyboard music programs., Reasons justifying the study were found in (1) reported literature which noted an imbalance between the teaching of performance skills and comprehensive musicianship; (2) summer camp literature which illustrated this imbalance; and (3) a lack of sufficient research into the above concerns directed specifically to the summer music program., Since there did not appear to be a mini-course which specifically addressed the aforementioned needs in summer music programs, this study sought to develop an approach for such a course. A five-step procedure was used. Step one was the identification of the problem, based on the purpose and need for the study., Step two was the critical review of related literature for collection of data in light of the above identified problem., Step three was the presentation of a rationale stated as twelve principles of comprehensive musicianship developed from the review of related literature, and the application of this rationale to development of an instructional goal, course objectives, content components, instructional objectives, overall instructional strategy, and lesson strategies for a mini-course approach., Step four was an examination by a panel of five outstanding music educators and performers of the mini-course's consistency with comprehensive musicianship rationale, and an analysis of the panelists' responses., Step five was a statement of conclusions and recommendations for further study., According to the panelists' responses, the researcher's approach for a mini-course was effective in addressing a persisting need to find additional ways to instruct adolescent keyboardists in comprehensive musicianship., Recommendations for further study included continuing revisions and testing of the course in an appropriate setting, and constructing similar courses for other musical groups.
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Date Issued: 1987, 1987
Identifier: AAI8802827, 3086714, FSDT3086714, fsu:76189
Format: Document (PDF)

Title: ARMENIAN MUSIC: A COSMOPOLITAN ART (VOLUMES I AND II).
Creator: DER HOVHANNISSIAN, HARPIK., The Florida State University
Date Issued: 1956, 1956
Identifier: AAI0017024, 2984764, FSDT2984764, fsu:69186
Format: Document (PDF)

Title: ARNOLD SCHOENBERG'S "HARMONIELEHRE": A COMPLETE ENGLISH TRANSLATION. (VOLUMES I AND II).
Creator: CARTER, ROY EVERETT., Florida State University
Date Issued: 1971, 1971
Identifier: AAI7304196, 3091128, FSDT3091128, fsu:77785
Format: Document (PDF)

Title: ATTITUDINAL CHANGE TOWARD MUSIC IN THE GENERAL EDUCATION OF STUDENTS IN TWENTY FLORIDA PUBLIC JUNIOR COLLEGES.
Creator: HERMETZ, ROBERT ANTHONY., The Florida State University
Date Issued: 1972, 1972
Identifier: AAI7309380, 2987128, FSDT2987128, fsu:71637
Format: Document (PDF)

Title: THE AURAL PERCEPTION OF ALLEN FORTE'S RELATIONS BETWEEN PITCH-CLASS SETS OF EQUAL CARDINALITY: A COMPUTER-GENERATED EXPERIMENT.
Creator: GIBSON, DON B., JR., Florida State University
Abstract/Description: The central purpose of this study was to provide empirical data to support or reject the aural significance of Forte's pitch-class set relations of equivalence, Z-related pairs, and similarity. After demonstrating the central role of these relations in forte's analytical system, a literature survey provided comments concerning the relations and outlined the similarity function of Charles Lord which was included in this study., For each of a series of 39 experimental items, two pairs of...
Show moreThe central purpose of this study was to provide empirical data to support or reject the aural significance of Forte's pitch-class set relations of equivalence, Z-related pairs, and similarity. After demonstrating the central role of these relations in forte's analytical system, a literature survey provided comments concerning the relations and outlined the similarity function of Charles Lord which was included in this study., For each of a series of 39 experimental items, two pairs of harmonically presented tetrachords, related by a measure defined by one or both of the theoretical systems involved, were constructed. A given chord was presented alternately with two different chords with one pair consistently representing a higher relation. Subjects were asked to choose "which pair sounds more alike." Special characteristics of the items included: (a) emphasis on interval-class content, (b) omission of traditional structures, (c) control of contrapuntal connections between the chords, and (d) control for random presentation., Seven PLATO('(REGTM)) IV terminals, equipped with Gooch Synthetic Woodwind digital music synthesizers, presented the experiment to the subjects. Special features of the computer program written for this study included: (a) controlled access, (b) touch input, and (c) visual reinforcement of the aural presentation of the items. During 3 months of availability, 215 subjects began the experiment; 198 completed it., The sample (N = 198) was divided into groups determined by questions regarding background and education. Chi-square was calculated for 6 comparisons of the 39 items to determine significant differences in the manner of response. H(,o) (which stated the proportion of responses in accord with the theories would be equal for the groups compared) was not rejected for any comparison (in each case, p > .001). To determine items with significant levels of response, 99.9% confidence intervals were calculated for the proportion of responses in accord with the theories. H(,o) (p = .5) was rejected for 5 items, 3 of which were in accord with the theories. After concluding that harmonically presented tetrachords, constructed to emphasize interval-class content, do not present degrees of aural similitude that correlate to the degrees of relatedness defined by the theories examined, suggestions were provided for further study.
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Date Issued: 1983, 1983
Identifier: AAI8404733, 3085715, FSDT3085715, fsu:75205
Format: Document (PDF)

Title: BAND WORKS OF TOMMASO VENETTOZZI EDITED AND RESCORED.
Creator: VENETTOZZI, JOHN THOMAS., The Florida State University
Date Issued: 1954, 1954
Identifier: AAI0008376, 2984696, FSDT2984696, fsu:69104
Format: Document (PDF)

Title: THE BARYTON DIVERTIMENTI OF HAYDN: A SELECTED ADAPTATION FOR BRASS TRIO.
Creator: WALLS, BILLY G., The Florida State University
Date Issued: 1968, 1968
Identifier: AAI6911337, 2985887, FSDT2985887, fsu:70396
Format: Document (PDF)

Title: BASIC PRINCIPLES OF ELECTRONIC SOUND SYNTHESIS.
Creator: JENSEN, DAVID E., The Florida State University
Date Issued: 1972, 1972
Identifier: AAI7304204, 2987079, FSDT2987079, fsu:71588
Format: Document (PDF)

Title: THE BAT FOR SOPRANO AND ORCHESTRA. (ORIGINAL COMPOSITION).
Creator: WAILES, CHARLIE CARTER, JR., The Florida State University
Date Issued: 1976, 1976
Identifier: AAI7724820, 2988660, FSDT2988660, fsu:73167
Format: Document (PDF)

Title: BEETHOVEN AND SCHUBERT: A COMPARATIVE ANALYSIS OF THE STRUCTURAL SUBDOMINANT IN SELECTED SONATA-FORM MOVEMENTS.
Creator: HARBINSON, WILLIAM GRADY., Florida State University
Abstract/Description: Within the last several decades, the concept of tonic-dominant polarity as the essence of the Classical style has emerged as an intriguing topic for studies by musical theorists and musicologists alike. The potential of the subdominant to function as an antidominant, or the tonic-subdominant relation to function as the antithesis of tonic-dominant polarity, has been recognized by scholars for centuries. Therefore, the primary topic of investigation in this study is the manner in which these...
Show moreWithin the last several decades, the concept of tonic-dominant polarity as the essence of the Classical style has emerged as an intriguing topic for studies by musical theorists and musicologists alike. The potential of the subdominant to function as an antidominant, or the tonic-subdominant relation to function as the antithesis of tonic-dominant polarity, has been recognized by scholars for centuries. Therefore, the primary topic of investigation in this study is the manner in which these two polar forces coexist in selected sonata-form movements of Ludwig van Beethoven and Franz Schubert., Beethoven and Schubert, although contemporaries and both inhabitants of Vienna, differed greatly in their structural use of the subdominant. Comparative analysis shows that, with respect to the use of subdominant regions as secondary tonal areas in sonata-form movements, Beethoven retains, enforces, and expands the Classical concept of tonic-dominant polarity. In contrast, Schubert occasionally employs the subdominant to weaken tonic-dominant polarity, and therefore breaks with the Classical tradition.
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Date Issued: 1982, 1982
Identifier: AAI8301535, 3085413, FSDT3085413, fsu:74908
Format: Document (PDF)

Title: BEHAVIORAL MODIFICATION BY RECIPROCAL INHIBITION OF INSTRUMENTAL MUSIC PERFORMANCE ANXIETY.
Creator: WARDLE, ALVIN., The Florida State University
Date Issued: 1969, 1969
Identifier: AAI7011171, 2986162, FSDT2986162, fsu:70671
Format: Document (PDF)

Title: BEING ATTUNED: AN ONTOLOGICAL ANALYSIS OF MUSIC.
Creator: PELT, MICHEAL ALBERT., Florida State University
Abstract/Description: The dissertation gives an ontological analysis of music considered as a cultural phenomenon. The author adapts Martin Heidegger's hermeneutical method of phenomenological analysis and, in part, his analysis of human existence, to ground a contemporaneous investigation into the aesthetics of music. As before in the history of musical aesthetics and musicology, an attempt is made to answer the question, "What is music?", Chapter One provides an introduction into the historically controversial...
Show moreThe dissertation gives an ontological analysis of music considered as a cultural phenomenon. The author adapts Martin Heidegger's hermeneutical method of phenomenological analysis and, in part, his analysis of human existence, to ground a contemporaneous investigation into the aesthetics of music. As before in the history of musical aesthetics and musicology, an attempt is made to answer the question, "What is music?", Chapter One provides an introduction into the historically controversial questions in musical aesthetics, along with an outline of the method to be used in the text. Chapter Two gives an ontic analysis of music as commonly understood. Chapter Three is a bridge between the ontic and the ontological analysis of the phenomenon in question, with further emendations on the current method of inquiry. Chapter Four applies the structures of an ontological analysis of human being to the basic facts laid bare in the ontic considerations of music as given in the second chapter. Chapter Five combines the results of the preceding chapters to give a total view of music, both as lived experience (ontically) and as aesthetically understood (ontologically)., In the final chapter, the author illustrates how his analysis of the musical phenomenon expands upon the aesthetic theory Heidegger presents in his now classic paper, Der Ursprung des Kunstwerkes.
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Date Issued: 1983, 1983
Identifier: AAI8325681, 3085653, FSDT3085653, fsu:75145
Format: Document (PDF)

Title: THE BICINIA VARIORUM INSTRUMENTORUM OF JOHANN CHRISTOPH PEZEL. (VOLUMES IAND II).
Creator: MURPHY, ARTHUR LORING., The Florida State University
Date Issued: 1959, 1959
Identifier: AAI5901761, 2984846, FSDT2984846, fsu:69287
Format: Document (PDF)

Title: The biographical and sociohistorical context for military and dance music in the manuscripts of Ethan Allen Hitchcock (1798-1870).
Creator: Barton, Karl Stephen., Florida State University
Abstract/Description: The purpose of this treatise is to place military and dance music genres found in the music manuscript books of the Hitchcock Collection of flute music housed in the Warren D. Allen Music Library at Florida State University and the Hitchcock Papers in the Music Division of the Library of Congress within the context of Ethan Allen Hitchcock's life (1798-1870) in order to correlate his activities as military officer and flutist to the social structures of his professional and private life.,...
Show moreThe purpose of this treatise is to place military and dance music genres found in the music manuscript books of the Hitchcock Collection of flute music housed in the Warren D. Allen Music Library at Florida State University and the Hitchcock Papers in the Music Division of the Library of Congress within the context of Ethan Allen Hitchcock's life (1798-1870) in order to correlate his activities as military officer and flutist to the social structures of his professional and private life., There are nine music manuscript books in the Hitchcock Collection which are broadly representative of American musical traditions during the nineteenth century and serve as partial cultural and musicological records of pre-Civil War America. The military band arrangements in the Library of Congress specifically provide information about much of the history of the United States Military Academy Band at West Point, New York between 1830-1833 and the Third Regiment of Infantry Band between 1841-1846 as they moved from Tallahassee, Florida to Jefferson Barracks (St. Louis), Missouri, and finally to Corpus Christi, Texas. The military and dance music genres in the manuscript books provide additional information about the Academy Band for the years 1817-1833, as well as information about social dance principally in West Point, New York during 1817-1833, and Baton Rouge, Louisiana during 1822-1823. Additionally, there are loose music manuscripts in the Hitchcock Collection which provide insight into military music and social dance at Carlisle Barracks, Pennsylvania during 1854-1855., Hitchcock's activities as a military officer and musician are outlined in the prose journals he recorded during the years 1816 to 1868, and the principal source for quotations from them in this treatise is the "W. A. Croffut Papers, Copy of Hitchcock Memoirs," Manuscript Division, Library of Congress, Washington, D.C. These have been verified for accuracy against the original diaries in the "Ethan Allen Hitchcock Papers" at the Thomas Gilcrease Institute of American History and Art, Archival Collections in Tulsa, Oklahoma.
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Date Issued: 1995, 1995
Identifier: AAI9527930, 3088621, FSDT3088621, fsu:77423
Format: Document (PDF)

Title: THE BOMBA AND AGUINALDO OF PUERTO RICO AS THEY HAVE EVOLVED FROM INDIGENOUS, AFRICAN AND EUROPEAN CULTURES.
Creator: MCCOY, JAMES A., The Florida State University
Date Issued: 1968, 1968
Identifier: AAI6900590, 2985846, FSDT2985846, fsu:70355
Format: Document (PDF)

Title: THE BRASS TRIO A COMPARATIVE ANALYSIS OF WORKS PUBLISHED FROM 1924 TO 1970.
Creator: BAER, DOUGLAS MILTON., The Florida State University
Date Issued: 1970, 1970
Identifier: AAI7106959, 2986249, FSDT2986249, fsu:70758
Format: Document (PDF)

Title: BRITISH BRASS BANDS.
Creator: MAMMINGA, MICHAEL ARTHUR., The Florida State University
Date Issued: 1973, 1973
Identifier: AAI7325122, 2987274, FSDT2987274, fsu:71783
Format: Document (PDF)

Title: BUFFA AND SERIA: MUSICAL FEATURES IN THE OPERAS OF RICHARD STRAUSS.
Creator: SCHULKEN, SAMUEL BENHARDT, JR., The Florida State University
Date Issued: 1970, 1970
Identifier: AAI7107100, 2986338, FSDT2986338, fsu:70847
Format: Document (PDF)

Title: CHAMBER SYMPHONY IN THREE MOVEMENTS. (ORIGINAL COMPOSITION).
Creator: AVERITT, WILLIAM EARL., The Florida State University
Date Issued: 1973, 1973
Identifier: AAI7331535, 2987358, FSDT2987358, fsu:71867
Format: Document (PDF)

Title: Chamber Symphony. (Original composition).
Creator: Hicken, Stephen Dyal., Florida State University
Abstract/Description: The Chamber Symphony is scored for flute/piccolo, clarinet/bass clarinet, piano, percussion, violin, and violoncello. It is cast in one continuous movement. There are three large sections, fast-slow-fast, which interpenetrate each other throughout the course of the work., The composition is serial, built on rows of 7, 49, and 2401 notes. In addition to pitch material, serial techniques are also applied to the area of rhythm., The Chamber Symphony is approximately 20 minutes in length.
Date Issued: 1989, 1989
Identifier: AAI8921298, 3161826, FSDT3161826, fsu:78025
Format: Document (PDF)

Title: CHARLES EDWARD HORN: HIS LIFE AND WORKS (1786-1849).
Creator: MONTAGUE, RICHARD ADDISON., The Florida State University
Date Issued: 1959, 1959
Identifier: AAI5906921, 2984877, FSDT2984877, fsu:69325
Format: Document (PDF)

Title: THE CHATTANOOGA CIVIC CHORUS, 1930-1957.
Creator: HAMM, JOHN., The Florida State University
Date Issued: 1976, 1976
Identifier: AAI7628613, 2988261, FSDT2988261, fsu:72768
Format: Document (PDF)

Title: The choral accompanist: Perceptions of competencies and attributes.
Creator: Johnson, Terrence Alan., Florida State University
Abstract/Description: The purpose of this study was (a) to assemble a list of competencies and attributes considered important in college choral accompanying, (b) to investigate opinions concerning these competencies among college choral conductors and their accompanists, and (c) to combine their perceptions in order to infer a hierarchy of accompanying competencies., The sample included 400 randomly selected college choral conductors who are members of the American Choral Directors Association. Conductors who...
Show moreThe purpose of this study was (a) to assemble a list of competencies and attributes considered important in college choral accompanying, (b) to investigate opinions concerning these competencies among college choral conductors and their accompanists, and (c) to combine their perceptions in order to infer a hierarchy of accompanying competencies., The sample included 400 randomly selected college choral conductors who are members of the American Choral Directors Association. Conductors who participated were asked to give the accompanists' survey instrument to their accompanists. Of conductors surveyed, 175 responded, and 148 of their accompanists returned the questionnaire., A list of competencies and attributes was derived through a review of literature related to accompanying and through a pilot study. Survey instruments were designed to solicit opinions concerning the "desirability" and the "frequency of use" for listed skills and attributes., Results of the survey indicated that the skill considered "most desirable" and "most frequently used" was "alertness during rehearsal." The skill considered "least desirable" and "least frequently used" was "ability to read music written in "C" clef." Of attributes rated only in terms of "desirability", first in rank order was "congeniality with chorus members." Last in rank order was "concurrent study of conducting.", Participants generally agreed that all of the skills listed in the questionnaire were desirable, with few respondents calling any of the skills "not desirable.", In both groups of respondents most competencies listed seemed to fall into one of two extreme categories of "seldom used" or "frequently used", suggesting that some skills which are seldom used are still desirable.
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Date Issued: 1993, 1993
Identifier: AAI9318518, 3088048, FSDT3088048, fsu:76855
Format: Document (PDF)

Title: The choral music of Judith Lang Zaimont.
Creator: Baird, Sara Lynn., Florida State University
Abstract/Description: The purpose of this dissertation is to provide a summary of the life and achievements to date of Judith Lang Zaimont and to examine her repertoire for chorus which includes an oratorio, cantatas, music for children, and secular octavos., Chapter 1 introduces the composer and discusses briefly the need for continued research in the area of women in music., Chapter 2 provides a biographical sketch of Zaimont, enumerating the composer's many awards and activities., Chapter 3 discusses Zaimont as...
Show moreThe purpose of this dissertation is to provide a summary of the life and achievements to date of Judith Lang Zaimont and to examine her repertoire for chorus which includes an oratorio, cantatas, music for children, and secular octavos., Chapter 1 introduces the composer and discusses briefly the need for continued research in the area of women in music., Chapter 2 provides a biographical sketch of Zaimont, enumerating the composer's many awards and activities., Chapter 3 discusses Zaimont as composer and champion of women musicians. Following a brief description of the composer's compositional style and work as an editor, is the text of a portion of an interview between the author and Mrs. Zaimont., The examination of the choral compositions incorporates information about the circumstances of each work's inception or commission, any pertinent information about the compositional processes, and details of performances. The composer's selection and setting of text, incorporation of dramatic or emotional elements, use of musical elements, and any performance difficulties are included in the discussion., Chapter 4 covers Zaimont's earliest choral compositions written while a student at Queens College and Columbia University., Chapter 5 presents the composer's smaller choral works written between 1969 and 1980., The discussion of the oratorio, Sacred Service for the Sabbath Evening, composed in 1975 comprises Chapter 6. This monumental work is one of the composer's most important choral pieces., Chapter 7 discusses the more recent works beginning with Serenade: To Music from 1981 and concluding with Parable: A Tale of Abram and Isaac of 1985. These works represent a more mature style development., The final chapter summarizes the composer's compositional style and already planned, future compositions. Appendices include a summarized list of choral compositions, complete list of compositions to date, texts of the choral works, and publisher information., This writer feels with certainty that this vivacious, youthful musician has a great deal more to offer the musical world.
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Date Issued: 1991, 1991
Identifier: AAI9132965, 3087608, FSDT3087608, fsu:76424
Format: Document (PDF)

Title: THE CHORAL MUSIC OF VINCENT PERSICHETTI: A DESCRIPTIVE ANALYSIS.
Creator: BARNARD, JACK RICHARD., The Florida State University
Date Issued: 1974, 1974
Identifier: AAI7512629, 2987838, FSDT2987838, fsu:72345
Format: Document (PDF)

Title: A Classic style in French opera (1750-1825).
Creator: Fox, Leland Stanford
Date Issued: 1962
Identifier: AAI6301810, 2985081, FSDT2985081, fsu:69572
Format: Document (PDF)

Title: THE COLLEGIUM MUSICUM SALEM, 1780-1790: ORIGINS AND REPERTOIRE.
Creator: ANDERSON, THOMAS JEROME., The Florida State University
Date Issued: 1976, 1976
Identifier: AAI7629414, 2988305, FSDT2988305, fsu:72812
Format: Document (PDF)

Title: COLLOCATION FOR ORCHESTRA. (ORIGINAL COMPOSITION).
Creator: KALLSTROM, MICHAEL JOSEPH., Florida State University
Abstract/Description: Collocation is a composition for orchestra comprised of the following instruments; two flutes, two oboes, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in B-flat, two tenor trombones, two percussionists, violins, violas, violoncellos, and contrabasses., The form of the work is that of a modified arch and may be demonstrated by the following capital letters: A B C D C B D A. Collocation is approximately twenty minutes in duration.
Date Issued: 1984, 1984
Identifier: AAI8416710, 3085809, FSDT3085809, fsu:75296
Format: Document (PDF)

Title: COMMON MUSICAL IDIOMS IN SELECTED CONTEMPORARY WIND - BAND MUSIC.
Creator: JOHNSON, CHARLES E., The Florida State University
Date Issued: 1969, 1969
Identifier: AAI7011129, 2986097, FSDT2986097, fsu:70606
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: 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: A COMPARATIVE ANALYSIS OF VOCAL RANGE IN THE MIDDLE SCHOOL GENERAL MUSIC CURRICULUM.
Creator: ADCOCK, EVA JACQUELINE., The Florida State University
Date Issued: 1970, 1970
Identifier: AAI7106952, 2986244, FSDT2986244, fsu:70753
Format: Document (PDF)

Title: A comparative study of post-revolutionary Cuban musical culture and behavior in Havana and Miami: Transculturation, acculturation, and identity in mono- and bi-musical contexts.
Creator: Rey, Mario., Florida State University
Abstract/Description: The transculturative and acculturative influences on bi-musicality were examined in post-revolutionary Cuban popular musical culture and behavior. A comparative approach was applied to the ethnomusicological investigation, focusing on the musical production and consumption of diasporic and resident sample populations across three generational levels. The study also provides an overview of musical life in Havana and Miami, including the musical developments of "revolutionary" musicians shaped...
Show moreThe transculturative and acculturative influences on bi-musicality were examined in post-revolutionary Cuban popular musical culture and behavior. A comparative approach was applied to the ethnomusicological investigation, focusing on the musical production and consumption of diasporic and resident sample populations across three generational levels. The study also provides an overview of musical life in Havana and Miami, including the musical developments of "revolutionary" musicians shaped by the regime's socialist ideological policies, contrasted with the adaptive expressions of immigrant musicians that function as cultural symbols of a displaced national identity., A survey was conducted to assess cross-cultural and intergenerational differences in musical preference, music listening and music making frequencies, dance activity, and participation in musical culture. Attitudes concerning musicianship as a vocation versus an avocation were addressed, as well as their implications to the musician's self-perception as a member of society. Normative data were also collected involving familiarity ratings and typicality judgements for items contained in four categories of material and non-material musical culture. Correlations and relative frequency distributions are listed., Statistical analyses of the data have revealed significant intergroup differences in listening preferences, and musical production, participation and education. The results ascertained the formative impact that the contrasting politico-socio-economic structures have on musical behavior and attitude. Inter-item analyses of 152 musical genres and subgenres were performed, and their respective profiles of popularization, retention, or decline are charted., The data have provided indexes of balanced versus dominant bi-musicality, reflecting the degree of musical acculturation inherent in the successive generational subgroups. Strong acculturative effects were also observed in item familiarity and categorial prototype formation. The results support the theories of cultural retention, acculturation and syncretism, replication of uniformity, and the organization of diversity.
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Date Issued: 1996, 1996
Identifier: AAI9625663, 3088895, FSDT3088895, fsu:77694
Format: Document (PDF)

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