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Title: Lectures: Piano Pedaling in Examples through the Centuries and Chinese Piano Music Inspired by Painting, Opera and Literature.
Creator: Jin, Bizhou, Gainsford, Read, Jones, Evan Allan, Kalhous, David, Sauer, Greg, Florida State University, College of Music
Abstract/Description: The following treatise is based on the content of two separate lecture recitals that I presented at Florida State University. The first lecture recital was given on April 21, 2018, and addressed the connections between three Chinese piano works and their sources of inspiration, followed by a performance of each piece. The second lecture recital was delivered on March 27, 2019, and focused on the various applications of piano pedaling in different composers’ works and styles. Chapter One...
Show moreThe following treatise is based on the content of two separate lecture recitals that I presented at Florida State University. The first lecture recital was given on April 21, 2018, and addressed the connections between three Chinese piano works and their sources of inspiration, followed by a performance of each piece. The second lecture recital was delivered on March 27, 2019, and focused on the various applications of piano pedaling in different composers’ works and styles. Chapter One features the content of the second lecture, which explores the various uses of pedaling in different piano compositions and illuminates stylistic differences between the following composers: J. S. Bach, Joseph Haydn, Wolfgang A. Mozart, Ludwig van Beethoven, Frédéric Chopin, and Claude Debussy. It encourages pianists to consider more nuanced and historically informed pedaling. This chapter is organized in three parts: 1) a brief introduction to the pedal mechanism and its history, 2) a discussion of pedaling notation and techniques, and 3) a presentation of examples of these composers’ pedaling indications along with suggestions for practical application in performance. Chapter Two focuses on three Chinese composers who created distinctive musical styles inspired by Chinese painting, theater and literature. It provides a brief biography of each composer followed by a discussion of their musical style and a style analysis of a selected work for piano from their oeuvres. Through presenting interesting aspects of the traditional Chinese arts, I hope this chapter will generate more attention to these Chinese composers and works so that the music of Chinese composers can be discussed and performed more regularly.
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Date Issued: 2019
Identifier: 2019_Fall_Jin_fsu_0071E_15562
Format: Thesis

Title: Stressors among Performance Majors Regarding Their Upcoming Professional Careers.
Creator: Lewis, Ashley Marie, Gooding, Lori F. (Lori Fogus), Standley, Jayne M., VanWeelden, Kimberly D., Florida State University, College of Music
Abstract/Description: The purpose of this study is to investigate stressors among soon-to-be graduating instrumental, vocal, and theatre performance majors. Seventy-two possible performance stressors were compiled into 8 categories: Creative, Intellectual, Lifestyle, Business, Physical, Cognitive, Emotional/ Psychological, and Social with the intention to examine prevalence among performance majors as well as similarities and differences between categories. Participants (N=45) for this study were performance...
Show moreThe purpose of this study is to investigate stressors among soon-to-be graduating instrumental, vocal, and theatre performance majors. Seventy-two possible performance stressors were compiled into 8 categories: Creative, Intellectual, Lifestyle, Business, Physical, Cognitive, Emotional/ Psychological, and Social with the intention to examine prevalence among performance majors as well as similarities and differences between categories. Participants (N=45) for this study were performance majors within areas of Music Theatre, Vocal Performance, and Instrumental (Woodwinds/Brass, Piano) Performance who answered a 72-item survey. Results showed that Lifestyle, Cognitive, Emotional/Psychological, and Business categories including building a professional resume, overall perception of failure, feelings of inadequacy/rejection, and job instability are among the highest rated stressors and stressor categories for performers. Further results and implications are discussed within the paper.
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Date Issued: 2019
Identifier: 2019_Fall_Lewis_fsu_0071N_15605
Format: Thesis

Title: Electronics Integration and Sound Reinforcement in the 21st Century Marching Arts.
Creator: Filosa, Matthew T., Parks, John Will, Dunnigan, Patrick, Drew, John Robert, Keesecker, Jeff, Florida State University, College of Music
Abstract/Description: This treatise seeks to examine the integration and application of electronics in both the outdoor and indoor marching arts activities. Additionally, this document will provide a primer for students and teachers interested in becoming fluent in sound reinforcement and electronics integration in the marching arts. Electronic instruments, sound reinforcement, and sound design are commonplace in today’s marching arts activities, requiring educators and students to have a basic knowledge of audio...
Show moreThis treatise seeks to examine the integration and application of electronics in both the outdoor and indoor marching arts activities. Additionally, this document will provide a primer for students and teachers interested in becoming fluent in sound reinforcement and electronics integration in the marching arts. Electronic instruments, sound reinforcement, and sound design are commonplace in today’s marching arts activities, requiring educators and students to have a basic knowledge of audio gear and software. With the introduction of professional sound reinforcement systems, wireless software, and electronic instruments over the last five years, it has become increasingly complicated to understand and integrate electronics within marching ensembles. Chapter one will explore the history of both Drum Corps International and Winter Guard International, giving further insight into why the introduction of electronics in our activity was so controversial and revolutionary. A brief introduction of electronics equipment will conclude the chapter. Chapters two through four will analyze microphones, wireless systems, speakers, electronic instruments, and computer-based systems and software used in the marching arts. Included in each chapter are diagrams and tables with specific examples of implementation and performance practices over the last ten years. At the conclusion of the treatise, Chapter five summarizes the impact electronics has had on music educators and the marching arts activity, concluding with what the future might hold for amplification and electronics integration and design.
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Date Issued: 2019
Identifier: 2019_Fall_Filosa_fsu_0071E_15576
Format: Thesis

Title: Striking a Chord: Teaching with Music in the College Writing Classroom.
Creator: Bedsole, David B., Neal, Michael R., Roehrig, Alysia D., Fleckenstein, Kristie S., Yancey, Kathleen Blake, Florida State University, College of Arts and Sciences, Department of...
Show moreBedsole, David B., Neal, Michael R., Roehrig, Alysia D., Fleckenstein, Kristie S., Yancey, Kathleen Blake, Florida State University, College of Arts and Sciences, Department of English
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Abstract/Description: As studies in sound continue to emerge in the field (Ceraso, 2018; Danforth, Stedman, & Faris, 2018; Hawk, 2018), this dissertation seeks to describe how and why writing instructors are using music in their college writing classrooms, and to assess the match between these practices and an agreed-upon standard for effective teaching in college composition, the WPA Outcomes Statement for First-Year Composition. In order to outline the relevant scholarship about the use of music in the teaching...
Show moreAs studies in sound continue to emerge in the field (Ceraso, 2018; Danforth, Stedman, & Faris, 2018; Hawk, 2018), this dissertation seeks to describe how and why writing instructors are using music in their college writing classrooms, and to assess the match between these practices and an agreed-upon standard for effective teaching in college composition, the WPA Outcomes Statement for First-Year Composition. In order to outline the relevant scholarship about the use of music in the teaching of college writing, I first show that music belongs in the category of aurality as described by Selfe (2009). Then, I use Erin Anderson’s (2014) framework to organize the relevant scholarship about music: writing instructors tend to use sound/music: “…as a subject of rhetorical analysis, a material for multimodal text production, and a methodological model for alphabetic writing practice” [emphasis mine]. Next, I use Fulkerson’s (2005) framework for understanding instructor theories of composition, which includes: the axiological question (what makes writing “good?”); the process question (how do texts come into existence?); the pedagogical question (how is composition effectively taught?); and the epistemological question (how do you know all this?). Finally, I employ Sheridan, Ridolfo, and Michel’s (2012) four-part heuristic for interrogating new rhetorical options to the possible reasons for using music in the writing classroom: Semiotic potentials; cultural position; infrastructural accessibility; and de/specialization. To conduct the study, I design a Qualtrics survey and distribute it on two national listservs, and consider case studies in the form of targeted interviews/collection of teaching materials from five different instructors. The survey includes demographic, close-ended, and open-ended questions. I outline and apply a coding scheme to the open-ended questions. I conduct interviews via phone with the five interviewees, transcribe the interviews, and share the results with the participants for correction or confirmation. Then, I describe the results of the Qualtrics survey, and report the results of the targeted interviews and collection of teaching materials. I find that instructors use music in myriad ways, but most commonly use it to analyze lyrics or as background noise in the classroom. I find that their purposes for using music often correspond, in some ways, with their understanding of the purposes of composition itself (Fulkerson, 2005). Finally, I wrestle with the main findings, and reframe them using the lenses of academic hospitality and play. Results imply that the use of music is defensible according to the WPA Outcomes Statement, depending on how it is used. Further research is called for, especially in understanding the effectiveness of music-based pedagogy in the writing class. Such research might involve student responses, as well as collection of student materials at various stages in a music-based writing course.
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Date Issued: 2019
Identifier: 2019_Fall_Bedsole_fsu_0071E_15509
Format: Thesis

Title: A Conductor's Guide to Selected Works by Female Composers for Chamber Wind Ensemble.
Creator: Douty, Michael Scott, Clary, Richard, Clendinning, Jane Piper, Dunnigan, Patrick, Kelly, Steven N., Madsen, Clifford K., Florida State University, College of Music
Abstract/Description: The purpose of this project is to provide historical background, formal and thematic analysis, and technical performance considerations for selected works by female composers for chamber wind ensemble. Chapter 1 introduces the project, providing the rationale, the selection process for included compositions, and a summary of conventions utilized throughout the text. Chapters 2 through 5 each explore one of the following works and composers: Dixtuor pour instruments à vent by Claude Arrieu,...
Show moreThe purpose of this project is to provide historical background, formal and thematic analysis, and technical performance considerations for selected works by female composers for chamber wind ensemble. Chapter 1 introduces the project, providing the rationale, the selection process for included compositions, and a summary of conventions utilized throughout the text. Chapters 2 through 5 each explore one of the following works and composers: Dixtuor pour instruments à vent by Claude Arrieu, Dos Danzas Latinas by Nancy Galbraith, Arsenal of Democracy by Julia Wolfe, and Wind Sinfonietta by Ruth Gipps. This document may be utilized by directors and/or conductors of academic or professional chamber ensembles to facilitate preparation of these works, thereby promoting an increasing number of performances for these distinguished compositions.
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Date Issued: 2019
Identifier: 2019_Summer_Douty_fsu_0071E_15145
Format: Thesis

Title: Sound and Place: An Affective Geography of the Hudson River, New York, USA.
Creator: Sciuchetti, Mark Joseph, Mesev, Victor, Von Glahn, Denise, Doel, Ronald Edmund, Florida State University, College of Social Sciences and Public Policy, Department of Geography
Abstract/Description: Sonic experiences of a place are both personal and collective. They are derived from affectual encounters in that place in the everyday. The sounds of a place provide detail on the culture, development, and environment. Geographers have often overlooked the role of individual experiences with sound in places for developing our perspective on natural spaces. The visual has offered geographers a great deal of material and meaning in terms of the study of the landscape and personal connections...
Show moreSonic experiences of a place are both personal and collective. They are derived from affectual encounters in that place in the everyday. The sounds of a place provide detail on the culture, development, and environment. Geographers have often overlooked the role of individual experiences with sound in places for developing our perspective on natural spaces. The visual has offered geographers a great deal of material and meaning in terms of the study of the landscape and personal connections to place. This focus on the material, concrete, and visual aspects of society has often denied the sense of hearing. However, sound is part of embodied everyday experience of places and cannot be separated from affectual experiences or the spaces in which sound is heard. This contributes to shaping culture. Though research into the soundscape and sonic experiences has been the focus in various disciplines, research in geography is lacking an appreciation of the role of place in exploring sonic experiences. The role of sound and music in geography often takes the form of production and distribution of music and its economics and politics. But with little attention to the role of the sound or affect. Therefore, this dissertation sheds light on the role of the soundscape and the spatiality of sound in the construction of place. It also explores the role that affectual encounters in natural everyday spaces have on the individual and their place development. As a starting point, the dissertation seeks to develop a theoretical framework underpinned by geography, musicology, and sound studies to help describe the affective capacity of sound in place. Developing the concept of affect beyond the traditional realm of non-representational theory, the dissertation incorporates concepts of emotion and affect to explain the development of place through sound. Reaching into various theoretical frameworks, including behavioral geography, sonic geography, geography of music, representational theory, non-representational theory, participant observation, and reflexivity, it creates a more unified conceptualization of everyday sonic experiences of place by developing an approach which moves affective sonic encounters beyond the representational. These theoretical underpinnings are demonstrated by an empirical multi-modal approach to the study of sound in place. It uses a case study that provides a vehicle to explore how affect and emotion are experienced in nature through sound and place using sound journals, historical/archival data, sound recordings, and participatory observation. The fieldwork was conducted while sailing along the Hudson River in the US state of New York during the summer of 2017. The sites where data were collected complement those recorded by Annea Lockwood for her composition, A Sound Map of the Hudson River (1983). The archival material on texts written about the river was found from various historical sources, and interviews were provided by Lockwood. The locations chosen for recording sounds include various cultural, social, economic, industrial and environmental developments along the river. The recordings from Lockwood's CD and the six interviews she conducted in 1982 offer a starting point to describe the construction of place through sound. The four journals collected with crewmembers of the Gail Frances on the river as well as my own observations from the Hudson River provide a better conceptualization of participants' affective experiences through sound as they are immersed in the places they describe. The historical interviews and recordings from 1982 were paired with the journals and recordings from 2017 to emphasize how sound of the natural environment elicits powerful affective experiences that molds an individual's sense of place. Through the participants' interviews and journals, it is clear that there are some aspects of the soundscape that have become essential to the discussion of a place and often recreate a sense of nostalgia with almost a spiritual sensation. Other aspects of the sounds of the places along that Hudson River remind participants of the divisions between the human and the natural environments, and that there are different perspectives to the river depending on an individual's approach. The participants' encounters also carried a common theme of everyday experience and survival as these were individuals who depended upon the river. From these interviews, journals, and recordings, it is clear that one role of space and sound is in mediation of the affective encounters that individuals endure in place, which inspires emotional experiences. My study demonstrates that sound is an essential aspect of the experience of place and can be explored geographically, thus providing a framework for future research and an empirical, geographical examination of individual sonic experiences within a natural environment.
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Date Issued: 2019
Identifier: 2019_Summer_Sciuchetti_fsu_0071E_15250
Format: Thesis

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

Title: Teacher Perceptions of Teaching Choral Music in Urban Schools.
Creator: Robinson, Gaylon, VanWeelden, Kimberly D., Thomas, André J. (André Jerome), Darrow, Alice-Ann, Florida State University, College of Music
Abstract/Description: The purpose of this study was to explore choral music educators' perceptions of teaching in urban secondary schools as compared to teaching in rural and suburban public and charter schools to provide greater clarity to help prepare preservice music educators. The participants (N = 61) in this study were music educators teaching choral music in public/charter middle or high schools in the state of Tennessee during the 2018-2019 academic school year. The results indicated that parental...
Show moreThe purpose of this study was to explore choral music educators' perceptions of teaching in urban secondary schools as compared to teaching in rural and suburban public and charter schools to provide greater clarity to help prepare preservice music educators. The participants (N = 61) in this study were music educators teaching choral music in public/charter middle or high schools in the state of Tennessee during the 2018-2019 academic school year. The results indicated that parental engagement was perceived as the greatest issue while administrative support was the least issue. The results also indicated the majority of participants believed urban schools better address classroom management issues and provides more school funding when compared to rural schools. Conversely, participants believe that rural schools provide more administrative support and parental support respectively compared to urban schools. For the results comparing urban schools to suburban schools, participants indicated they believe school funding, school climate, parental engagement, and administrative support are better addressed or provided for by suburban schools.
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Date Issued: 2019
Identifier: 2019_Summer_Robinson_fsu_0071E_15269
Format: Thesis

Title: The Effects of a Single Music-Assisted Mindfulness Relaxation (MAMR) and Psychoeducation Session with Electronic Resource on Wellbeing of Informal Caregivers.
Creator: Steiner, Adrienne Claire, Gooding, Lori F. (Lori Fogus), Holzman, Bruce, Standley, Jayne M., VanWeelden, Kimberly D., Carr, Dawn C., Florida State University, College of Music
Abstract/Description: Various health conditions, and/or aging can result in the need for care assistance. The number of Americans who need care assistance has grown over the past several decades, with the amount expected to increase as the number of individuals entering older adulthood rises. Informal caregivers are those who assist others with medical or other personal tasks without pay. Due to the complex demands of caregiving, informal caregivers often report high levels of stress and decreases in psychosocial...
Show moreVarious health conditions, and/or aging can result in the need for care assistance. The number of Americans who need care assistance has grown over the past several decades, with the amount expected to increase as the number of individuals entering older adulthood rises. Informal caregivers are those who assist others with medical or other personal tasks without pay. Due to the complex demands of caregiving, informal caregivers often report high levels of stress and decreases in psychosocial wellbeing, especially when compared to those who are not caregivers. Research has indicated the need for support interventions to address informal caregivers' needs, yet the unique needs of this population have posed challenges in developing appropriate and accessible resources. The purpose of this dissertation was to investigate the effects of a single music therapy session utilizing a music-assisted mindfulness relaxation intervention with psychoeducation session and electronic resource on psychosocial wellbeing of informal caregivers of adults with chronic health needs. Intervention data collection sessions were conducted at an adult day facility, community wellness clinic, and community church sites, and were led by a board-certified music therapist. The intervention facilitated was a music-assisted relaxation exercise utilizing research-supported live guitar accompaniment, guided breathing prompts, imagery, and a spoken mindfulness loving-kindness meditation. Following the music-assisted mindfulness relaxation (MAMR), a psychoeducation discussion was facilitated to educate participants about the techniques experienced and provide strategies for incorporating into daily life practices. Participants were given an electronic recording of the same MAMR done in the intervention session and prompted to use the resource in their preferred manner over a two-week time period. Participants, who were adults aged 62-89 and provided assistance to an individual over the age of 50 for at least five hours per week, for at least the past three months. Perceived stress and wellbeing were measured along with participants' perception of the MAMR intervention and MAMR electronic resource. Perceived stress was measured using a researcher created tool (Likert-type scale) and wellbeing was measured using the WHO (Five) Wellbeing Index (1998 version). Subjects completed the perceived stress score before and following the intervention. The WHO wellbeing index was completed by participants prior to the intervention and two-weeks post session. Results indicated there was a significant difference between perceived stress scores prior to and following the MAMR intervention. Further analysis of perceived stress difference score indicated no difference between those who lived with the care receiver and those who did not. However, results did indicate a significant difference between those who engaged a minimum to moderate level and those who engaged at a maximum level in caregiving duties. Results of WHO wellbeing analysis also indicated a significant difference between scores from pre intervention to two-weeks post intervention. Further analysis indicated there was not a significant difference in WHO wellbeing difference scores between those who used the intervention one time or not at all, and those who used the intervention two times or more. No significant difference was found between those who lived with care receiver and those who did not, and those with minimum to moderate caregiving levels and those with maximum caregiving levels and WHO wellbeing difference scores. Participants' perception of the intervention indicated the use of several techniques when facilitating a similar music-assisted relaxation with informal caregivers in clinical music therapy practice. The outcomes of this study warrant the need for future research to determine effective ways to use this intervention with the informal caregiving population.
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Date Issued: 2019
Identifier: 2019_Summer_Steiner_fsu_0071E_15342
Format: Thesis

Title: A Study of the Musical Style of Elliott Carter's Piano Sonata (1945-46) and of Mei-Fang Lin's Disintegration and Mistress of the Labyrinth.
Creator: Wang, Yingying, Kalhous, David, Darrow, Alice-Ann, Dumlavwalla, Diana Teresa, Williams, Heidi Louise, Florida State University, College of Music
Abstract/Description: The purpose of this treatise, which is in two parts, is to investigate piano solo works of Elliott Carter and Mei-Fang Lin. Part I of the treatise focuses on American composer Elliott Carter and his Piano Sonata (1945-46). Part II discusses contemporary Taiwanese composer Mei-Fang Lin and her two solo piano works, Disintegration and Mistress of the Labyrinth. Elliot Carter’s Piano Sonata is a representative example of his distinctive modernist style. After his early works written largely in...
Show moreThe purpose of this treatise, which is in two parts, is to investigate piano solo works of Elliott Carter and Mei-Fang Lin. Part I of the treatise focuses on American composer Elliott Carter and his Piano Sonata (1945-46). Part II discusses contemporary Taiwanese composer Mei-Fang Lin and her two solo piano works, Disintegration and Mistress of the Labyrinth. Elliot Carter’s Piano Sonata is a representative example of his distinctive modernist style. After his early works written largely in Neoclassical idiom, Carter embarked on a new musical path in this work. His innovative approach to form, harmony, thematic design, metric elements, sound, and timing according to the common sonata structures differ significantly from the traditional approaches to this form. The compositional aesthetic of this work has become one of the hallmarks of American musical modernism, foreshadowing the compositional direction of piano sonatas in the latter half of the twentieth century. Carter’s music has known for his metrical complexity, in which metric modulation and polyrhythmic application largely emerged after 1948. The trademark is specifically launched in his Cello Sonata (1948). The 1945 piano sonata is the piece a few years earlier in which rhythmical complexity began to expose. In this treatise, I demonstrate the layer of rhythmical pulse through the method of thematic analysis, rather than merely focusing on metric modulation technique. In contrast to most scholarships that have a rigorous study for Carter’s eclectic deed on the fusion of European neoclassicism and American avant-garde, I discuss the composer’s new compositional approach in the Sonata. My analysis concentrates on specific innovative aspects that make the work unconventional, showing why Carter is one of the most important voices of American modernism. Part II of the treatise focuses on the contemporary Taiwanese composer Mei-Fang Lin’s two piano solo works, Disintegration and Mistress of the Labyrinth. Lin’s compositional aesthetic are intrinsically related to her educational background and cultural identity, and I show how this particular aesthetic is revealed in these two pieces. Lin’s musical language demonstrates a strong duality. On one hand, her European and American musical training imbued her music with an unmistakably Western voice. On the other hand, Lin’s studies of Eastern philosophy and traditional Chinese music infused her style with Eastern elements. My analysis illustrates how these two tendencies coexist in these two pieces.
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Date Issued: 2019
Identifier: 2019_Spring_WANG_fsu_0071E_15077_comp
Format: Set of related objects

Title: Mieczysław Weinberg: Concerto for Cello and Orchestra, and 24 Preludes for Solo Cello.
Creator: Pereverzeva, Aleksandra, Sauer, Greg, Brewer, Charles E. (Charles Everett), Punter, Melanie, Jiménez, Alexander, Florida State University, College of Music
Abstract/Description: The purpose of this treatise is to introduce the music of the Soviet composer of Polish-Jewish origin, Mieczysław Weinberg (1919-1996) to a wide audience. Weinberg’s life took place during the very difficult period following World War I through the second world war. Not only did he feel the terrible consequences of the Nazi efforts to exterminate Jews, but he also experienced the terrors associated with being an artist in the Soviet Union under Stalin. Weinberg’s music reflects its historical...
Show moreThe purpose of this treatise is to introduce the music of the Soviet composer of Polish-Jewish origin, Mieczysław Weinberg (1919-1996) to a wide audience. Weinberg’s life took place during the very difficult period following World War I through the second world war. Not only did he feel the terrible consequences of the Nazi efforts to exterminate Jews, but he also experienced the terrors associated with being an artist in the Soviet Union under Stalin. Weinberg’s music reflects its historical context and the tragic events that impacted his own life and the lives of so many others. This is one reason his compositions are important and valuable. He also had a close friendship with Dmitry Shostakovich, and they inspired one another’s creative work in many ways. Weinberg’s music reflects a diversity of genres and styles. In addition to the large-scale works dedicated to the heavy themes of war, fascism, and death, he also wrote music for movies, cartoons, circuses, and children. Like Weinberg’s life, his music had a difficult fate, as it was obscured for many years. Fortunately, Weinberg’s music has gained increased attention in recent years, especially in Europe. There have been several festivals dedicated to his work held in Liverpool (UK), Rochester (USA), Bregenze (Switzerland), and Moscow (Russia). Recordings of his compositions have been released by large record labels, including “Olympia” (UK), and "Russkiy disk” (Russia). The Danel String Quartet, a Belgian group, recently made a complete recording of all seventeen quartets written by Weinberg. Several renowned conductors have contributed to the promotion of Weinberg’s music, including Thomas Sanderling, the co-initiator of the International Mieczysław Weinberg Society, and Thord Svedlund. This treatise provides information about the composer’s life, an overview of his work, and style analyses of his Concerto for Cello and Orchestra Op. 43 (1948) and his 24 Preludes for Solo Cello (1960). The Concerto and the Preludes are historically significant and musically engaging additions to the standard cello repertoire. The Concerto consists of four contrasting and highly expressive movements with different characters and moods—lyrical, dramatic, powerful, sorrowful, and triumphant. The diversity in the work, in its melodic features and dramatic qualities, make it accessible to a wide range of audiences. The 24 Preludes is a challenging work that features technical variety and extended techniques. In this collection we see Weinberg demonstrating his musical experience, knowledge, and creativity. Practice suggestions for the Concerto and the Preludes are provided at the end of their respective chapters.
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Date Issued: 2019
Identifier: 2019_Spring_Pereverzeva_fsu_0071E_15016_comp
Format: Set of related objects

Title: Americans at the Leipzig Conservatory (1843–1918) and Their Impact on American Musical Culture.
Creator: Pepple, Joanna, Seaton, Douglass, Williamson, George S., Eyerly, Sarah, Quinn, Iain, Von Glahn, Denise, Florida State University, College of Music
Abstract/Description: In 1842 Felix Mendelssohn gained approval from the Prussian King Friedrich Wilhelm IV to apply the late Supreme Court Justice’s Heinrich Blümner’s 20,000-Thaler gift to the founding of Germany’s first music education institution dedicated to the higher-level training of musicians. The establishment of the Leipzig Conservatory in 1843 was a milestone in Germany’s history, as this was Germany’s first national conservatory of music, with the goal to train and educate “complete” musicians in both...
Show moreIn 1842 Felix Mendelssohn gained approval from the Prussian King Friedrich Wilhelm IV to apply the late Supreme Court Justice’s Heinrich Blümner’s 20,000-Thaler gift to the founding of Germany’s first music education institution dedicated to the higher-level training of musicians. The establishment of the Leipzig Conservatory in 1843 was a milestone in Germany’s history, as this was Germany’s first national conservatory of music, with the goal to train and educate “complete” musicians in both applied and theoretical studies. Due to its highly-esteemed faculty, the Leipzig Conservatory immediately drew attention from music students not only nationally but also internationally. The Leipzig Conservatory was known for its “conservative” leanings as well as the strong foundation students received in harmony, counterpoint, and voice-leading. The pedagogy of the Leipzig Conservatory not only had a great impact in Germany and the surrounding European countries, but its influence reached across the Atlantic to American musical life. Nineteenth-century Americans held German musical training in high regard. Between 1846 and 1918 over 1,500 Americans traveled across the Atlantic to study with the renowned faculty at the Leipzig Conservatory. Receiving a comprehensive music education and being exposed to world-class visiting soloists such as Clara Schumann and Franz Liszt, these American students returned to the United States as music teachers, administrators, music writers and publishers, and performers, prepared to influence their music culture in numerous ways. These American individuals had a great impact in numerous cities throughout the United States, and several of them had a role in founding America’s first music conservatories: Oberlin Conservatory of Music (1865) and New England Conservatory of Music (1867). By studying the original documents and concert programs at these institutions, one can trace direct pedagogical approaches and institutional policies transferred from Leipzig to Oberlin and Boston. Furthermore, many early faculty members at Oberlin and NEC themselves had studied at the Leipzig Conservatory, bringing Leipziger tastes and pedagogy to American students. While the Leipzig influence impacted Oberlin and NEC greatly, its pedagogy and principles shaped many other aspects of American music life and education throughout multiple cities and regions in the United States, leaving lasting imprints on American music culture, including music education, concert life, music criticism, and composition. The supplementary Excel spreadsheet shows Leipzig Conservatory faculty members and the duration of their tenure at the Conservatory.
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Date Issued: 2018
Identifier: 2019_Spring_Pepple_fsu_0071E_14966_comp
Format: Set of related objects

Title: Left-Hand Techniques in Aldo Pais' La Tecnica del Violoncello: An Electromyographic Comparison.
Creator: Galvarino, Jordan Lee, Sauer, Greg, Jones, Evan Allan, Stillwell, Corinne, Thomas, Shannon, Florida State University, College of Music
Abstract/Description: The purpose of this treatise is to use surface electromyography (sEMG) in a study with human subjects to compare techniques found in Aldo Pais’ La Tecnica del Violoncello. Statistical research regarding the following exercises found in La Tecnica is provided: compressing the hand (avvicinamenti), enlarged extensions (allargamenti), finger independence, and repetitive motions. Data is recorded from the left extensor digitorum and abductor digiti minimi using sEMG, and each subject’s data is...
Show moreThe purpose of this treatise is to use surface electromyography (sEMG) in a study with human subjects to compare techniques found in Aldo Pais’ La Tecnica del Violoncello. Statistical research regarding the following exercises found in La Tecnica is provided: compressing the hand (avvicinamenti), enlarged extensions (allargamenti), finger independence, and repetitive motions. Data is recorded from the left extensor digitorum and abductor digiti minimi using sEMG, and each subject’s data is compared to one another, in order to reveal these common trends and outliers. Wearing biosensors, six anonymous participants performed two control exercises and four modified versions of Pais’ exercises that each exhibit a specific technique. Participants also completed a short survey at the conclusion of their session, regarding education level and their experience practicing the examples. There was no correlation between education level and sEMG results. Lowered sEMG results result in improved musical performance, and female participants produced lower microvolt ratings than males in every category. Despite their absence in standard cello pedagogy, avvicinamenti and allargamenti produced significantly lower sEMG results than the exercises of finger independence and repetitive motions. This is an important finding because it removes any assumption that Pais’ techniques should be shunned on the basis that they produce an excess of tension. Including these techniques in standard cello pedagogy would expand upon the fingering possibilities available to cellists in numerous musical contexts.
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Date Issued: 2019
Identifier: 2019_Spring_Galvarino_fsu_0071E_15150_comp
Format: Set of related objects

Title: Just in Case You've Forgotten: A Historical and Analytical Survey of Thomas Whitfield and His Impact on Contemporary Gospel Music.
Creator: Waddles, Brandon C. (Brandon Christian), Thomas, André J. (André Jerome), Anderson, Leon, Fenton, Kevin, Bugaj, Kasia, Florida State University, College of Music
Abstract/Description: This study details the historical relevance of Thomas Whitfield and his impact on contemporary gospel music. Through musical analysis, the document illustrates Whitfield’s innovations within the genre. Interviews with those who knew him, worked with him, and were influenced by his work assist the investigation in both fleshing out his historical background, as well as support the case for his lasting impact on gospel music.
Date Issued: 2019
Identifier: 2019_Spring_Waddles_fsu_0071E_15170
Format: Thesis

Title: The Choral Music of Joachim Raff (1822–1882).
Creator: Wiggins, Jeremy Kenneth, Thomas, André J. (André Jerome), Stebleton, Michelle, Fenton, Kevin, Fredrickson, William E., Florida State University, College of Music
Abstract/Description: Joachim Raff (1822–1882), known mainly for his symphonic works, composed a significant amount of choral music, which includes seventeen choral-orchestral works, fifty part-songs, six a cappella motets, and other incidental choral music. Raff was well respected as a composer in the second half of the nineteenth century, but performances of Raff’s works declined sharply after the turn of the twentieth century. To date, no dissertations or other publications exist that discuss Raff’s...
Show moreJoachim Raff (1822–1882), known mainly for his symphonic works, composed a significant amount of choral music, which includes seventeen choral-orchestral works, fifty part-songs, six a cappella motets, and other incidental choral music. Raff was well respected as a composer in the second half of the nineteenth century, but performances of Raff’s works declined sharply after the turn of the twentieth century. To date, no dissertations or other publications exist that discuss Raff’s contributions to the choral oeuvre. The purpose of this dissertation is to examine Joachim Raff’s life and to provide historical, contextual, stylistic, musical, and idiosyncratic elements of each of Raff’s available choral works. This study divides the analysis of the choral works into two chapters: one chapter for his works for unaccompanied and a cappella chorus, and another chapter that covers his works for chorus and orchestra. In addition to providing a general analysis, the discussion offers insight into the accessibility level of each work. The conclusions of this study are that the choral music of Joachim Raff spans multiple genres and styles, and that it offers accessibility to a variety of choirs. As a resource for those wishing to study or perform choral works by Raff, this document also contains a catalog of his choral works, which provides information on voicing, orchestration, and publication.
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Date Issued: 2019
Identifier: 2019_Spring_Wiggins_fsu_0071E_15009
Format: Thesis

Title: An Original Band Composition: Including a Guide for Creating Instructional Materials Based on Performance Literature.
Creator: Wilson, Chandler L. (Chandler LeRoy), Clary, Richard, Anderson, Leon, Dunnigan, Patrick, Madsen, Clifford K., Florida State University, College of Music
Abstract/Description: The purpose of this project was to create an original band composition, a five-movement suite, for upper high school and university-level ensembles that would provide students, teachers, and audiences an enjoyable experience. Along with the composition, Suite Forty-four, a series of exercises that present musical concepts from the first four movements of the work is also included. These exercises consist of warm-ups, melodic exercises, harmonic studies, articulation studies, rhythmic studies,...
Show moreThe purpose of this project was to create an original band composition, a five-movement suite, for upper high school and university-level ensembles that would provide students, teachers, and audiences an enjoyable experience. Along with the composition, Suite Forty-four, a series of exercises that present musical concepts from the first four movements of the work is also included. These exercises consist of warm-ups, melodic exercises, harmonic studies, articulation studies, rhythmic studies, style exercises with dynamics, intonation, and meter studies that are specific to each of the first four movements, and in some cases to the suite as a whole.
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Date Issued: 2019
Identifier: 2019_Spring_Wilson_fsu_0071E_15179
Format: Thesis

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

Title: Effects of Different Instrumental Accompaniment on the Intonation of High School and Collegiate Violinists, Violists, and Cellists.
Creator: Zabanal, John Rine Anacito, Geringer, John M., Holzman, Bruce, Bugaj, Kasia, Madsen, Clifford K., Thrasher, Michael, Florida State University, College of Music
Abstract/Description: The purpose of this study was to examine the effects of different instrumental accompaniments on the intonation of violinists, violists, and cellists in a melodic context. The following questions guided this research: (1) Are there differences in tuning accuracy of melodic content between accompanied and unaccompanied conditions among string musicians? (2) Are there differences in tuning accuracy of melodic content between accompaniment octaves? (3) Are there differences in intonation...
Show moreThe purpose of this study was to examine the effects of different instrumental accompaniments on the intonation of violinists, violists, and cellists in a melodic context. The following questions guided this research: (1) Are there differences in tuning accuracy of melodic content between accompanied and unaccompanied conditions among string musicians? (2) Are there differences in tuning accuracy of melodic content between accompaniment octaves? (3) Are there differences in intonation accuracy between string, oboe, and piano accompaniments? (4) Are there differences between the number of flat, sharp, and in-tune responses of participants? (5) Are there differences in string musician preferences between accompaniment types? (6) Are string musicians’ self-perceptions of tuning accuracy associated with performed pitch accuracy? (7) Are there differences between age and experience of participants in intonation accuracy with various accompaniment types? Performances of Frère Jacques were recorded by a cellist, oboist, pianist, and a violinist to serve as accompaniment stimuli for the study. Additionally, a questionnaire was created to measure preferences for accompaniment, perceptions of tuning accuracy, and collect background information of participants. The participants (N = 103) were high school (n = 60) and collegiate (n = 43) violinists (n = 55), violists (n = 22), and cellists (n = 26). Participants performed an excerpt of Frère Jacques in Eb major in five conditions: with a cello accompaniment, oboe accompaniment, piano accompaniment, violin accompaniment, and as a solo. Absolute cent deviation from the tonic, mediant, subdominant, and dominant scale degrees were collected from each participant for analysis. A significant main effect of intonation was found for accompaniment conditions. Participants performed more in tune with the cello, oboe, and violin accompaniments than with the solo. Additionally, they performed more in tune with the oboe accompaniment than with the piano accompaniment. The octave of accompaniment and instrument performed also did not appear to affect intonation. A significant main effect was found between high school and college participants. High school participants performed with less pitch acuity than college participants. An additional significant main effect was found between the deviations of analyzed notes. The Ab (subdominant) had significantly higher mean cent deviation than the Eb (tonic) and Bb (dominant). No differences were found between instruments performed and no interactions between variables were found. Participants demonstrated a propensity to perform with sharp intonation. Sharp responses occurred more frequently than in-tune (defined as ±6 cents) and flat responses with high school participants. Additionally, performances with the oboe accompaniment produced more in-tune responses than other conditions. In-tune responses occurred more frequently with collegiate participants; however, sharp responses occurred more frequently than flat responses. Performances with the oboe accompaniment also produced the most frequent flat responses as well as the lowest number of sharp responses. Questionnaire responses indicated that participants preferred to perform with the string accompaniments more than the non-string accompaniments. Participants least preferred to perform with the oboe accompaniment compared to the other accompaniments. A significant main effect was found in participants’ rating of their perceived intonation accuracy between conditions. Although participants rated their intonation as highest with the cello, their performances did not reflect this perception. A significant main effect was also found between the levels of participants. High school participants rated their intonation lower than college participants. No significant main effect was found between instrumental groups and no significant interactions were found. A moderate positive correlation was found between participants’ perception of their intonation and their actual performance of intonation with the violin accompaniment. Additionally, a weak positive correlation was found for the cello accompaniment and the solo condition. Participants’ rating of their perceived intonation correlated positively to the actual pitch accuracy for the string accompaniments and solo condition while no associations were found for non-string accompaniments.
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Date Issued: 2019
Identifier: 2019_Spring_Zabanal_fsu_0071E_15129
Format: Thesis

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

Title: First Year Florida Music Educator Experiences with District Sponsored Mentoring Programs.
Creator: Sorenson, Rachel Anne, Kelly, Steven N., Fredrickson, William E., VanWeelden, Kimberly D., Florida State University, College of Music
Abstract/Description: The purpose of this study was to examine the prevalence and perceived effectiveness of mentoring for first year music teachers in the state of Florida. Specifically, the researcher sought to discover what percentage of new music teachers were assigned mentors through their schools or counties, whether or not these mentors were like-content, and how these teachers rated both the support received and overall efficacy of these mentors. Participants (N = 28) were first year music teachers in the...
Show moreThe purpose of this study was to examine the prevalence and perceived effectiveness of mentoring for first year music teachers in the state of Florida. Specifically, the researcher sought to discover what percentage of new music teachers were assigned mentors through their schools or counties, whether or not these mentors were like-content, and how these teachers rated both the support received and overall efficacy of these mentors. Participants (N = 28) were first year music teachers in the state of Florida for the 2018-2019 school year who were asked to complete an online survey created by the researcher. Participants were asked whether or not they had been assigned a mentor through their school or county and were then asked a series of questions designed to describe the nature of their mentor-mentee relationships. At the end of the survey, participants were asked to respond to two open-ended questions regarding the most positive and negative aspects of their relationships with their mentors. Results from the surveys showed that roughly 80% of participants had been assigned a mentor by either their school or county, and of the group who had been assigned a mentor, roughly 64% had mentors who were also music teachers. Teachers in the current study rated their mentors highly with regard to perceptions of support received, with the exception of teachers with non like-content mentors, who rated some issues related to support and efficacy significantly lower. Similarly, the teachers in this study without like-content mentors rated the overall effectiveness of their mentors significantly lower than teachers with like-content mentors. Overall, teachers indicated that they viewed their mentors as sources of experience whom they could turn to for advice on many topics, but wished that in general they had more interaction time with their mentors.
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Date Issued: 2019
Identifier: 2019_Spring_Sorenson_fsu_0071N_15216
Format: Thesis

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

Title: Musical Commemoration of the Chinese Sent-down Movement: Narratives of Traumatic Cultural Memory in Diaspora.
Creator: Tyrrell, Mayna, Bakan, Michael B., Jackson, Margaret R., Gunderson, Frank D., Florida State University, College of Music
Abstract/Description: The sent-down youth movement (1968-1978), an initiative that grew out of the Cultural Revolution in China, mandated that youth from urban centers be reeducated in rural regions in an effort to realize Mao’s idealized vision of a communist society. This thesis investigates how traumatic memory of the Cultural Revolution and the sent-down youth movement is processed through individual narratives from the diasporic “Cultural Revolution generation.” It does so largely in the context of fieldwork...
Show moreThe sent-down youth movement (1968-1978), an initiative that grew out of the Cultural Revolution in China, mandated that youth from urban centers be reeducated in rural regions in an effort to realize Mao’s idealized vision of a communist society. This thesis investigates how traumatic memory of the Cultural Revolution and the sent-down youth movement is processed through individual narratives from the diasporic “Cultural Revolution generation.” It does so largely in the context of fieldwork-based analysis and interpretation of multiple performances of a particular large-scale work, Ask the Sky and the Earth: An Oratorio Cantata for the Sent-Down Youth, a work which shapes zhiqing (sent-down youth) memories and discourse at both individual and collective levels. My theoretical framework primarily draws from Su Zheng’s analysis of diaspora and Paul Connerton’s work with traumatic memory. Through this examination of zhiqing traumatic memory, I assert that the history and narrative of forced displacement which defines zhiqing identity amplifies the impact of its commemoration in diasporic communities. The performance of this cantata forces members of the “Cultural Revolution generation” to confront narratives outside of their own and to reinterpret their past, revealing a multiplicity of experiences and interpretations that individuals produce, experiences which do not fit neatly into either the national Chinese or resistant diasporic narratives of the movement. Through such investigation, this work contributes in a significant way not only to the ethnomusicological study of Chinese music, but more broadly to the theorization of traumatic cultural memory in contemporary Chinese diasporic culture.
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Date Issued: 2019
Identifier: 2019_Spring_Tyrrell_fsu_0071N_15223
Format: Thesis

Title: Student Development and Studio Management in Applied Music Teaching through Implementation of the Situational Leadership Model.
Creator: Lacey, Jonathan M. (Jonathan Marlon), Drew, John Robert, Clary, Richard, Moore, Christopher, Stebleton, Michelle, Florida State University, College of Music
Abstract/Description: Situational Leadership is a business management model that has been used in many of the top Fortune 500 companies, the United States Military, and educational administration since the early 1980s. This model provides a simplified approach for managers leading various levels of employees. The focus of this treatise will be to show how an applied professor can incorporate this model into his/her approach when working on studio management and student development. The four categories, or...
Show moreSituational Leadership is a business management model that has been used in many of the top Fortune 500 companies, the United States Military, and educational administration since the early 1980s. This model provides a simplified approach for managers leading various levels of employees. The focus of this treatise will be to show how an applied professor can incorporate this model into his/her approach when working on studio management and student development. The four categories, or Developmental Levels (D1, D2, D3, and D4), of Situational Leadership are each defined by two rubrics: Competency and Commitment. Level One is Low Competency-High Commitment and describes a student that is new but eager to learn. Level Two is Low Competency-Low Commitment and could be a younger student who is not as interested in a particular task. Level Three is High Competency-Variable Commitment. This would describe a student with fine skills but may feel stagnant or one whose buy-in could waver. Level Four is High Competency-High Commitment and might describe a student that is more experienced and takes school and their future career more seriously. The teacher’s Leadership Styles (S1, S2, S3, and S4) would then vary based on the needs of the student defined by two rubrics: Support and Direction. Competency and Commitment level of the individual student would have a specific correlation to the amount of Support necessary to affect Commitment and Direction necessary to affect Competency. The Leadership Styles correspond to Development Levels in such a manner to optimize the teacher-student relationship.
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Date Issued: 2019
Identifier: 2019_Spring_Lacey_fsu_0071E_15154
Format: Thesis

Title: An Annotated Catalogue and Guide to the Piano Solo Repertoire of Contemporary Asian Women Composers from Mainland China, Hong Kong, and Taiwan.
Creator: Li, Chun (Paige), Gainsford, Read, Clendinning, Jane Piper, Dumlavwalla, Diana Teresa, Kalhous, David, Florida State University, College of Music
Abstract/Description: This treatise provides an annotated catalogue of solo piano repertoire by currently living women composers who were born in the second half of the twentieth century and are from mainland China, Hong Kong, and Taiwan. It serves as a practical reference source and guide to this literature. The first chapter discusses the current situation for Asian women composers and the significance of this study. The second chapter is a catalogue of the composers and their solo piano works that I collected...
Show moreThis treatise provides an annotated catalogue of solo piano repertoire by currently living women composers who were born in the second half of the twentieth century and are from mainland China, Hong Kong, and Taiwan. It serves as a practical reference source and guide to this literature. The first chapter discusses the current situation for Asian women composers and the significance of this study. The second chapter is a catalogue of the composers and their solo piano works that I collected for this study. Biographical information and descriptive summaries of the pieces allow performers, teachers, and scholars to easily survey this particular repertoire, choose pieces for study and performance, and discover new works. The final chapter provides critical commentary and offers my observations on sources of inspiration and elements of musical style in the collected repertoire. The appendix includes a table of composers and works for readers to locate pieces quickly based on the origin of the composer or the level of difficulty and duration of the piece. This project contributes to a growing body of recent scholarship on new music by Asian composers. It aims to introduce more of this repertoire into the general piano literature so that the music of Asian women composers can be discussed and performed more regularly.
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Date Issued: 2019
Identifier: 2019_Spring_Li_fsu_0071E_15111
Format: Thesis

Title: The Krickets: Gender and Agency in an All-Girl Southern Folk Band.
Creator: Lightle, Caitlyn, Joos, Vincent Nicolas, Dowell, Kristin L., Mehta, Jayur M., Florida State University, College of Arts and Sciences, Department of Anthropology
Abstract/Description: This thesis examines the intersection between culture-based social structure and individual agency in all-girl Southern folk band The Krickets. By utilizing practice theory we are able to understand the relationship of the individual to their inherent social rules and then compensate for individual action opposing those rules. Through the action of musical performance The Krickets express their connection to a Southern culture and act against the cultural expectations of femininity therein....
Show moreThis thesis examines the intersection between culture-based social structure and individual agency in all-girl Southern folk band The Krickets. By utilizing practice theory we are able to understand the relationship of the individual to their inherent social rules and then compensate for individual action opposing those rules. Through the action of musical performance The Krickets express their connection to a Southern culture and act against the cultural expectations of femininity therein. In studying The Krickets we can understand how notions of femininity, Southern culture, and folk music intersect to create their individual identities, which both adhere to and subvert their cultural structures. By utilizing video ethnography as a methodology and practicing ethical feminist approaches to anthropology we can understand how The Krickets grapple with concepts of cultural identity verses personal identity.
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Date Issued: 2019
Identifier: 2019_Spring_Lightle_fsu_0071N_15107
Format: Thesis

Title: A Performance Guide to Selected Jazz Arrangements of Roland Dyens.
Creator: Lougheed, Benjamin Walter Poliner, Holzman, Bruce, Clendinning, Jane Piper, Stillwell, Corinne, Sauer, Greg, Florida State University, College of Music
Abstract/Description: The following is an exploration of Roland Dyens arrangements of “Nuages,” “Round Midnight,” “Over the Rainbow,” “Take the A Train,” and “A Night in Tunisia.” Chapter one will focus on Dyens’ own life and connection to other styles of music, namely jazz and Brazilian. Chapters two and three will examine each of the arrangements in turn. This analysis will include information on the harmonic and structural aspects of the pieces; historical and biographical details about relevant styles and...
Show moreThe following is an exploration of Roland Dyens arrangements of “Nuages,” “Round Midnight,” “Over the Rainbow,” “Take the A Train,” and “A Night in Tunisia.” Chapter one will focus on Dyens’ own life and connection to other styles of music, namely jazz and Brazilian. Chapters two and three will examine each of the arrangements in turn. This analysis will include information on the harmonic and structural aspects of the pieces; historical and biographical details about relevant styles and artists, as well as Dyens’ allusions to them in his arrangements; and discussion of solutions to difficult passages and extended techniques within the arrangements all with an eye towards producing more accurate interpretations of the pieces. Finally, chapter four will put these arrangements into historical context within the larger guitar repertoire and consider the best practices for programming these pieces.
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Date Issued: 2019
Identifier: 2019_Spring_Lougheed_fsu_0071E_15155
Format: Thesis

Title: Transcribing for the Euphonium a Guide Using Selected Non-Wind Instrument Works.
Creator: McCollum, Ian T. (Ian Taylor), Benavidez, Justin, Clary, Richard, Drew, John Robert, Moore, Christopher, Florida State University, College of Music
Abstract/Description: Transcriptions have long held significance in the solo euphonium repertoire; the first euphonium solos performed were transcriptions of trombone and cornet works from the turn of the 20th century. Despite the vast growth of this genre in the last thirty years, transcriptions have maintained their significance and continue to be a staple part of university studio curricula and solo recital programs. However, these curricula and programs utilize few transcribed works compared to the body of...
Show moreTranscriptions have long held significance in the solo euphonium repertoire; the first euphonium solos performed were transcriptions of trombone and cornet works from the turn of the 20th century. Despite the vast growth of this genre in the last thirty years, transcriptions have maintained their significance and continue to be a staple part of university studio curricula and solo recital programs. However, these curricula and programs utilize few transcribed works compared to the body of original compositions from which standard transcriptions are derived, largely the Baroque and Classical periods. There also exists no written guide to assist euphoniumists in crafting their own transcriptions. The value of transcriptions is in challenging the euphoniumist in the technical skills required by the music and exposing euphoniumists to new pieces of repertoire. The process of transcribing requires the transcriber to learn the notation of the music, performance practices of the time in which the music was written, and the composer’s biography and its influence on their compositions. The student will also educate themselves on the instruments utilized in the compositions and how these instruments differ from their modern versions, and materials and commentary from performers and pedagogues to which euphoniumists are rarely exposed. As such, the true value of a euphoniumist crafting their own transcription is in providing opportunities to improve their performing abilities, and in crafting a more consummate musician. When transcribing works from one instrument or voice to another, the transcriber must accept that the work will not be entirely the same in the transcription as it was previously in the original composition. In some works, like Beethoven’s Cello Sonata No. 1, Op. 5 No.1, the solo cello material is characteristic of idiomatic writing of the euphonium and few alterations will need to be made. However, most works, including the first movement of Franz Schubert’s Piano Sonata No. 21 in B-flat Major, D. 960, and Johann Sebastian Bach’s Partita for Violin in B Minor, No.1, BWV 1002, numerous alterations will need to be made in order to make the works achievable to a euphoniumist of moderately advanced ability. There are a great number of works for which a transcription for the euphonium is not feasible. Some works are so uniquely and characteristically composed for the original instrument that a transcription for the euphonium would be absurd. It is the responsibility of the transcriber to select works suitable to transcribing for the euphonium and to keep the works’ musical integrity as intact as possible. This means that the transcriber should only make changes to the original work when necessary, and the changes made should be as imperceptible as possible. The body of this treatise was derived from books, periodicals, theses, analysis and study of the musical scores, and the personal experiences of the author in applying transcriptive techniques in practice and performances. This treatise focuses on techniques and principles utilized in adapting non-wind instrumental works into transcriptions performable by a solo euphoniumist of moderately advanced ability. In the first chapter, Ludwig van Beethoven’s Cello Sonata No.1, Op. 5, No. 1 will be utilized to describe techniques required to transcribe cello solos with piano accompaniment. The focus of the second chapter will be transcribing an unaccompanied euphonium solo from unaccompanied stringed instrument repertoire using Johann Sebastian Bach’s Partita for Violin, No.1, BWV 1002. Finally, the third chapter will focus on transcribing a solo piano work into a solo euphonium with piano accompaniment format using Franz Schubert’s Piano Sonata No. 21 in B-flat Major, D. 960. The octave designation system used in this treatise is that of the International Standards Organization. In this system, middle C is notated as C4, an octave higher than middle C is C5, and an octave lower than middle C is C3. Each octave begins with C and ends with B such that the B below C4 is B3.
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Date Issued: 2019
Identifier: 2019_Spring_McCollum_fsu_0071E_15057
Format: Thesis

Title: Modern Patriotism.
Creator: Merisier, Laurah Vanessa, VanWeelden, Kimberly D., Bugaj, Kasia, Fredrickson, William E., Florida State University, College of Music
Abstract/Description: This paper outlines the history of songs within the American patriotic song canon and their role within society and music education curricula in the public school systems of the past and present. A thorough examination of the functions of the text of patriotic songs includes praising American leaders and heroes, glorifying political ideologies and natural resources, reflecting cultural attitudes and concerns during specific eras and crises, describing military life and aspirations,...
Show moreThis paper outlines the history of songs within the American patriotic song canon and their role within society and music education curricula in the public school systems of the past and present. A thorough examination of the functions of the text of patriotic songs includes praising American leaders and heroes, glorifying political ideologies and natural resources, reflecting cultural attitudes and concerns during specific eras and crises, describing military life and aspirations, communicating loyalties, invoking religious imagery, and general rejoicing. Included is an analysis of each patriotic song, including The Star-Spangled Banner, and an examination of its tune, text, and performance practice of the specific circumstances of the time, culture, and environment in which it arose. The purpose of this study was to investigate the role of patriotic songs within the context of the United States of America’s history. Through examining the historical contexts of patriotic songs in the United States, this paper seeks to answer the following questions: 1. What role does music education curricula play in shaping American patriotism? 2. In what contexts and for what reasons have American patriotic songs been composed? 3. Is the Star-Spangled Banner the best song to represent an increasingly diverse United States of America? Keywords: PATRIOTIC SONGS, NATIONAL ANTHEM, THE STAR-SPANGLED BANNER, MUSIC EDUCATION
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Date Issued: 2019
Identifier: 2019_Spring_Merisier_fsu_0071N_15239
Format: Thesis

Title: The Star-Spangled Consciousness: Musical Theatre Anthems of Unity and the Performance of National Identity.
Creator: Gibbes, Allison B., Osborne, Elizabeth A., Rogers, Nancy, Dahl, Mary Karen, Thomas, Aaron C., Hecht, Stuart J. (Stuart Joel), Florida State University, College of Fine Arts,...
Show moreGibbes, Allison B., Osborne, Elizabeth A., Rogers, Nancy, Dahl, Mary Karen, Thomas, Aaron C., Hecht, Stuart J. (Stuart Joel), Florida State University, College of Fine Arts, Department of Theatre
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Abstract/Description: Musical theatre scholars agree that as popular culture, musical theatre has had a profound effect on the development of national identity in the United States. In particular, the genre reaches audiences both inside and outside the theatre through the dissemination of cast recordings, sheet music, and other media. In early incarnations of musical theatre such as the works of George Gershwin and George M. Cohan, musicals typically included overt nationalist anthems designed to inspire and unite...
Show moreMusical theatre scholars agree that as popular culture, musical theatre has had a profound effect on the development of national identity in the United States. In particular, the genre reaches audiences both inside and outside the theatre through the dissemination of cast recordings, sheet music, and other media. In early incarnations of musical theatre such as the works of George Gershwin and George M. Cohan, musicals typically included overt nationalist anthems designed to inspire and unite the audience in the name of America. With “Oklahoma,” the title song of Rodgers and Hammerstein’s Oklahoma! (1943), and the subsequent Golden Age of musical theatre, the convention of the anthem shifted to express nationalism through the lens of a community within the fictional world of the musical. These anthems serve as models for patriotic unity. In the decades following the Golden Age, some works of musical theatre challenged nationalism, and the anthems in these pieces reflect that sense of questioning. This project considers anthems of unity in musical theatre and the way they formulate identity through musical structures and conventions. I investigate four musical theatre anthems: “Oklahoma” from Oklahoma! (1943), “My Texas” from Giant (2012), “Southern Days” from The Scottsboro Boys (2010), and “Another National Anthem” from Assassins (1991). By analyzing the way that each anthem constructs group identity, I consider the way these constructions speak to national identity within both the musical and the historical context of the original production. Each anthem approaches national identity and nationalism in a different way by using and/or distorting musical conventions that hold cultural meaning in specific time periods. Additionally, I consider the way the anthem functions in conversation with the way the musical constructs history and popular memory, and how these formulations work together to create communities of insiders and outsiders through national identity and nationalism. I argue that each anthem operates dramaturgically, musically, and within a specific historical moment to address and reify or subvert constructions of mainstream national identity. This dissertation asks: what is the role of anthem-singing in US national identity? How does national identity create constructions of belonging and otherness? And how might we reconsider the way musical theatre as a genre is particularly effective site for conversations about the ramifications of othering.
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Date Issued: 2019
Identifier: 2019_Spring_Gibbes_fsu_0071E_15126
Format: Thesis

Title: The Music of Science: Environmentalist Data Sonifications, Interdisciplinary Art, and the Narrative of Climate Change.
Creator: Hilgren, Bailey, Eyerly, Sarah, Broyles, Michael, Chagnon, Jeffrey M., Von Glahn, Denise, Florida State University, College of Music
Abstract/Description: The current environmental crisis is due at least in part to a lack of effective science communication. Traditional methods of disseminating findings are important for continued progress but can be inaccessible to the public and rarely communicate the important emotional and cultural dimensions of environmental issues. Mitigation of the effects of climate change will not occur if a majority of people cannot understand the problem or do understand but fail to change their behaviors. There has...
Show moreThe current environmental crisis is due at least in part to a lack of effective science communication. Traditional methods of disseminating findings are important for continued progress but can be inaccessible to the public and rarely communicate the important emotional and cultural dimensions of environmental issues. Mitigation of the effects of climate change will not occur if a majority of people cannot understand the problem or do understand but fail to change their behaviors. There has been significant communications research into these issues—findings have suggested that communication techniques that can create a narrative, engage emotion, make the abstract more understandable, and use value frames to connect to an audience and encourage empathy will be most effective in encouraging behavioral change. The arts are capable of communicating in this fashion; sounding art in particular has a long history of engaging with politicized and emotional issues in ways that can ultimately provoke large-scale shifts in social convention. The arts and sciences each provide important responses to environmental problems. When used together, however, they have serious potential to create change. Data sonification, or the translation of data into sound, combines climate science and ecological art into a potentially powerful form of environmental activism. This thesis research examines the technique’s blend of art and science and its potential as effective environmentalist art through an exploration of three case studies: Lauren Oakes and Nik Sawe’s 2016 sonification of climate change impacts on Alaskan forests, Andrea Polli’s 2004 online sonification project Heat and the Heartbeat of the City, and the 2012 telematic multimedia opera Auksalaq by Matthew Burtner and Scott Deal. Data sonifications defy classification as either solely artistic or scientific—this disciplinary ambiguity can create tension—but it is exactly this disciplinary ambiguity that makes them useful as environmentalist tools. Sonifications appeal to emotions and logic and require creativity and evidence, powerful persuasive combinations in the face of environmental issues. They require scientists to consider the aesthetics behind the art, and composers to understand the science behind the data; in forcing us to acknowledge the importance of the other disciplinary perspective, they help us to question some of our disciplinary boundaries and effectively serve as a model for the interdisciplinary collaboration that is increasingly necessary as we navigate our changing world.
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Date Issued: 2019
Identifier: 2019_Spring_Hilgren_fsu_0071N_15127
Format: Thesis

Title: A Comparative Study of Piano Performance Programs at University-Level Institutions in China and the United States.
Creator: Jiang, Yuan, Dumlavwalla, Diana Teresa, Kalhous, David, VanWeelden, Kimberly D., Fredrickson, William E., Florida State University, College of Music
Abstract/Description: As we work and study in our increasingly globalized society, there is a growing trend of Chinese piano students choosing to pursue their higher education in the United States. Elite music institutions in America are also seeking and recruiting a large number of Chinese pianists. This trend raises questions regarding the similarities and differences between Chinese and American piano performance programs in university-level institutions. The purpose of this study was to promote a greater...
Show moreAs we work and study in our increasingly globalized society, there is a growing trend of Chinese piano students choosing to pursue their higher education in the United States. Elite music institutions in America are also seeking and recruiting a large number of Chinese pianists. This trend raises questions regarding the similarities and differences between Chinese and American piano performance programs in university-level institutions. The purpose of this study was to promote a greater understanding of Chinese and American piano performance programs in higher education through examining selected university-level institutions. To accomplish this goal, (1) the researcher collected data from the selected university-level institutions in both countries regarding their piano-related degree offerings, audition requirements, curriculum requirements, and core course offerings for the piano performance programs. These data were used to analyze and compare the structure and design of piano performance degree programs in both countries; (2) the researcher also conducted an online survey to gather information regarding current faculty members’ and students’ perceptions of their piano performance programs. Their perspectives shed light on why so many Chinese students continue their music education in the United States. A total of 20 university-level institutions (N = 20) were selected in the U.S. (n = 10) and China (n = 10) as the sample institutions in this study. Survey participants included the students who were currently enrolled in piano performance programs and faculty members who were currently teaching in the sample institutions in both countries. A total number of 34 student participants and 7 faculty participants in the U.S. along with 119 student participants and 11 faculty participants in China completed the questionnaires. Results indicated that while only one institution in China offers a doctoral degree, all the sample institutions in the U.S. offer doctoral degrees in piano performance. Institutions have similar audition requirements in both countries, but the American institutions have a broader review process for admission. Although both the Chinese and the U.S. institutions had a similar structure in their curricula, the balance of required credits in each area was noticeably different. Overall, American institutions focus more on the major area than Chinese institutions in both undergraduate and graduate programs. In addition, the structure of the core course offerings is also very similar. Applied lessons, piano literature, piano pedagogy, accompanying, and recitals are the core courses that commonly appear on the institutions’ curriculums in both countries. A large percentage of student participants in both countries indicated that their ideal career was being a faculty member in higher education. Although results indicated that overall, there is no significant differences between the students’ level of satisfaction of the core courses in their piano performance programs, students in the U.S. were significantly more satisfied with the applied lessons and the degree recital in their programs than the students in China. It is encouraging that not only students gave careful attention toward the applied lessons and performance opportunities in their studies, but also that a large percentage of the students believed they received excellent advice regarding practice strategies and artistry in their applied lessons in both countries. The statements made by faculty participants illustrate that the vast majority of them in both countries expressed positive attitudes regarding the piano performance programs in their universities. Faculty members in both countries believed that piano technical skills were difficult to establish and develop during the collegiate level education. Therefore, they recommended that prospective students must build a solid foundation and master the technical skills before college. Interestingly, faculty participants in the U.S. were more concerned about the graduation requirements in their piano performance programs while Chinese faculty participants cared more about the admission requirements in their programs. According to the comparative results of the research questions, the factors that attract Chinese students to study in the U.S. can be attributed to the following aspects: 1) students plan to seek the most advanced degree—doctoral degree in piano performance; 2) students may have less stress related to studying for standardized tests during the application process; 3) students may be able to complete the program and obtain the master’s degree in a shorter period of time; 4) the design of the programs/curriculums may allow students to receive more personal attention and more professional development; 5) students may become more independent and can receive better quality of applied lessons and degree recital preparation; and 6) they may gain more performance opportunities and receive a comprehensive view of the subject matter.
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Date Issued: 2019
Identifier: 2019_Spring_Jiang_fsu_0071E_15027
Format: Thesis

Title: Listening to Bi-Musical Blackness: Towards Courageous Affirmation of Black String Musicians in Predominantly White Institutions.
Creator: Davis, Danielle, Gunderson, Frank D., Bakan, Michael B., Bugaj, Kasia, Punter, Melanie, Florida State University, College of Music
Abstract/Description: This project investigates Black American string players’ experience of racism, bi-musicality, and multi-musicality in their musical and personal lives within the context of higher education. The project brings into focus the identities and experiences of Black string students leading to the development of nigrescence, racial contextualization, and code-switching in predominantly white institutions. I argue that the bicultural experiences of Black American string musicians at Florida State...
Show moreThis project investigates Black American string players’ experience of racism, bi-musicality, and multi-musicality in their musical and personal lives within the context of higher education. The project brings into focus the identities and experiences of Black string students leading to the development of nigrescence, racial contextualization, and code-switching in predominantly white institutions. I argue that the bicultural experiences of Black American string musicians at Florida State University generate a bi-musicality that is complicated by marginalization, isolation, and racism in college music programs. Using ethnographic fieldwork, bi-aural analysis, and interviews with students, this project gives voice to Black string musicians who may not have had the courage or awareness to recognize and address this phenomenon. I apply methodologies from music education, ethnomusicology and other disciplines using ethnography, archived materials, visual media, print, and web sources to help professors and students foster a broad sense of Black musical identity. I advocate for a pedagogy that constructs culturally affirming worlds of musical experience–e.g., Old Time, Indian (Hindustani and Carnatic), and Afro-Peruvian musics– for Black string musicians to navigate using their bi-musical Blackness.
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Date Issued: 2019
Identifier: 2019_Spring_Davis_fsu_0071N_15213
Format: Thesis

Title: The Soundscapes of Underprivileged Youth: A Study of Kidznotes After-School Music Program in Urban North Carolina.
Creator: Alfonso, Elisa Glen, Gunderson, Frank D., Jackson, Margaret R., Reynolds, John R., Florida State University, College of Music
Abstract/Description: Kidznotes is a non-profit organization that provides free after-school music education for underserved populations in urban North Carolina. Kidznotes bases its organizational model on El Sistema; a state-funded music education program started in Venezuela by economist and educator José Abreu in 1987. Kidznotes provides free instruction, a daily snack, instruments, and transportation, all funded by corporate sponsors, concerts performed by Kidznotes’ students, and Kidznotes fundraising events...
Show moreKidznotes is a non-profit organization that provides free after-school music education for underserved populations in urban North Carolina. Kidznotes bases its organizational model on El Sistema; a state-funded music education program started in Venezuela by economist and educator José Abreu in 1987. Kidznotes provides free instruction, a daily snack, instruments, and transportation, all funded by corporate sponsors, concerts performed by Kidznotes’ students, and Kidznotes fundraising events put on by corporate sponsors. As a former employee of the program, and through the fieldwork I conducted at Kidznotes’ Raleigh and Durham summer camps, I gained an immersion and acute awareness to the content and structure of Kidznotes’ soundscapes. The students of Kidznotes are predominately elementary-age, come from low-income neighborhoods in Raleigh and Durham, and attend either Title I or non-profit charter schools in the area. They come to Kidznotes three days during the school week for two hours after a 7-hour school day, and for two hours in the morning on Saturdays. The short time spent in the Kidznotes environment was just a glimpse of what their students experience daily with those that are intended to help them. I theorize that the distinctive aural space of Kidznotes allows for compartmentalization in the minds of underprivileged children, separating their everyday lives from their lives at Kidznotes so that they are given the mental space and sonic authority to assert themselves into the soundscape. This assertion, I propose, is a metaphorical way of challenging the convoluted soundscapes of the outside world, filled with overlapping and contradictory messages children hear that shape their self-perception. This study will then illuminate the ways in which intimacy and music-making as they present themselves within the sonic space of underprivileged youth, make programs like Kidznotes in the North Carolinian context potentially useful for helping minority and low-income children form a healthier sense of self.
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Date Issued: 2019
Identifier: 2019_Spring_Alfonso_fsu_0071N_15202
Format: Thesis

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

Title: The Case of "Big M" Musicology at Florida State University: A Historical and Ethnographic Study.
Creator: Clapper, Laura M., Eyerly, Sarah, Seaton, Douglass, Gunderson, Frank D., Florida State University, College of Music
Abstract/Description: The Florida State University musicology program comprises a community of like-minded individuals in both the faculty member and student cohorts. The umbrella concept of “Big M” Musicology is valued and central to creating identity and cohesion among FSU’s musicology community members. This thesis serves to understand the FSU musicology program’s history and how community members understand, define, and embody “Big M” Musicology based on their lived experiences in the program. This thesis...
Show moreThe Florida State University musicology program comprises a community of like-minded individuals in both the faculty member and student cohorts. The umbrella concept of “Big M” Musicology is valued and central to creating identity and cohesion among FSU’s musicology community members. This thesis serves to understand the FSU musicology program’s history and how community members understand, define, and embody “Big M” Musicology based on their lived experiences in the program. This thesis examines FSU’s musicology program through historical and ethnographic study. I first provide an institutional history of Florida State University’s musicology program by examining the institutional structures, administrative involvement, and the influence of faculty member research areas and relationships on the program’s development. I recount how the ideal of “Big M” Musicology was born out of the FSU School of Music’s desire for comprehensive programming through the establishment of an ethnomusicology program, the implementation of a terminal degree in musicology, and an emphasis on applied musicology and performance. I also argue that the collegiality among faculty members contributed to the program’s growth and to the musicology department’s shared “Big M” vision. In the subsequent chapters of this thesis, I analyze survey data that I collected from current students, alumni, and current and former faculty members affiliated with the program from the years 1988–2018 to understand individual community members’ experiences of “Big M” Musicology. First, I synthesize the definitions of “Big M” provided by FSU musicology affiliates, and I explore their perspectives on how this philosophy manifests in FSU’s program. I then analyze individual community members’ experiences in the program in order to reconcile the policy of “Big M” with its implementation and practice. I conclude by placing “Big M” Musicology in the context of contemporary trends in the field to demonstrate how the inclusivity inherent in this ideal might foreshadow a future path for musicology and its subdisciplines.
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Date Issued: 2019
Identifier: 2019_Spring_Clapper_fsu_0071N_15048
Format: Thesis

Title: On Un-Silencing Voices: Tarantism and the Gendered Heritage of Apulia.
Creator: Youngblood, Felicia K. (Felicia Kailey), Eyerly, Sarah, Caputi, Celia R., Bakan, Michael B., Gunderson, Frank D., Florida State University, College of Music
Abstract/Description: Derivatives of a thousand-year-old music and healing ritual from Italy’s Salentine peninsula, known as tarantism, are recognized in different forms and appear in various locations throughout the world. Tarantism was designed to heal women, known as tarantate, from spider-bite poisoning through the repetitive rhythms and sonorous melodies of pizzica music. This project seeks to understand the importance of the tarantate and their voices to the tarantism ritual and to the people of Apulia,...
Show moreDerivatives of a thousand-year-old music and healing ritual from Italy’s Salentine peninsula, known as tarantism, are recognized in different forms and appear in various locations throughout the world. Tarantism was designed to heal women, known as tarantate, from spider-bite poisoning through the repetitive rhythms and sonorous melodies of pizzica music. This project seeks to understand the importance of the tarantate and their voices to the tarantism ritual and to the people of Apulia, Italy. In previous scholarship, the voices of these women were often overlooked in favor of more tangible items, such as the ritual’s music instruments. In spite of this underrepresentation, my ethnographic and archival research reveals that the tarantate are valued as cornerstones of Apulian cultural heritage. In analyzing the efforts of the Club per l’UNESCO di Galatina to preserve tarantism through festivals and reenactments, I demonstrate how modern-day cultural sustainability efforts can be used to reclaim voices that are essential to local traditions yet traditionally underrepresented in scholarly literature. Documenting the importance of the tarantate and analyzing their roles in local heritage reclamation efforts requires an inherently multi-disciplinary lens. At the center of this study lies ethnographic research that catalogs the activities of the Club per l’UNESCO di Galatina and the perspectives of the Apulian people as local practices develop to preserve tarantism. A theoretical framework in gender studies, cultural heritage, and voice studies is necessary to problematize the role of the women at the center of the ritual. Knowledge of history, social systems, and religion are required to understand the setting and impetus for tarantism in Apulia. Finally, my background in musicology informs analysis of the ritual’s sound-based foundation. Research and analysis in each of these areas contributes to a holistic reinterpretation of how sonic cultural heritage can be sustained and how underrepresented voices can be understood in traditions around the globe.
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Date Issued: 2019
Identifier: 2019_Spring_Youngblood_fsu_0071E_15024
Format: Thesis

Title: Old Time Fiddling in Florida: Implications for Music Education.
Creator: Ivey, Aisha Suzanne, Madsen, Clifford K., Holzman, Bruce, Geringer, John M., Bugaj, Kasia, Darrow, Alice-Ann, Florida State University, College of Music
Abstract/Description: Florida has a rich history of traditional old time fiddling and the fiddle was the most popular musical instrument among early pioneers in Florida. Fiddlers were revered members of the community, often playing for social dances called frolics. Slaves that were brought from Africa mingled with settlers from Western Europe in the Southeastern United States, their different fiddle styles blending into a new genre of music that incorporated aspects of both cultures. Dances on plantations served...
Show moreFlorida has a rich history of traditional old time fiddling and the fiddle was the most popular musical instrument among early pioneers in Florida. Fiddlers were revered members of the community, often playing for social dances called frolics. Slaves that were brought from Africa mingled with settlers from Western Europe in the Southeastern United States, their different fiddle styles blending into a new genre of music that incorporated aspects of both cultures. Dances on plantations served as one of the few places where whites and African Americans socialized together. Fiddlers also played at home with their families, sharing music across generations. After the development of radio, musicians would often perform as part of live radio shows and record companies produced old time music recordings featuring fiddlers that influenced musicians near and far. Contests became popular after Henry Ford began promoting traditional dance and fiddling in the 1920s and 1930s and cities across Florida held contests or fiddlers conventions as part of community celebrations. The Future Farmers of America sponsored string bands which often included a fiddle player in the 1950s. The Florida Folk Festival has promoted traditional music and dance, featuring many fiddlers since its beginning in 1953. The Florida State Fiddlers Association holds the official state fiddle contest every year along with an annual convention that brings musicians together from all around the region. Further incorporation of traditional music in the curriculum could offer multiple advantages, including creating a more equitable learning experience for students.
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Date Issued: 2019
Identifier: 2019_Spring_Ivey_fsu_0071E_14989
Format: Thesis

Title: Musical Bridges to Inclusive Community: Promoting Neurodiversity Acceptance through Traditional Irish Music in Limerick, Ireland.
Creator: Carrico, Alexandria H. (Alexandria Heaton), Bakan, Michael B., Cripe, Juliann J. Woods, Eyerly, Sarah, Darrow, Alice-Ann, Florida State University, College of Music
Abstract/Description: This dissertation explores how the participatory and community-based practice of traditional Irish music, or trad, can provide a space for neurodivergent and neurotypical musicians to build relationships that challenge socially constructed notions of difference. Trad is a diverse set of genres that in many ways serves as a representation of Irish culture and heritage. Though multifaceted in its musical expression, at its heart this practice is a communal and participatory tradition. Nowhere...
Show moreThis dissertation explores how the participatory and community-based practice of traditional Irish music, or trad, can provide a space for neurodivergent and neurotypical musicians to build relationships that challenge socially constructed notions of difference. Trad is a diverse set of genres that in many ways serves as a representation of Irish culture and heritage. Though multifaceted in its musical expression, at its heart this practice is a communal and participatory tradition. Nowhere is this emphasis on communal musicking more present than in Irish music sessions, informal gatherings that take place mainly in pubs where musicians join together for an evening of music, dance, song, and good craic (fun). While some venues are more exclusive than others, sessions are community events, which welcome all people, regardless of age, musical background, or skill to participate, at least in theory. However, through my experience as a professional singer of traditional Irish music and bodhrán (Irish frame drum) player, I discovered that this culture of inclusivity did not extend to neurodivergent musicians. Though the community-based ethos of trad was conducive to neurodiverse musical engagement, few sessions included neurodivergent musicians, either in the United States or Ireland. In fact, there were no programs dedicated to teaching trad music to neurodivergent individuals, nor were there any outward efforts to involve them in session culture. This lacuna inspired this dissertation project, which provided an opportunity for neurodivergent adults to engage with neurotypical musicians from the community through traditional Irish music. Utilizing the neurodiversity paradigm, which views neurodivergence as a natural form of human diversity manifested through neurological heterogeneity, this project was established with the goal of breaking down stigma associated with disability and promoting neurodiversity acceptance through musical means. This research was conducted over the course of nine months in Limerick, Ireland. There I collaborated with the Brothers of Charity, Ireland’s largest disability service organization, and began my musical partnership with the Roselawn Rovers Return, a group of 14 young adults with a diverse range of neurodivergent identities, including Autism Spectrum Conditions (ASC), Unspecified Neurodevelopmental Disorder (UNDD), and Down Syndrome, the latter of which is often identified within the intersecting category of intellectual disability. The project was divided into two phases: the workshops and the sessions. During the first phase of the project, the Rovers and I held weekly musical workshops in which we learned traditional Irish songs, exercised agency through collaborative musical decision-making, and created opportunities for personal expression through the establishment of individual performances. In the second phase of the project, the Rovers and I joined together with Cruinniú, a group of neurotypical musicians from the Limerick community, to host two collaborative sessions. This dissertation explores this process, chronicling the personal growth demonstrated by the Rovers throughout the workshops and the extent to which the collaborative sessions allowed the Rovers and Cruinníu to bridge neurodiverse-neurotypical gaps and to overturn misconceptions that existed about people with disabilities in Limerick. Central to this dissertation are the thoughts, experiences, and narratives of my collaborators, which are explored throughout the dissertation. To my knowledge, this activist-oriented project is the first of its kind to provide opportunities for neurodivergent musicians to engage in traditional Irish music sessions. As a newly created program, this dissertation contributes to the growing number of applied ethnomusicology projects aimed at addressing social justice issues through on-the-ground initiatives. Due to its success, this project serves as a model for future programs designed to connect diverse communities through participatory music genres; and due to its shortcomings and limitations, it provides an opportunity to critically assess the efficacy of musical ventures designed to bridge the neurotypical-neurodiverse divide.
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Date Issued: 2018
Identifier: 2019_Spring_Carrico_fsu_0071E_15003
Format: Thesis

Title: World music curricula in Florida general music classrooms: identifying methods and materials for implementation.
Creator: Jackson, James Reginald
Date Issued: 2001
Identifier: 49378578, FSU_ML3798J332001
Format: Document (PDF)

Title: Enabling Intergration of Arabic Art Song into the Applied Voice Music Curriculum.
Creator: Qudourah, Feryal, Brister, Wanda, Gunderson, Frank D., Jackson, Margaret R., Chandler, Yuell, Florida State University, College of Music, College of Music
Abstract/Description: This treatise will discuss the need for essential information that will enable the integration of Arabic song and art song into the applied voice music curriculum. It will begin with a brief history of the cultural and religious understanding and viewpoints of the term "music," as well as sounds through recitation and poetry found in Islam. Middle Eastern singers such as Fairouz will be discussed for her use of western vocality, and Umm Kulthum for her political and religious influence...
Show moreThis treatise will discuss the need for essential information that will enable the integration of Arabic song and art song into the applied voice music curriculum. It will begin with a brief history of the cultural and religious understanding and viewpoints of the term "music," as well as sounds through recitation and poetry found in Islam. Middle Eastern singers such as Fairouz will be discussed for her use of western vocality, and Umm Kulthum for her political and religious influence throughout the Arab world. Composers of art song who have used translations of Arabic poetry will be presented along with examples of well-known artists that have incorporated Arabic lyrics to their songs, such as Shakira, Sting and Sarah Brightman among others. An interview with Lebanese composer, Iyad Kanaan will provide more insight on his compositional style and thoughts on Arabic Art Song. The score for Art songs in Arabic on poems by Said Akl Op.19 for soprano and piano will be provided as supplemental material at the end of this treatise. The second chosen work also provided, is Spanish composer Francisco Javier Jáuregui's art song entitled The Religion of Love with poetry by Ibn Arabi. Several other composers' works will be briefly discussed for students and voice teachers who wish to expand their knowledge of Arabic art song repertoire. There will be an online recording available on YouTube of my lecture recital with selected songs by Iyad Kanaan, Francisco Javier Jáuregui, and Fairouz and the Rahbani Brothers. A proposed IPA chart has been made in the final chapter for English speakers who wish to sing Arabic Art Song. Supplemental files at the end of this treatise include the following scores for use: Art songs in Arabic on poems by Said Akl Op.19 for soprano and piano by Iyad Kanaan, Qadmus by Iyad Kanaan, and The Religion of Love by Francisco Javier Jáuregui.
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Date Issued: 2018
Identifier: 2018_Fall_Qudourah_fsu_0071E_14904_Comp
Format: Set of related objects

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

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

Title: Philip Collins: The Career of a Distinguished Trumpet Performer and Pedagogue.
Creator: Kilgore, John R. (John Robert), Moore, Christopher, Kelly, Steven N., Drew, John Robert, Stebleton, Michelle, Florida State University, College of Music, College of Music
Abstract/Description: This treatise will detail the artistic career of world-renowned classical trumpeter Philip R. Collins (b. 1948). The aim is to provide a clear depiction of his artistic journey by describing his upbringing, education, professional career experiences and contributions as an educator. The numerous artistic contributions Collins made throughout his career are substantial and valuable to document for current and future generations of musicians. Over a timespan that covered four decades, Collins...
Show moreThis treatise will detail the artistic career of world-renowned classical trumpeter Philip R. Collins (b. 1948). The aim is to provide a clear depiction of his artistic journey by describing his upbringing, education, professional career experiences and contributions as an educator. The numerous artistic contributions Collins made throughout his career are substantial and valuable to document for current and future generations of musicians. Over a timespan that covered four decades, Collins served as Principal Trumpet of the Cincinnati Symphony Orchestra and Pops Orchestra. As a member of both orchestras, Collins amassed a substantial catalog of more than 100 professional recordings in a wide range of orchestral and pops genres. On several occasions, he soloed with the orchestras in both concerts and recordings. Prior to his appointment in Cincinnati, he was a member of the Cleveland Orchestra, National Arts Centre Orchestra and the Eastman Brass Quintet. His pedigree as a preeminent orchestral musician was guided and developed by world-renowned trumpet and brass educators and performers Melvin Broiles, William Vacchiano, Bernard Adelstein and Arnold Jacobs. In addition to a lengthy orchestral career, Collins is the Adjunct Associate Professor of Trumpet at the College-Conservatory of Music at the University of Cincinnati. His effectiveness as an educator has resulted in several of his students attaining professional orchestra, premiere military band, and collegiate teaching appointments. As an author and composer, he has published several trumpet books that present unique musical styles and approaches to trumpet practice and performance, and has published hymn arrangements for trumpet ensemble. Research for this treatise was done by conducting several e-mail interviews with Philip Collins. The information from these interviews provided a large foundation of original information for the treatise. In addition, several audio recordings were referenced to gain further insight into Collins' artistry. Further information was gathered through various internet sources, including newspaper clippings and journal articles. Finally, a survey was sent to former colleagues, students and friends of Collins with the purpose of providing further insight into his legacy. Philip Collins is one of the most successful orchestral trumpeters and teachers whose influence through preeminent musicianship and professionalism has provided a positive impact on countless aspiring musicians. His exceptional legacy can be heard through hundreds of professional classical and pops recordings, can be studied from his published materials, and is remembered by those who worked with him. Collins' significance to the trumpet and music communities is important to document and share.
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Date Issued: 2018
Identifier: 2018_Fall_Kilgore_fsu_0071E_14873
Format: Thesis

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

Title: Those Female Furies: Jacobite Scotswomen, Song, and Wartime Experience.
Creator: Bani, Rachel M. (Rachel Michele), Eyerly, Sarah, Brewer, Charles E., Seaton, Douglass, Florida State University, College of Music, College of Music
Abstract/Description: When Charles Edward Stuart landed on the shores of Scotland in 1745, he was greeted with ardent support from Jacobite men and women who supported the Stuart claim to the British throne. Women were particularly important supporters of Stuart. They provided money, hospitality, military support, and even acted as spies. While some women such as Jean Cameron and Anne Mackintosh actively mustered troops for the Stuart army, others such as Margaret Ogilvie and Margaret Murray accompanied their...
Show moreWhen Charles Edward Stuart landed on the shores of Scotland in 1745, he was greeted with ardent support from Jacobite men and women who supported the Stuart claim to the British throne. Women were particularly important supporters of Stuart. They provided money, hospitality, military support, and even acted as spies. While some women such as Jean Cameron and Anne Mackintosh actively mustered troops for the Stuart army, others such as Margaret Ogilvie and Margaret Murray accompanied their husbands during the entire military campaign. Despite Jacobite women’s high level of political and military involvement in the Jacobite Rising of 1745, scholarly writings have largely overlooked their significant contributions to the Cause, and theirwartime narratives have been largely dismissed. This project seeks to rectify the gender imbalance inherent in the Jacobite historical narrative through a focus on one artistic medium: song. This thesis examines the roles that women played throughout the 1745 Rising by focusing on musical lyrics composed both by and about Jacobite women. The lyrics composed by Jacobite women prior to the Jacobite army’s final defeat at the Battle of Culloden are shown to take on a politically aggressive stance uncharacteristic of typical women’s compositions for the time. Those composed directly after the Jacobite defeat turn inward toward personal expressions of grief and more characteristically traditional lyric content. In the decades following the failed Rising, Jacobite women’s musical contributions took on increasing levels of romanticization. While gender conventions of the period kept Jacobite women from engaging in combat throughout the 1745 campaign, these women turned to song composition as a means of supporting the Jacobite Cause. The importance of women to the Jacobite Cause can also be tracked through the number of songs written about them by both Jacobite, and Hanoverian propagandists. The two caricatures of Jacobite women that are most recognizable today, Flora MacDonald and Jenny Cameron, were popularized over the course of the Jacobite Rising and directly after, both to mythologize, and defame the Jacobite campaign. For her role in helping Charles Edward Stuart escape Scotland after the end of the failed Rising, Flora MacDonald was mythologized by Jacobite supporters. Many Scottish songwriters used her name as a means of garnering sympathy, and her narrative voice as a means of expressing grief. Supporters of the Hanoverian government also turned to the use of female figures in political propaganda surrounding the Jacobite Risings. Hanoverian songwriters took to defaming Jacobite women through propagandistic lyric, and focused their attention on one character in particular: Jenny Cameron. The character of Jenny Cameron was loosely based on a Jacobite woman named Jean Cameron, who mustered approximately three-hundred men to fight for the Stuart Cause. Her political exploits acted as the catalyst for the creation of the transgressive character Jenny Cameron. The anti-Jacobite songs written about Jenny Cameron attack her sexuality and political agency, while drawing from a repertoire of written and artistically-rendered propaganda depicting her as “mannish” and militaristic. The existence of female-centric political propaganda during this time, especially that aimed against Jacobites, proves just how important women were to the Stuart Cause. Had women not been providing a substantial amount of aid the Jacobites, the Hanoverian government would have felt much less compelled to undermine them by debasing their characters and threatening their physical well-being. As the songs written by and about Jacobite women prove, Scotswomen were active in the Jacobite Rising of 1745 from its very beginnings until its military conclusion on Culloden Battlefield. The women discussed in this thesis were important political and military actors who used their positions of authority to provide support for Charles Edward Stuart over the course of his campaign. Most importantly to this thesis, I wish to tell the stories of Jacobite women whose voices have previously been silenced. It is my hope that this project leads to further study of Jacobite women by scholars of all disciplines, as well as to an increased public awareness of women’s historical contributions to wartime efforts. Within this project, Jacobite women assert themselves as military leaders, poignant propagandists, grieving widows, and compassionate protectors, ultimately defying essentialization. With song as a uniting factor, this thesis draws Scotswomen together and asserts the importance of their voices to the Jacobite narrative.
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Date Issued: 2018
Identifier: 2018_Sp_Bani_fsu_0071N_14502
Format: Thesis

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

Title: Duende: Illuminating the Untranslatable.
Creator: Cobb, David W. (David Williams), Gunderson, Frank D., Bakan, Michael B., Boutin, Aimée, Florida State University, College of Music, College of Music
Abstract/Description: Duende has long been a fixture of the gitano lifescape in Andalusia, Spain, and is often invoked in relation to flamenco performance with such variance in meaning that it is difficult to attain an understanding of what duende really is, and more importantly, what it means to contemporary flamenco performers. The word is often portrayed in spiritual and poetic terms, which are evocative but imprecise in definition. This thesis seeks to construct an understanding of duende that is derived from...
Show moreDuende has long been a fixture of the gitano lifescape in Andalusia, Spain, and is often invoked in relation to flamenco performance with such variance in meaning that it is difficult to attain an understanding of what duende really is, and more importantly, what it means to contemporary flamenco performers. The word is often portrayed in spiritual and poetic terms, which are evocative but imprecise in definition. This thesis seeks to construct an understanding of duende that is derived from both the traditional gitano setting and the modern context of commercial performance, one that explains the phenomenon through the lenses of ethnomusicological theories of embodiment, the psychology of optimal experience (flow), and the neuroscience of musical experience. As a by-product of coming to an understanding of duende, I have constructed a theory of deep playing, which intersects with these phenomena. Deep playing privileges the experience of the performer, and describes a processual phenomenon with specific conditions and variables, with the key indicators expressed by Autonomic Nervous System arousal, and the climax demonstrated through a flood of chemical neurotransmitters, creating a feeling of transcendence.
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Date Issued: 2018
Identifier: 2018_Sp_Cobb_fsu_0071N_14572
Format: Thesis

Title: Behind the Red Curtain: Nationalism and Satie's Parade.
Creator: Duncan, Julian, Broyles, Michael, Eyerly, Sarah, Boutin, Aimée, Florida State University, College of Music, College of Music
Abstract/Description: This thesis analyzes Jean Cocteau’s (1889–1963), Erik Satie’s (1866–1925), and Pablo Picasso’s (1881–1973) ballet Parade in the context of wartime nationalism. During the war, the dominant aesthetic was defined by traditionalism and Classicism. This aesthetic was rooted in the nation and opposed to the external threat of German culture and the internal threat of subversive and revolutionary art. Drawing on the writings of Guillaume Apollinaire as well as on Cubism and Futurism, Cocteau sought...
Show moreThis thesis analyzes Jean Cocteau’s (1889–1963), Erik Satie’s (1866–1925), and Pablo Picasso’s (1881–1973) ballet Parade in the context of wartime nationalism. During the war, the dominant aesthetic was defined by traditionalism and Classicism. This aesthetic was rooted in the nation and opposed to the external threat of German culture and the internal threat of subversive and revolutionary art. Drawing on the writings of Guillaume Apollinaire as well as on Cubism and Futurism, Cocteau sought to invert the dominant aesthetic, recasting modernism as a Classicism for its own time. Thus, for Cocteau, Parade’s avant-garde nature advanced nationalism and the war effort. For Satie and Picasso, the ballet’s provocative aspects were anti-nationalist and subversive. Satie’s aesthetic was rooted in the popular music of Parisian cabarets. Seeing a correlation between progressive politics and progressive art, he incorporated the techniques of the avant-garde and irreverently parodied wartime Classicism in Parade. In keeping with his self-image as a revolutionary, Picasso similarly parodied the dominant Classical aesthetic. His Rideau rouge suggests the wartime Classical aesthetic, but undermines it by eschewing perspective and proportion. Additionally Picasso incorporates primitivist techniques, recalling the opposition of the French Left to colonialism. Satie’s and Picasso’s Left-wing convictions undermined Cocteau’s vision, such that Parade retained a subversive character, and their opposition to militarism and nationalism left Parade open to the charge that it was an assault on the cultural and political status quo. As a result, Parade both supports and undermines wartime nationalism.
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Date Issued: 2018
Identifier: 2018_Sp_Duncan_fsu_0071N_14585
Format: Thesis

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

Title: Jazz, Desire, Racial Difference, and Twentieth Century Gender Ideology in Arron Copland's Grohg: A Ballet in One Act.
Creator: Ruechel, Nate J., Broyles, Michael, Atkins, Jennifer, Brewer, Charles E., Von Glahn, Denise, Florida State University, College of Music, College of Music
Abstract/Description: This project investigates the explicit jazz idioms in Aaron Copland’s first orchestral composition: Grohg a Ballet in One Act. Composed between 1922-1925, and later revised in 1932, Grohg was never published in Copland’s lifetime but it maintains a significant positon in the composer’s catalog. Material from the ballet is directly quoted in many of Copland’s early compositions such as Cortege Macabre (1923), the Dance Symphony (1929), and in sections of his second ballet, Hear Ye, Hear Ye! ...
Show moreThis project investigates the explicit jazz idioms in Aaron Copland’s first orchestral composition: Grohg a Ballet in One Act. Composed between 1922-1925, and later revised in 1932, Grohg was never published in Copland’s lifetime but it maintains a significant positon in the composer’s catalog. Material from the ballet is directly quoted in many of Copland’s early compositions such as Cortege Macabre (1923), the Dance Symphony (1929), and in sections of his second ballet, Hear Ye, Hear Ye! (1932). Beyond these uses, Copland employed the ballet’s third movement, the “Dance of the Opium Eater,” to illustrate the lectures on symphonic jazz he gave in the 1920s. The structural qualities of this movement’s jazz idioms served as the model for Copland’s theories on jazz style and technique first expressed in the 1927, article “Jazz Structures and Influence,” and later in a lecture he delivered in 1940 titled “The Influence of Jazz on Modern Music.” Drawing on historical and musicological evidence housed in the Library of Congress’ Aaron Copland Collection, I interpret the “Dance of the Opium Eater’s” jazz techniques as an example of racialized and sexualized musical discourse. By interpolating what he understood as a feminine vernacular tradition into the precepts of modernist composition, I argue Copland’s jazz-classical fusions approximate an early twentieth century theory of queer subjectivity. Ultimately, this thesis will demonstrate how Grohg’s jazz idioms articulate an aesthetic model for coalitional unity that would continue to inform Copland’s approach to jazz throughout his career.
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Date Issued: 2018
Identifier: 2018_Sp_Ruechel_fsu_0071N_14568
Format: Thesis

Theses and Dissertations (1350)	+ -
Digitized Theses and Dissertations (380)	+ -
Music Scores (360)	+ -
Confederate Sheet Music Collection (359)	+ -
Undergraduate Honors Theses (19)	+ -

Historical Undergraduate Honors Theses (6)	+ -
2015 (2)	+ -
FSU Photograph Collection (1)	+ -
John MacKay Shaw Childhood in Poetry Collection (1)	+ -
The Poetry of Sacred Song (1)	+ -

Instruction and study (62)	+ -
Education, Music (46)	+ -
History (27)	+ -
Study and teaching (27)	+ -
Performing arts (22)	+ -

Flags (18)	+ -
Biography (12)	+ -
Soldiers (11)	+ -
Education (10)	+ -
Dance (9)	+ -
Theater (8)	+ -
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