The purpose of this study was to determine the effects of silence, story reading, acapella singing, and guitar playing on inducing sleep in preschool-aged children within the first 15 minutes of naptime. Thirty-five two- and four-year old children from five classrooms at two facilities participated in the study. Each classroom scheduled afternoon naptime following lunch prior to and during this study. Participants in all five classrooms had scheduled naptimes for three days under each of the following four conditions: (1) silence, (2) story reading, (3) acapella singing, and (4) guitar playing. An observation form designed for data collection was used by five observers to record the number of children who had: (1) eyes open and talking, (2) eyes open and moving, (3) eyes open and not moving, (4) eyes closed and talking, (5) eyes closed and moving, (6) eyes closed and not moving at 15-second intervals during the first fifteen minutes of naptime. Data recorded in the "eyes closed and not moving" section of the observation form was used to determine the number of children asleep under each condition after 15 minutes of naptime. Results revealed no significant difference in the number of children asleep under the four naptime conditions. The rank order of the most to fewest number of children asleep under the four conditions was: story reading, silence, acapella singing and guitar playing. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Fall Semester 2015. / November 13, 2015. / Children, Guitar, Music, Reading, Singing, Sleep / Includes bibliographical references. / Alice-Ann Darrow, Professor Directing Thesis; Jayne Standley, Committee Member; Dianne Gregory, Committee Member.

The purpose of this treatise is to compare and contrast the spectral analysis of heldentenor and non-heldentenor voices in an effort to determine if a discernible acoustic difference exists between them. High quality commercial recordings of tenors will be sampled. Recordings will be selected where tenors sing a sustained /a/ vowel on the pitches F4, A4 and B-flat4. These pitches will be chosen based on the following criteria. F4 is in chest register, or mostly H2 dominant. A4 is in the secondo passaggio for both groups of tenors and is in head voice. Finally, B-flat4 is in the second passaggio for the non-heldentenor group and is in the terzo passaggio for the heldentenor group. The vowel /a/ will be isolated because it is easy to identify vowel purity on recordings and it provides a clear look at the vocal registration events. Once determined, each excerpt will be opened using the Audacity software, where the desired section will be isolated. The excerpt will then be converted and saved as a .wav file in order to facilitate analysis by the VoceVista software. During this analysis, special attention will be given to the differential relationships between the dominant harmonics H2, H3, SF (singer's formant) and the fundamental f0 or H1. Also included in this treatise, will be a brief description of each of Richard Wagner's heldentenor roles as well as a discussion of the singers that performed them. Special attention will be given to role length and tessitura. Additionally, the German fach system will be discussed where every role from Tristan to Siegfried will be addressed. / A Treatise submitted to the College of Music in partial fulfillment of the Doctor of Music. / Fall Semester 2015. / October 16, 2015. / Heldentenor, Spectral / Includes bibliographical references. / David Okerlund, Professor Directing Treatise; Don Gibson, University Representative; Chuck Chandler, Committee Member; Douglas Fisher, Committee Member.

Much of the music of Sergey Prokofiev (1891-1953) cannot be categorized as either tonal or atonal--elements of both compositional approaches are often evident. While systems of analysis for clearly tonal and atonal works are in general use by music theorists, the music of Prokofiev frequently cannot be suitably analyzed using these techniques alone. / Russian theorist Boleslav Yavorsky (1877-1942) developed a theory of music that includes both rhythmic and pitch-based aspects and pursues tonally-based phenomena in a unique way. In 1931 Yavorsky's theories were compiled by his student, Sergey Protopopov, into a text entitled The Elements of the Structure of Musical Speech and in 1978 it was translated into English by Gordon D. McQuere. In this text, Yavorsky's analytical techniques are applied to selected pieces (none by Prokofiev), but the simultaneous inclusion of both rhythmic and pitch-based elements results in a rather general description of the music. His theories, however, provide for the development of a more detailed analytical approach. / In this dissertation, greater attention to compositional detail has been accomplished by separating the rhythmic and pitch-based elements of Yavorsky's theories in order to more fully develop the latter. Three Prokofiev Visions Fugitives op. 17, nos, 5, 10, and 13, and one Sarcasm op. 22, no. 3, are analyzed by applying Yavorsky's systems, modes, and adaptations of other pitch-based aspects of his theories. / Corollaries to Yavorsky's theories based upon his principles are developed and explained. Most notable of these is a theory to incorporate "excluded tones" (tones not included in the systems pertaining to the apparent mode of a piece) into the modal hierarchy. Some of the pieces analyzed include reductions and the concept of the prolongation of tones using Yavorsky's theories as a basis is discussed. / Source: Dissertation Abstracts International, Volume: 54-04, Section: A, page: 1146. / Major Professor: Jane Piper Clendinning. / Thesis (Ph.D.)--The Florida State University, 1993.

Triptych for Wind Ensemble is a three movement work for an orchestral woodwind and brass section with tympani and four percussionists. The three movements of this work are each related through certain musical gestures. These gestures are not presented clearly enough to be considered as recurring themes, but the fact that each movement incorporates similar musical ideas while establishing entirely different moods marks this work as being similar to a triptych, in which three different yet related scenes may be depicted. / The first movement is a majestic, fanfare-like movement. While there are moments in this movement which are relatively calm, its main impression is one of power and force. The entire movement is built from its initial rhythmic motive, which is expanded and altered to form larger musical formations such as the percussion ostinati which gain prominence as this movement progresses. By the movement's end, this motive has clearly inhabited every aspect of the musical material. / The second movement is a sogetto cavato upon the name "Sube," which is represented by the pitches E-flat, C, B-flat, and E-natural (Es, Ut, B, E). This movement has a very light, playful character, very much like a traditional scherzo movement. As the movement develops, the "Sube" motive becomes more prominent. / The final movement is of a mysterious nature. Instead of bringing the work to a rousing (and, possibly, more ordinary) conclusion, this movement ends the triptych with an ethereal feeling. Much of the final movement is written without meter signatures, thus lending to it an air of suspended time. Isolated instrumental solos and extended instrumental techniques (especially by the percussionists) bring instrumental color to the forefront. As the movement progresses, a chorale-like idea emerges in the brass instruments. This chorale texture engages in an antiphonal alternation with the more mysterious, percussion-influenced music before bringing this movement to a climax. After the climax, the music again turns back to its earlier, ethereal nature and dissolves into nothingness. / Source: Dissertation Abstracts International, Volume: 54-02, Section: A, page: 0367. / Major Professor: Ladislav Kubik. / Thesis (D.Mus.)--The Florida State University, 1993.

Felix Mendelssohn's works for solo piano and orchestra are the A-Minor Concerto (1822), the Capriccio brillant, op. 22 (1831-32), the Piano Concerto in G Minor, op. 25 (1831), the Rondo brillant, op. 29 (1833-34), the Piano Concerto in D Minor, op. 40 (1837), and the Serenade and Allegro giojoso, op. 43 (1838). Almost all were composed specifically for Mendelssohn's own performances, and only the Capriccio brillant originated as a solo piano work. Manuscript evidence and contemporary sources suggest that the versions of the G-Minor Concerto, the D-Minor Concerto, and the Serenade and Allegro giojoso which Mendelssohn first performed differed considerably from the eventual published pieces. The autograph sources reveal that Mendelssohn generally had a clear grasp of his thematic material fairly early in the compositional process and worked to link his ideas and to develop them, integrating them into transitional passages and into the piano solo part. The orchestrations for the mature concertos, and for the Allegro of the Serenade and Allegro giojoso, contain no piano solo, which allowed more revision to the piano part. Mendelssohn revised many of these works after they were supposedly finished, even after a piece was sent to the publisher. In spite of Mendelssohn's obsessive revisions to his solo parts his compositional concerns were largely unrelated to the prevalent ideals of virtuosic piano writing. The Opus 25 orchestral score shows the creation of the work's cyclical structure and the integration of thematic material into the piece. The numerous autograph sources of the D-Minor Concerto reveal an unsurpassed seriousness of purpose. / Source: Dissertation Abstracts International, Volume: 54-02, Section: A, page: 0368. / Major Professor: Douglass Seaton. / Thesis (Ph.D.)--The Florida State University, 1993.

Symphony No. 1 is written in four movements as a tribute to the mystery of nature. The movements are arranged in the following scheme: (I) Air, (II) Water, (III) Earth, (IV) Fire. / The first movement is introduced by an adagio and followed with an allegro illustrating the freedom of air. The second movement is written in ternary form. A nine-measure 'cello theme provides the material for this contrapuntal movement. The third movement, melancholy in character, narrates the downfall of the earth. The fourth movement is a fast Rondo with a fiery theme. / The musical ideas of Symphony No. 1 are largely derived from the following tone-row: C B F B$\sp\flat$ D$\sp\flat$ A$\sp\flat$ D E A G F$\sp\sharp$ D$\sp\sharp$. The duration of this composition is approximately twenty-eight minutes. / Source: Dissertation Abstracts International, Volume: 54-02, Section: A, page: 0369. / Major Professor: Roy Johnson. / Thesis (D.Mus.)--The Florida State University, 1993.

This treatise was written in an effort to increase awareness among violinists of the role and importance of violin schools in present-day performance and pedagogy. Over time, the meaning and relevance of the term "school" (as it applies to violin playing and teaching) has become increasingly ambiguous and debatable. The purpose of this study is two-fold: 1) to determine the extent to which schools continue to affect prominent violin teachers/performers in the United States today, and 2) to give an account of available literature addressing the various schools of violin playing. In order to enhance understanding of the current role that the various schools assume in violin pedagogy, opinions from current and highly respected teachers/performers were gathered in the form of telephone interviews and written responses. Their individual responses comprise Chapter One. Chapter Two summarizes their responses in more general terms. A report of relevant literature (Chapter Three) includes information which will allow readers to educate themselves about the different violin schools and prominent influences on violin pedagogy. A series of tables (Chapter Four) provides a useful reference to many of the more prominent teacher-student relationships, the relationships of those teachers to the schools where they were active, and some of the most significant treatises on violin playing. It is apparent from the interviews that current perspectives and opinions pertaining to the influence of schools vary quite widely, even among renowned artists and teachers. However, one may develop a discriminating sense of the importance of various schools in the history of violin playing and teaching by studying the interviews and the sources relevant to this topic. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Degree Awarded: Fall Semester, 2005. / Date of Defense: October 11, 2005. / Interview, Questionnaire, Pedagogy, Treatise, Chart / Includes bibliographical references. / Eliot Chapo, Professor Directing Treatise; Carolyn Ann Bridger, Outside Committee Member; Beth Newdome, Committee Member; Melanie Punter, Committee Member.

The dissertation is a three-movement concerto for two pianos and large orchestra. Instrumentation includes the following: two flutes, alto flute, two oboes, two clarinets, bass clarinet, two bassoons, four horns, four trumpets, four trombones, tuba, timpani, xylophone, vibraphone, suspended cymbal, triangle, castanets, slapstick, wood block, temple blocks, snare drum, bass drum, harp and strings. / This eclectic work is, by design, boldly consonant. Lyrical melodies and harmonies rich in color and function are motivated by highly syncopated rhythms. Strong dissonances are frequent but seldom occur without a clear tonal reference. / The first and longest of the three movements follows the formal scheme of a Sonata-allegro with double exposition but has a re-positioning of the cadenza. / The second movement follows the structure of a large ternary design. In stark contrast to the outside movements, the second movement is more coloristic with the use of harp, muted strings, harmonics, trills, and solo treatments of the alto flute and bass clarinet. / The final movement is a spirited Allegro in rondo form. The use of changing meters transforms an otherwise simple melodic gesture into a highly active, but easily recognizable rondo theme. / Duration for the three movements is approximately 25 minutes. / Source: Dissertation Abstracts International, Volume: 45-04, Section: A, page: 0981. / Thesis (D.Mus.)--The Florida State University, 1984.

Jean le Rond d'Alembert's (1717-1783) treatise on music theory entitled (')Elemens de musique was a popular, concise summary of Jean-Philippe Rameau's (1683-1764) theories. It appeared in two editions, 1752 and 1762, and six printings. Between the two editions, Rameau and d'Alembert experienced differences of ideas brought on by Rameau's criticism of the music articles (several by d'Alembert) in the Encyclopedie. The 1762 edition was chosen as the basis for this study since it incorporates some of d'Alembert's newer theoretical ideas. An English translation by Thomas Blacklock (1721-1791) of this 1762 (')Elemens appeared as part of the "Music" article in Encyclopaedia Britannica, second edition (1784). Seven other encyclopaedias printed the Elements in part or in full. On examination of the first translation, archaisms of language, numerous errors, and the omission of d'Alembert's "Response to Rameau" reveal the need for a modern, accurate, and complete translation. The new translation is annotated by the present writer with d'Alembert's sources from Rameau's Traite, Nouveau systeme, Generation harmonique, Demonstration, Nouvelles reflexions . . . sur sa Demonstration, and Code. The commentary is divided into three portions: (1) the historical context of (')Elemens with a short biographical sketch of d'Alembert and an outline of d'Alembert and Rameau's professional relationship; (2) the two theorists' differences and similarities in theoretical concepts; four parties--Esteve, Tartini, the Encyclopedists, and Bethizy--besides Rameau may have contributed to changes between the two editions; and (3) a discussion of Rameau's principles "clarified, developed, and simplified" by d'Alembert. The majority of (')Elemens is a fairly successful summary of Rameau's theories despite d'Alembert's lack of knowledge of musical practice. D'Alembert does exclude Rameau's use of numbers and of string multiples to explain musical phenomena. He develops a common partials principle to justify or reject harmonic movement and chord formation. In conclusion, d'Alembert selects, tempers, and develops Rameau's ideas. / Source: Dissertation Abstracts International, Volume: 45-05, Section: A, page: 1234. / Thesis (Ph.D.)--The Florida State University, 1984.

The central purpose of this study was to provide empirical data to support or reject the aural significance of Forte's pitch-class set relations of equivalence, Z-related pairs, and similarity. After demonstrating the central role of these relations in forte's analytical system, a literature survey provided comments concerning the relations and outlined the similarity function of Charles Lord which was included in this study. / For each of a series of 39 experimental items, two pairs of harmonically presented tetrachords, related by a measure defined by one or both of the theoretical systems involved, were constructed. A given chord was presented alternately with two different chords with one pair consistently representing a higher relation. Subjects were asked to choose "which pair sounds more alike." Special characteristics of the items included: (a) emphasis on interval-class content, (b) omission of traditional structures, (c) control of contrapuntal connections between the chords, and (d) control for random presentation. / Seven PLATO('(REGTM)) IV terminals, equipped with Gooch Synthetic Woodwind digital music synthesizers, presented the experiment to the subjects. Special features of the computer program written for this study included: (a) controlled access, (b) touch input, and (c) visual reinforcement of the aural presentation of the items. During 3 months of availability, 215 subjects began the experiment; 198 completed it. / The sample (N = 198) was divided into groups determined by questions regarding background and education. Chi-square was calculated for 6 comparisons of the 39 items to determine significant differences in the manner of response. H(,o) (which stated the proportion of responses in accord with the theories would be equal for the groups compared) was not rejected for any comparison (in each case, p > .001). To determine items with significant levels of response, 99.9% confidence intervals were calculated for the proportion of responses in accord with the theories. H(,o) (p = .5) was rejected for 5 items, 3 of which were in accord with the theories. After concluding that harmonically presented tetrachords, constructed to emphasize interval-class content, do not present degrees of aural similitude that correlate to the degrees of relatedness defined by the theories examined, suggestions were provided for further study. / Source: Dissertation Abstracts International, Volume: 44-11, Section: A, page: 3199. / Thesis (Ph.D.)--The Florida State University, 1983.