The LASSO computer-based tutorial in sixteenth century counterpoint is a learning environment which simulates the role of the teacher in a one-to-one situation. It has been used experimentally at the Florida State University School of Music as an aid in teaching sixteenth century counterpoint. / The PLATO interactive graphics computer system was chosen as the best available to support the software. / LASSO "understands" 104 rules of counterpoint gleaned from a number of texts. Some of the rules are modified as the student progresses through the seven graded categories of exercises. The help sequences and the computer-generated "remarks" about student exercises were designed to make it obvious to students whether and how their exercises are at variance with sixteenth century style. / Part of the value of transforming into a computer program the skills and knowledge involved in teaching sixteenth century counterpoint stems from the fact that the computer imposes a discipline on the software designer which is not necessarily imposed on a textbook author: the program by which the computer evaluates student exercises for conformity with the style must be able to respond correctly regardless of student input. / In order to generate information which was not available from secondary sources, thirty sixteenth century compositions were analyzed by the computer. These compositions were assumed to be exemplary. / Part I of the dissertation describes the operation of the LASSO software; Part II is divided into 104 chapters, each of which describes a rule of counterpoint which LASSO "understands." The appendixes consist of detailed computer output (LASSO's "remarks") about the thirty sixteenth century compositions. / Source: Dissertation Abstracts International, Volume: 44-11, Section: A, page: 3201. / Thesis (Ph.D.)--The Florida State University, 1983.

The purpose of the study was to examine the effects of differential accompaniment and register conditions on string instrumentalists' intonational performance of scalar passages. Additional aspects of the study investigated the effects of directionality of performed scalar passages and differences in intonational performance among instrument types. / Forty-eight string instrumentalisits associated with The Florida State University were randomly selected as subjects: twelve each of violinists, violists, cellists, and double bassists. Average playing experience on the performance instrument was 10.2 years. All subjects were observed in all performance conditions. Each subject performed whole-tone tetrachords ascendingly and descendingly in the instruments' lower and upper registers. All performances were accompanied by pre-recorded computer-generated tones that formed four harmonic interval types with performance tones: (a) unisons, (b) thirds, major and minor, (c) two octaves, and (d) two octaves plus thirds (compound thirds). Performance tones were tape recorded and analyzed according to cents sharp or flat relative to equal temperament. / Results indicated that upper register performances with accompaniment below were significantly sharper (p < .05) than lower register performances with accompaniment above which were also sharp. Performances accompanied by unisons were significantly more accurate (p < .01) relative to equal temperament than those accompanied by compound thirds and simple thirds, but were not significantly different from those accompanied by two octaves. Performances accompanied by two octaves, compound, and simple thirds were not significantly different from one another. Descending tetrachords were performed significantly sharper (p < .01) than ascending tetrachords which were also sharp. Violinists evidenced the least overall deviation followed in order by violists, cellists and bassists. Violinists, violists, and cellists did not differ significantly from one another, but bassists' intonational deviation was significantly greater (p < .01) than that of the other instrumental groups. Intonation disparities among instrument groups were greatest in the upper registers. / Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2688. / Thesis (Ph.D.)--The Florida State University, 1984.

As a composer, performer, and lecturer, Leonard Bernstein has long been a proponent of tonal music. This dissertation investigates tonal practice and style in a body of Bernstein's music with particular emphasis on the role of tonality in musical unification. Consideration is also given to other factors which are related to tonality, in particular, scales, chords, and harmonic progressions. / The six compositions studied in this dissertation form a representative cross section of Bernstein's music, both stylistically and chronologically. They are: I Hate Music!, Prelude, Fugue and Riffs, Five Anniversaries, On the Waterfront: Symphonic Suite, Chichester Psalms, and Mass. / A number of analytical systems have been drawn upon in this study, so it does not reflect one particular standardized approach. Terms and concepts have been appropriated from various sources as necessary for a better understanding of the music. / This study shows that Bernstein makes use of many techniques commonly associated with the twentieth century, including polytonality, planing, non-tertian harmony, and modality. The works studied are all clearly tonal, although there are frequent passages where the tonal implications are obscured by chromaticism or polytonality. Thus, while his compositions are conceived in tonality, Bernstein as a twentieth century composer is not limited to traditional tonal concepts and techniques. / In the works studied, tonality appears to be strongest as a factor for musical unification at the surface and immediate sub-surface levels. There is little indication of large-scale tonal unification. It is concluded that Bernstein's use of tonality in organizing small scale musical units broadens the accessibility of his music to include musicians and non-musicians alike. / Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2690. / Thesis (Ph.D.)--The Florida State University, 1984.

Collocation is a composition for orchestra comprised of the following instruments; two flutes, two oboes, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in B-flat, two tenor trombones, two percussionists, violins, violas, violoncellos, and contrabasses. / The form of the work is that of a modified arch and may be demonstrated by the following capital letters: A B C D C B D A. Collocation is approximately twenty minutes in duration. / Source: Dissertation Abstracts International, Volume: 45-04, Section: A, page: 1065. / Thesis (D.Mus.)--The Florida State University, 1984.

This study traced the history of the Greater Miami Opera, examining the various factors which contributed to the Opera's growth and development. Beginning the 1941 - 1942 season with a $1200 budget and a single performance of I Pagliacci, the Greater Miami Opera developed into an artistic institution with an annual budget that approaches $3.5 million. On a fiscal basis, this budget places the Greater Miami Opera among the leading companies in the United States. / After a study of related literature, it was determined that particular attention should be given to the environmental and cultural conditions in Miami prior to the founding of the Opera. This study revealed two definite stages of development: (1) the period from 1941 through 1972, under the leadership of Dr. Arturo di Filippi, and (2) the period from late 1973 through the present, under the management of Robert Herman. In addition to artistic history, the activities of the Greater Miami Opera's educational programs, financial benefactors and support groups were summarized. / The following conclusions were drawn from the research and organization of the study: Although di Filippi's charismatic, mercurial personality differed greatly from Herman's businesslike demeanor, both leadership styles were appropriate to the respective stages of the organization's development. Miami's continual use of the "star system," as opposed to a repertory ensemble has ensured financial support from a broad range of individuals. The Greater Miami Opera's ability to create a constant supply of newsworthy and human-interest articles for the print media has reinforced the organization's reputation as the outstanding cultural institution in both the Miami area and the state of Florida. Finally, and of equal importance, is General Manager Robert Herman's emphasis on the visual aspects of operatic production. His tenure has been marked by an improved balance in production values by placing scenery, original settings, costumes, lighting and stage direction on a basis equal to the musical values. These procedures have enhanced the stature of the organization, both nationally and internationally. Given the Greater Miami Opera's record of program development, all indicators would appear to suggest grounds for a rich and optimistic future. / Source: Dissertation Abstracts International, Volume: 45-04, Section: A, page: 0980. / Thesis (Ph.D.)--The Florida State University, 1984.

Within the last several decades, the concept of tonic-dominant polarity as the essence of the Classical style has emerged as an intriguing topic for studies by musical theorists and musicologists alike. The potential of the subdominant to function as an antidominant, or the tonic-subdominant relation to function as the antithesis of tonic-dominant polarity, has been recognized by scholars for centuries. Therefore, the primary topic of investigation in this study is the manner in which these two polar forces coexist in selected sonata-form movements of Ludwig van Beethoven and Franz Schubert. / Beethoven and Schubert, although contemporaries and both inhabitants of Vienna, differed greatly in their structural use of the subdominant. Comparative analysis shows that, with respect to the use of subdominant regions as secondary tonal areas in sonata-form movements, Beethoven retains, enforces, and expands the Classical concept of tonic-dominant polarity. In contrast, Schubert occasionally employs the subdominant to weaken tonic-dominant polarity, and therefore breaks with the Classical tradition. / Source: Dissertation Abstracts International, Volume: 43-08, Section: A, page: 2487. / Thesis (Ph.D.)--The Florida State University, 1982.

This paper presents a performer's analysis of the solo guitar work In The Woods (1995) by Toru Takemitsu, it provides insight into Takemitsu's compositional style and his views on music, and serves as a performance guide to aid guitarists in the interpretation and performance of his guitar works. I examine In the Woods from three perspectives: analytical, performance, and aesthetic. The analysis includes a detailed assessment of form, phrase structure, melodic structure, rhythmic motives, and all materials relative to the construction of each movement. Analytical comments are directly connected to their applications in the performance of each movement, and include technical considerations such as fingerings and articulations where applicable. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Degree Awarded: Summer Semester, 2008. / Date of Defense: April 24, 2008. / Guitar / Includes bibliographical references. / Jane Piper Clendinning, Professor Directing Treatise; Denise Von Glahn, Outside Committee Member; Bruce Holzman, Committee Member; Melanie Punter, Committee Member.

James Quitman Mulholland, composer, is Professor of Music at Butler University in Indianapolis, Indiana. He has received commissions from children's choirs, middle schools, high schools, universities, professional ensembles, national honor choirs, as well as the American Choral Directors Association and the Music Educators National Conference. His compositions have been chosen as required repertoire by over forty states and his works have been performed at the last ten national conventions of the ACDA. He accepts approximately eight to twelve commissions a year and has received commissions and performances in Canada, Australia, New Zealand and throughout Europe. The purpose of this study is three-fold: 1) to provide an additional scholarly resource solely devoted to the contributions of James Mulholland, a widely published, commissioned and performed contemporary composer of choral music; 2) to furnish insights into his background, influences, and perspectives; and 3) to provide an analytical approach to Mulholland's choral compositional style. Chapter 1, "Introduction," outlines the need and methodology of the study. Chapter 2, "A Biographical Sketch," explores Mulholland's family background, his musical training, career as a professor and composer and prestigious honors and awards. Chapter 3, "Compositional Style Characteristics," discusses the composer's compositional style. The information presented is derived from the author's study and analysis of James Mulholland's published choral works to date. In addition, three prominent conductors who have programmed and recorded a large body of Mulholland's works were interviewed for their expertise. The analytical portion of Chapter 4, "A Descriptive Analysis of Selected Choral Works," focuses on the elements of text, musical form, melody, harmony, and rhythm. The project concludes with a summary of the research in Chapter 5, "Summary and Conclusion." The study also includes appendices that provide an annotated list of published choral works specifying performance requirements, text, and publication information. Other appendices include a chronological list of published choral works; a list of choral sets; and a choral discography that includes contact and recording information. Also included are transcripts of phone interviews the author has conducted with the composer and three prominent conductors. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Summer Semester, 2007. / Date of Defense: April 11, 2007. / Choral Music, Composition, Composer / Includes bibliographical references. / Larry Gerber, Outside Committee Member; Judy Bowers, Committee Member; Kevin Fenton, Committee Member.

Francis Poulenc's 1949 Piano Concerto was written for his performance with the Boston Symphony Orchestra during his second American tour in 1950. It is an example of his distinctive musical language and compositional craftsmanship, as well as a thoughtful and creative interaction with his host audience through the incorporation of American tunes—Stephen Foster's "Old Folks at Home" and a melodic/rhythmic idea from George Gershwin's An American in Paris. The Concerto synthesizes the exuberant style of Poulenc's youthful years, the serene and expressive qualities of his mid-life maturity, and his overall neoclassic idiom. This study begins by examining aspects of Poulenc's musical style exemplified in the Concerto as they were shaped by the Parisian avant-garde of the 1910s and 1920s, and by the composer's maturing musical language in the 1930s and 1940s. An analysis of the Concerto's formal procedures and musical syntax reveals some of the ways that Poulenc emulated and remade classical tradition through a balance of clarity and ambiguity. A discussion of the creation and reception of the Concerto within the context of the composer's mid-century American tours shows how Poulenc captivated American audiences and further solidified his international reputation through his pianism, social decorum, and adeptness in synthesizing tradition with popular tunes and styles that acknowledged and engaged his patrons. This study highlights the Concerto's significance as a product and reflection of the dynamic interaction between France and the United States. An illumination of the countries' political connections and cultural exchanges, particularly as manifested in music, art, and fashion in the first half of the twentieth century, reveals Poulenc's role as a musical diplomat and a commentator on the history of the Franco-American alliance. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Degree Awarded: Summer Semester 2008. / Date of Defense: July 7, 2008. / Stylistic Synthesis, Musical Handshake, Maxixe, Franco-American Alliance, Piano Concerto, Poulenc, Emulation, 1949, Borrowing, Parisian Popular Entertainment, Clarity And Ambiguity, Stephen Foster, Cultural Exchange, Les Six, Fashion And Music, Boston Symphony Orchestra, Parisian Avant-Garde, France And America, Parisian, Old Folks At Home, Musical Diplomacy, A La Claire Fontaine, Gershwin, American In Paris, Parisian In America, Musical Pastiche / Includes bibliographical references. / Denise Von Glahn, Professor Directing Thesis; Douglass Seaton, Committee Member; Joseph Kraus, Committee Member.

The primary purpose of this study was to determine whether participants from varied performance-media backgrounds experience a felt emotional response through performance media different from their own. Specifically, how does this emotional response compare to the emotional response shown through their own performance medium? Secondarily, the study examined whether the response patterns over time of the Continuous Response Digital Interface (CRDI) dial show a relationship between listening groups and/or performance media. Volunteer participants (N = 143) consisted of graduate and undergraduate music majors, non-music majors, and non-musicians at a large comprehensive university. Recordings were presented using the following performance media: (1) voice, (2) wind ensemble (non-marching), (3) marching band (non-music major), (4) piano, and (5) popular dance music (non-musicians). Based on primary performance area, participants were assigned to one of the five groups: voice (n = 31), wind ensemble (n = 25), marching band (n = 27), piano (n = 33), and non-musicians (n = 27). Participants in each group were asked to manipulate the CRDI dial corresponding to their felt emotional response to the music. All participants listened and responded to five performance media renditions of Giacomo Puccini's Nessun Dorma from the opera, Turandot. Means and standard deviation were determined and graphically displayed. Graphs include separate composite means and ongoing standard deviation response graphs for each excerpt and one composite response graph detailing overall mean and overall mean standard deviation by group for each excerpt. Visual inspections of the composite graphs demonstrate both large as well as subtle differences among and between groups and that participant responses differentiated across the musical stimuli. Ongoing changing responses of participants within participant groups provide the most important description of responses. Further analysis of the composite response graphs demonstrates a strong relationship between responses of the music major groups (voice, piano, and wind ensemble) and their respective corresponding excerpts. There was also a strong relationship between the responses of the non-music major groups and their respective corresponding excerpts (DCI/marching band and popular dance music). / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Summer Semester, 2006. / Date of Defense: April 26, 2006. / Continuous Response Digital Interface, Music Listening, Performance Medium, Emotional Response / Includes bibliographical references. / Clifford K. Madsen, Professor Directing Dissertation; Eric Ohlsson, Outside Committee Member; John Geringer, Committee Member; Diane Gregory, Committee Member; Patrick Dunnigan, Committee Member; Jayne M. Standley, Committee Member.