This study focuses on a body of literature heretofore uninvestigated and little-known. During the last seven years of his life, Charles Tournemire composed a half-dozen symphonic organ works: Trois Poemes, Sei Fioretti, Fantaisie Symphonique, Symphonie-Choral, Symphonie Sacree, and Deux Fresques Symphoniques Sacrees. These works seem important because they represent a digression from the practices of other symphonic-organ composers and because they represent a corpus of works in the same style and genre which may be presumed to demonstrate Tournemire's unique symphonic style as applied to the organ. This study concentrates on two goals: a style analysis of this literature and an analysis of the individual works. / As a background to the study, a professional biography has been compiled and certain influences are discussed, including the very particular French Organ School-training under Franck and Widor, the development of the "symphonic" organ by Aristide Cavaille-Coll, and the restored use of plainsong in the Roman Catholic church in France. Two chapters are devoted specifically to symphonic techniques: one dealing with form and the thematic process, emphasizing Tournemire's handling of the Beethoven variation techniques; the other with his pioneering concept of "orchestration" for the organ, which involves tessitura and texture as well as registration. A chapter on harmony dispels some of the myths as well as pointing up certain idiosyncrasies, such as the use of a specific chord-family at climactic cadences, regardless of the tonal surroundings. A chapter on rhythm investigates the elements of its free character and its role in formal design. The concluding chapters provide an analytical outline of each work accompanied by a discussion of particular points of interest and a summary of style characteristics. A list of errata discovered in the published editions of these works is compiled in an appendix. / Source: Dissertation Abstracts International, Volume: 46-01, Section: A, page: 0017. / Thesis (Ph.D.)--The Florida State University, 1984.

Source: Dissertation Abstracts International, Volume: 35-06, Section: A, page: 3790. / Thesis (Ph.D.)--The Florida State University, 1971.

This study was designed to examine musicians' versus nonmusicians' aural perception of a selective listening task utilizing a Continuous Response Digital Interface (CRDI). One hundred twenty undergraduate college students (60 musicians, 60 nonmusicians) were presented an excerpt from "Billy the Kid" by Aaron Copland. Subjects were instructed to indicate focus on instrumental family by manipulating the horizontal indicator of the experimental device (CRDI). / Prior to experimental sessions, experts listened to the orchestral excerpt, and indicated where and on what instrument family their attention was focused, and when their focus changed. These points of attention change established units of "sound intervals" during which subjects' aural attention could be measured in terms of focus on a specific instrumental family. The instrumental families were divided into five categorical constants per interval which were: (a) brass, (b) percussion, (c) all, (d) strings, and (e) woodwinds. Selection of the "all" category indicated focus of attention on three or more instrument families simultaneously. / Experimental conclusions were based upon a second by second analysis of each subject's performance whereby operant behaviors related to category selection were evaluated. Since unequal interval lengths required comparisons to be analyzed as percentages of duration rather than as cumulative seconds, additional comparisons between groups utilized: (a) cumulative seconds of focused attention, (b) frequency of focal change, and (c) mean duration of focal attention. / Results of the study indicated no significant differences between musicians and nonmusicians in the percentages of time focused within the five categories across sound intervals. However, analyses of the overall cumulative seconds indicated that nonmusicians listened to brass and percussion a greater number of seconds and for longer average durations than musicians. Musicians focused attention on strings for a greater number of seconds and with greater frequency. Both groups attended to woodwinds similarly. Musicians agreed with experts significantly more than nonmusicians. Significant differences as to total seconds spent in the "all" category may indicate that musicians are more able to perceive three or more instrumental families simultaneously. / Source: Dissertation Abstracts International, Volume: 49-10, Section: A, page: 2859. / Major Professor: Clifford K. Madsen. / Thesis (Ph.D.)--The Florida State University, 1988.

Sinfonia Offertorium is a work for large orchestra based on the principal melody of the "Offertoire" from the Grande Messe des Morts by Hector Berlioz. The work consists of one movement but contains three distinct sections; they are marked lento, allegro, and largo. In the lento section the Berlioz melody appears and is treated imitatively in a manner similar to the "Offertoire." This section is scored for strings, horns, and percussion. The allegro section is based on a tone row derived from the Berlioz melody and is scored for all forces. The largo section marks a return to the mood and design of the first. The melodic material is again based on the principal melody of the "Offertoire" although serial ideas are still present. The last section is scored for strings alone and features five string soloists in free imitative counterpoint. / Source: Dissertation Abstracts International, Volume: 50-05, Section: A, page: 1130. / Major Professor: Alan Thomas. / Thesis (D.Mus.)--The Florida State University, 1989.

Cast in a single-movement, arch-like form, Ezekiel relies upon changes of motive, texture, timbre, and pitch center for delineation of its various sections. The total duration of the piece is approximately fourteen minutes. / Both tonality (in the form of pitch centricity), and atonality were incorporated into the work. Harmonies are a result of incidental dissonance/consonance created by counterpoint, clusters, simultaneous sounding of pitches from tone rows, and intuitively constructed sonorities. / Themes and motives were derived largely from tone rows; however, serialism was not the most important consideration. The integrity of rows and row forms was compromised in favor of sonorities that provided a more aesthetically pleasing result. / Source: Dissertation Abstracts International, Volume: 51-01, Section: A, page: 0014. / Major Professor: Roy Johnson. / Thesis (D.Mus.)--The Florida State University, 1989.

The dissertation is a musical composition scored for tenor and and ten instruments in a double quintet setting. The first quintet consists of flute, clarinet (doubling bass clarinet), trumpet, violin and percussion. The second quintet includes horn, violin, violoncello, bass and piano. / The composition is a setting of three poems selected from Gerrit Lansing's collection The Heavenly Tree Grows Downward (Berkeley, CA: North Atlantic Books, 1977). The movements of the composition are titled with the titles of the poems: "Enthymeme," "For An Unlikely Love," and "An Inlet Of Reality, Or Soul." / The total performance time is approximately fifteen minutes. / Source: Dissertation Abstracts International, Volume: 57-04, Section: A, page: 1385. / Major Professor: Ladislav Kubik. / Thesis (D.M.)--The Florida State University, 1996.

Source: Masters Abstracts International, Volume: 13-01, page: 0029. / Thesis (M.M.E.)--The Florida State University, 1974.

Source: Dissertation Abstracts International, Volume: 31-05, Section: A, page: 2423. / Thesis (Ph.D.)--The Florida State University, 1969.

Source: Dissertation Abstracts International, Volume: 30-11, Section: A, page: 5022. / Thesis (Ph.D.)--The Florida State University, 1969.

The purpose of this study was to prepare an index of choral repertoire performed during National Conventions of the American Choral Directors Association. This study was accomplished in two phases. Phase one involved: (1) collecting and examining National Convention programs, (2) collating and comparing titles and composers of literature which had been performed during National Convention concerts, (3) investigating the frequency of performance of specific musical selections and appearances of groups and conductors, (4) investigating the frequency of performance of works representing specific publishers, (5) ascertaining balance between performances of literature with sacred and/or secular texts, (6) comparing the frequency of performance of literature representing each musical style period, and (7) comparing appearances of groups representing various choir classifications. Phase two identified repertoire trends observed through the study of National Convention concert programs. / Fourteen fields of information were utilized when extractions were made from each concert program entry for study and analysis. Those fields were designated as follows: Title, Composer, Arranger, Publisher, Octavo #, Text, Language, Accompaniment, Convention/Year, Style, Group Type, Group Class, Group Name, and Conductor. / Chapter Three presented an analysis of data listed in table form according to frequency and percentage of occurrence. Data were also crosstabbed by each specific convention year and studied on a year to year basis. / Chapter Four recorded a discussion of data and an identification of repertoire trends observed through study of the National Convention programs. Trends identified should prove helpful to ACDA leaders in their planning for future conventions. / Appendix A displays the Title Index and Appendix B presents the Composer Index. / The index is intended to be a useful source of information for choral musicians who are interested in studying literature performed on National Convention concert programs. The index expedites the accessing of information contained in the printed programs. It also preserves National Convention concert program information as part of the history of the American Choral Directors Association. / Source: Dissertation Abstracts International, Volume: 49-08, Section: A, page: 2014. / Major Professor: Colleen J. Kirk. / Thesis (Ph.D.)--The Florida State University, 1988.