This dissertation explores the compositional and stylistic development of Alban Berg (1885-1935), as demonstrated in his Jugendlieder, two volumes containing 81 art songs composed between 1901 and 1908. The biographical and cultural context in which they were composed is explained, and each volume of song manuscripts is separately described with respect to poetic, rhythmic, formal, melodic, and harmonic elements. The first 34 songs (volume 1, 1901-1904) demonstrate Berg's initial efforts to set German poetry to music. Due to his limited musical training and skill during these years, the earliest songs contain unconventional traits that would only be produced by a novice, but they also suggest that Berg modeled his compositions after nineteenth-century art songs, particularly those of Schubert, Schumann, and Brahms, which were performed in the family home by his siblings. Berg's first love was literature, and it is therefore not surprising that illustrating the poetic images in the texts appears to have been his primary focus. During the time when Berg composed the second volume of songs (1904-1908), he began to study music theory and composition with Arnold Schoenberg. As a result, the songs of the second phase reveal an improved understanding of tonality, chord function, and formal structure. The illustration of poetic topics, themes, and images remained a principal focus for Berg, but the texts were treated in a more subtle manner, allowing for the appearance of a greater concentration on musical devices. These songs implement exercises in variation techniques, rhythmic devices, chromaticism, and dissonance, pointing to the development of his personal style. Ultimately, this study demonstrates that the Jugendlieder served as the foundation upon which Berg cultivated the skills needed to develop a mature compositional style that balanced Romantic conventions and modern practices. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Fall Semester, 2008. / Date of Defense: October 27, 2008. / Jugendlieder, Early Songs, Manuscripts, Stylistic Development, Analysis, Romanticism, Compositional Development, Art Songs, Alban Berg / Includes bibliographical references. / Douglass Seaton, Professor Directing Dissertation; Matthew Shaftel, Outside Committee Member; Charles E. Brewer, Committee Member; Denise Von Glahn, Committee Member.

The purpose of this study was to examine the withdrawal rates and patterns of undergraduate Music Education majors, with a specific focus on the individual experiences of students withdrawing from the major. In examining these experiences, the potential for identification of possible commonalities among withdrawn students was explored. The overall subject population (N = 1103) consisted of students enrolled in the undergraduate Music Education program at a large southeastern university between the years of 1995 and 2010. A mixed-methods approach consisting of a quantitative analysis of students enrolled in the Music Education major for a 10-year period from 1995 to 2005 (n = 868) and a qualitative analysis of semi-structured interviews of recently withdrawn students (n = 14) were identified from the total population. Results from the quantitative portion of the study indicated that approximately half of the student population enrolled in the Music Education major withdrew from that major prior to degree completion. These results also indicated that degree completion rates varied according to the specific Music Education track, with students majoring in Music Education – General completing the degree at the highest rate, followed by Music Education – Choral and Music Education – Instrumental, respectively. Results of the qualitative portion of the study on subjects' pre-college experiences found commonalities in their enjoyment of music performance, opportunities to teach, and the impact of school music teachers. Subjects' experiences during college were diverse, with concerns focusing on the applied music component of the degree surfacing as being important to a majority of interviewees. The reasons given for withdrawal from the Music Education program were also diverse, including dismissal from the applied music studio, erosion of personal confidence as a musician, realizations about their feelings towards music versus their feelings about teaching in general as it related to their personal career goals, and finally, personal life issues. Following withdrawal from Music Education, student experiences showed no consistent pattern in terms of regret over their decision to leave Music Education, though all interviewed subjects reported that they remained actively involved in music in some way. Implications of these results are discussed in relation to individual experiences and the function of those experiences within the context of current models of student persistence. / 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, 2010. / Date of Defense: June 9, 2010. / Teacher Education, Music Education, Persistence, Attrition, Withdrawal / Includes bibliographical references. / William E. Fredrickson, Professor Directing Dissertation; Deborah Bish, University Representative; Steven N. Kelly, Committee Member; Clifford K. Madsen, Committee Member.

The purpose of this case study was to examine the effect of playbased music therapy on the motor and communication skills with a child with partial agenesis of the corpus callosum. The subject participated in 30 minute playbased music therapy sessions three times a week for three months. Data were collected using the Developmental Assessment of Young Children as a pretest and posttest over the same three month time period. Additionally, free text documentation notes and a checklist of targeted skills with corresponding attempts and skill achievement was completed after each music therapy session. Results indicate that the subject showed significant improvement. On the pretest and posttest the subject improved 12.29% on the communication standard score and 5.29% on the motor standard score, from a one to a four in the communication percentile and from a four to a six in the motor percentile, from 24 months to 31 months in the communication age equivalent and from 28 to 33 months in the motor age equivalent. There were no changes in the pretest and posttest in communication for rating as the subject stayed in the poor level, with a standard score of 70-79. For the pretest and posttest in motor the subject moved from the very poor level, standard score of 70 and below, to the poor level standard score of 70-79. Results in the month to month comparison for communication show correlations in positive directions for times attempted versus improvement in emergent verbalization in month one (r= 0.829), in month two (r= 0.698), and in month three (r= 0.864). For times attempted versus improvement for communication gestures the correlations were moderate in month one (r= 0.654) and, in month two (r= 0.485). In month three, eight out of 27 items attempted were improved. Functional assisted verbalization was used one time during the experiment and six items out of 26 items attempted improved. Small improvement was seen in functional verbalizations in month one in two out of 26 items, one out of 29 items in month two, and four out of 27 items in month three. The subject perfected the verbalization of two words in month two and six words in month three. The month to month comparison for motor skills show moderate to strong correlations in positive directions in times attempted versus improvement in month one (r= 0.642), in month two (r= 0.839), and in month three (r= 0.718). This study demonstrates the first known music therapy results with an individual with partial agenesis of the corpus callosum. These findings support the theory that music would benefit neurologic development and demonstrate a need for further music therapy investigations with individuals with partial or full agenesis of the corpus callosum. / 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, 2011. / Date of Defense: June 6, 2011. / Corpus Callosum, Agenesis of the Corpus Callosum, Partial Agenesis of the Corpus Callosum, Evidence-Based Practice, Music Therapy, Motor Skills, Child, The Developmental Assessment of Young Children, Neurological, Communication Skills / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Clifford K. Madsen, Committee Member; Dianne Gregory, Committee Member.

The purpose of this study was to examine the effectiveness of a computerized training program on participants' knowledge concerning the role of nonverbal communication in medical, educational, and therapeutic settings. Participants in the study (n = 50) were music therapy majors (n = 35) and music education majors (n = 15) from a large Southeastern university. Two 30-minute training modules were designed and programmed for the purposes of the study utilizing the computer software program Adobe Captivate 3. Participants were individually pre- and posttested before and after completing the modules during two 45-minute separate sessions. Participants' made significant gains from pre- to posttest indicating that the computerized training modules were effective for teaching music therapy and music education students knowledge of nonverbal communication. There were no significant differences between music therapy or music education majors or between males and females in their abilities to learn information utilizing the computerized training program. Previous research indicates that nonverbal communication is an important factor in effective clinical and educational practice; however, nonverbal communication is not typically a part of most music therapy or music education curricula. The present study indicates that the computerized instruction utilized in this study is a viable method for teaching students, and perhaps practitioners, information related to the effective use of nonverbal communication in clinical and education practice. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Degree Awarded: Spring Semester, 2008. / Date of Defense: February 19, 2008. / Educational, Music, Medical, Body Language, Eye Contact, Music Therapy, Posture, Nonverbal Behavior, Nonverbal, Therapeutic / Includes bibliographical references. / Alice-Ann Darrow, Professor Directing Thesis; Dianne Gregory, Committee Member; Jayne M. Standley, Committee Member.

Fifty-one undergraduate music majors were asked to choose one of four models for thirteen music and non-music occupations. The models consisted of a Black female, a White female, a Black male, and a White male. The results found that the race and gender of the models were determining factors in the participants' choice for various occupations; however, the race and gender of the participants were not determined to be major factors in their model selection. Also revealed in this study was the importance of status and the type of occupation use. The male models were chosen the most for high-status occupations, music history professor, jazz ensemble instructor, and symphonic band director. Females dominated the participant's choice for voice instructor and both mid and low status occupations / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education. / Degree Awarded: Summer Semester, 2008. / Date of Defense: June 19, 2008. / Occupational Stereotypes, Music Majors, Student Perceptions / Includes bibliographical references. / Kimberly VanWeelden, Professor Directing Thesis; Alice-Ann Darrow, Committee Member; Steven Kelly, Committee Member.

Tenor Fritz Wunderlich (1930-1966), one of Germany's most famous lyric tenors, died in a tragic accident at the height of his career. Wunderlich's professional career lasted only slightly more than ten years, but he left behind a vocal legacy through his numerous recordings, and he has had a lasting influence on the interpretation of many standard works in the tenor repertoire. In the years preceding his death, his success in Mozartian opera roles helped create this legacy that would make him internationally famous, particularly his performances of Tamino [Die Zauberflöte] and Belmonte [Die Entführung aus dem Serail]. His opera repertoire expanded into heavier roles, such as Alfredo [Verdi's La traviata], Lenski [Tchaikovsky's Eugene Onegin], and Palestrina [Hans Pfiztner's Palestrina]. Wunderlich achieved equal success in oratorio and Lieder. His recordings and performances of the Evangelist and tenor soloist in Bach's two great Passions, as well as his interpretation of the tenor solos in Mahler's Das Lied von der Erde are revered. Wunderlich sang recital repertoire relatively late in his career. Many subsequent performers have modeled their interpretations of Schubert's Die schöne Müllerin and Schumann's Dichterliebe on his example. Fritz Wunderlich's legacy as one of the greatest tenors of the twentieth century is confirmed through the many audio recordings he made. An exploration of these recordings makes it possible to experience his unique voice, and to gain insight into his influence on the tenors who came after him. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Degree Awarded: Spring Semester, 2011. / Date of Defense: March 22, 2011. / Dies Bildniss ist bezaubernd schön, Ich baue ganz, Il mio tesoro, Wohin wohin, Adelaide / Includes bibliographical references. / Douglas Fisher, Professor Directing Treatise; Seth Beckman, University Representative; Matthew Lata, Committee Member.

Finding scholarly research on the choral music by significant American composers is limited. Moreover, a search for scholarly resources on the choral works by significant African-American composers is more limited. Spiritual arrangements of Negro folk songs by well-known African-American composers such as William Dawson, Jester Hairston, and Hall Johnson are respected and still admired by choral conductors today. These arrangements, which were based upon work, holler, or slave songs, had a tremendous impact upon the cultural development of African-Americans in North America. Hale Smith, a prominent African-American composer states, "Without these people [Dawson, Hairston, Johnson, et.al.] and their contributions, American music would be altogether different." Thus, the music of African-Americans became a vital component of American history and American music. Equally, but not always noted, are the contributions by African-American composers of the western European tradition. Many people, including choral directors, are not aware of the vast array of non-spiritual compositions that have been composed by African-Americans. There is a considerable number of African-American composers who continue to make significant contributions in all genres of music, however only a limited amount of resources, primarily compilations, are available that describe their life, compositional style, and works. The purpose of this study is three-fold: 1) to provide an additional scholarly resource devoted to the musical contributions of Pulitzer Prize winner George Walker; 2) to present his choral works in the form of a descriptive analysis; and 3) to provide a summary of his career as a performer, conductor, teacher, and composer. Chapter One introduces the composer and briefly discusses the need for continued research in the area of twentieth century African-American composers of the western European tradition. A review of related literature in Chapter Two provides a Black perspective on twentieth century classical music. Chapter Three explores Walker's life by examining family and childhood experiences, his education, and career as a concert pianist, teacher, and composer. Chapters Four and Five are devoted to the musical analysis of his choral octavos and extended works. Chapter Six summarizes and reflects upon the life and accomplishments of George Walker and his choral compositions. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Spring Semester, 2005. / Date of Defense: March 31, 2005. / Black Composers, Choral Music / Includes bibliographical references. / André J. Thomas, Professor Directing Dissertation; Patrick J. Meighan, Outside Committee Member; Judy K. Bowers, Committee Member; Kevin A. Fenton, Committee Member.

Source: Dissertation Abstracts International, Volume: 32-11, Section: A, page: 6481. / Thesis (Ph.D.)--The Florida State University, 1971.

Source: Dissertation Abstracts International, Volume: 33-01, Section: A, page: 0350. / Thesis (Ph.D.)--The Florida State University, 1972.

Source: Dissertation Abstracts International, Volume: 33-02, Section: A, page: 0780. / Thesis (Ph.D.)--The Florida State University, 1971.