Source: Dissertation Abstracts International, Volume: 37-07, Section: A, page: 3979. / Thesis (Ph.D.)--The Florida State University, 1976.

Source: Dissertation Abstracts International, Volume: 38-09, Section: A, page: 5113. / Thesis (Ph.D.)--The Florida State University, 1977.

Source: Dissertation Abstracts International, Volume: 40-02, Section: A, page: 0530. / Thesis (Ph.D.)--The Florida State University, 1978.

Source: Dissertation Abstracts International, Volume: 35-05, Section: A, page: 3033. / Thesis (Ph.D.)--The Florida State University, 1974.

Source: Dissertation Abstracts International, Volume: 35-05, Section: A, page: 3040. / Thesis (D.Mus.)--The Florida State University, 1974.

Method books have played a core role in mainstream trombone pedagogy since the turn of the eighteenth century. Students develop technical facility and musical style using compilations and transcriptions of targeted material, often from a specific time period, region, or genre. In spite of this tradition, no method books designed to teach music from the late sixteenth and early seventeenth centuries exist. This is especially surprising given that this time period signified a golden age for trombonists. The trombone's chromatic double slide resulted in an adaptable instrument that could conform to every tuning system, placing trombonists among the most essential members of early modern ensembles. The resultant music forms a vast repertory that is surprisingly underexplored by modern players. Over time, this has resulted in a significant gap in the knowledge of trombone teachers and their students. My dissertation uses the method book model to fill this gap. I have compiled and transcribed eighty-eight trombone-idiomatic diminution studies from original sources dating from 1553-1642 to form a targeted, progressive collection of etudes designed to teach historical technique and style. The diminutions constitute a rich repertory of solo works that are as yet unexplored by modern trombonists. Diminutions from improvisation manuals by Giovanni Bassano, Francesco Rognoni Taeggio, Diego Ortiz, and others provide insight into early modern instrumental performance practices that can be used to fill an area of trombone pedagogy that has long been empty. My work acknowledges the challenges inherent in the formation of a historically grounded teaching method for early repertoire, especially the lack of extant sources as a result of oral communication and master-apprentice traditions. However, I have been able to combine information gleaned from surviving trombone-specific sources, as well as literature for diverse instrumental study - sources per ogni sorte di stromenti - to form an accompanying explanation of early modern trombone pedagogy and style for use by teachers and students. I argue that the aesthetics of vocality played a primary role in performances of diminutions by trombonists, and that the techniques required to perform early repertoire stylistically may be easily integrated into mainstream trombone pedagogy.

"Music for Piano and Eleven Players" is constructed as a three-part form which was derived from a sonata form. As with sonata form, there is an expository section, a development, and a recapitulation. However, the major differences are a second development section which serves as a slow movement and a recapitulation which has the character of a coda. / The harmonic language is tonal. Two types of tonality are in contrast throughout the work. The first type emphasizes one pitch and allows free chromatic use of the other eleven. The other type is a traditional tertian tonality. The important structural tertian tonalities are indicated by key signatures. / Source: Dissertation Abstracts International, Volume: 49-03, Section: A, page: 0376. / Major Professor: John Boda. / Thesis (D.M.)--The Florida State University, 1987.

This treatise presents an annotated bibliography of approximately 500 sources which primarily discuss the viola or which contain large sections of material devoted to the viola. The type of source material represented in this bibliography includes books, sections of books, encyclopedia articles, periodical articles, serials, dissertations, theses, treatises, and unpublished works. The sources date from the earliest extant findings through 1986. The majority of the sources are in English although many European language sources are included. / The bibliography contains chapters on the following subject categories: (1) literature on the history of the viola and its repertoire, (2) bibliographies of compositions for viola, (3) analyses of compositions for viola, (4) literature on viola pedagogy, (5) literature on notable violists, (6) literature on the construction and acoustics of the viola, and (7) miscellaneous. Entries that apply to more than one category are listed in each appropriate section of the bibliography and have a cross reference to the location of the annotated reference. / The annotations describe the subject matter and comprehensiveness of the entry material. The few sources which are not annotated list the reference which identified or referred to that particular source. / The final chapter presents a summary discussion of the status of viola research in the areas noted by each chapter heading of the treatise and lists recommendations for further research. / Source: Dissertation Abstracts International, Volume: 49-06, Section: A, page: 1307. / Major Professor: Jon R. Piersol. / Thesis (D.Mus.)--The Florida State University, 1988.

This thesis explores values, identities, and practices found within community organizations and academic institutions that are mediated and made manifest in old-time ensembles and their surrounding music communities. The multi-site study includes primary ethnography from the author’s six years of participation and musicianship in the old-time ensembles at the University of North Carolina at Greensboro and Florida State University, as well as the surrounding communities of Greensboro and Tallahassee. The complex workings of these ensembles are contrasted with more established and performance-based programs, both in community folk music settings and in traditional university music schools. These old-time ensembles catalyze issues of individual and group identity, institutionalism and administration, invented and historical tradition, and folk music practice. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Spring Semester 2017. / April 10, 2017. / Includes bibliographical references. / Michael B. Bakan, Professor Directing Thesis; Margaret Jackson, Committee Member; Leigh Edwards, Committee Member.

This study provides an analysis of the Tenth Piano Sonata, Op. 67 (1955) of the American composer Vincent Persichetti (1915-1987) through an analysis of thematic development, motivic development, melody, and harmony. The evolution of themes throughout each section of the Tenth Piano Sonata is illustrated and discussed, as well as motivic development in the first section, in order to help a performer understand the metamorphosis of musical ideas throughout the work. An understanding of this will allow a performer to achieve an interpretation with a greater sense of structural clarity, as motivic and thematic development serve as the primary unifying forces for the sonata. Melody and harmony in the first section are analyzed in reference to the specific twentieth-century compositional tools and techniques Persichetti draws upon in order to achieve his eclectic and distinct sound. A primary way in which melody and harmony is explored in this study is through re-composition of select phrases. This process involves re-writing particular phrases within the first section to fit within more conventional tonal and modal frameworks. Doing this helps to illuminate the compositional choices Persichetti ultimately made in the Tenth Piano Sonata as well as elucidate his eclectic melodic and harmonic language. In using re-composition as an analytical tool, phrases are chosen that are tonally ambiguous and draw from more than one collection of pitches. The phrases are then re-written to align with a single tonal center and collection of pitches. This process clarifies the harmonic and melodic vocabulary Persichetti utilizes by drawing attention to the motion of the music from one tonal center or pitch collection to another and the unique sound that results from the combined effect of these compositional choices. This can help a performer to develop an intimate understanding of Persichetti’s musical language and therefore lead to a more informed and convincing interpretation. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2017. / November 17, 2017. / analysis, Persichetti, piano, sonata / Includes bibliographical references. / Read Gainsford, Professor Directing Treatise; Clifton Callender, University Representative; David Kalhous, Committee Member; Stijn De Cock, Committee Member.