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In 1929, Alexander Zemlinsky composed the Sinfonische Gesänge, Op. 20, a collection of orchestral song settings of German translations of works by Harlem Renaissance poets. The seemingly exotic poetic texts as well as the composer's subtle incorporation of primitivistic instrumentation and rhythmic gestures commonly associated with jazz aptly reflect Weimar Germany's fascination with African-American culture at the time. The seven poems selected for the work feature a variety of topics that contribute to the pervasively somber tone of the cycle. The poetic themes either focus on issues that are considered to be particular to African-American life, such as slavery and lynching, or ones that are more general and universal, like loss, disillusionment, and death. Although all of the texts were penned by black American writers, the musical settings reveal a complex understanding of African-American life that is highly influenced by the perceptions of early twentieth-century Austro-German society. Each song's illustrative orchestration and symbolic motivic treatment accentuate an aspect of the constructed culture that is demonstrated through poetic characterization, setting, or theme. As a result, the overall arrangement of the songs as a cycle presents a multifaceted version of a distant African-American world that would have been accessible to its intended European audience.

The saxophone has a rich tradition of performing transcriptions. In recent years, saxophonists have begun exploring the performance of transcriptions that would have previously been believed to be outside of the capabilities of the saxophone. In general, this new wave of transcriptions has been drawn from the repertoire of string instruments. Through the arrangement of Claude Debussy's Cello Sonata of 1915, this document provides a step-by-step explanation of how saxophonists can effectively transcribe string music for the saxophone.

Japan has been influenced by Western culture since the end of the nineteenth century when the country opened its doors to the outside world. In 1873, the Japanese government adopted a policy of thorough and rapid modernization and westernization, including its music. Japanese composers of westernized music became active around 1900, and often worked in three idioms: 1) a Western-style composition, which was influenced by German and French music, 2) a Japanese-style, which blended traditional elements such as the pentatonic major and minor scales from Japanese music with the compositional constructs of Western music, and 3) a globalization-style, which combines Western, Japanese and other musical elements in a post-modern tradition. Their compositions are unique, and make a significant contribution to the music available to performers. However, after conducting a survey, this author found that most American musicians have no knowledge of Japanese composers and their piano works. This essay will specifically examine Sonata pour piano (1958) by Akira Miyoshi (b. 1933) and Sonata pour piano (1961) by Akio Yashiro (1929-1976).

In 1830 Anton Diabelli published an edition of Franz Schubert's (1797-1828) Die schöne Müllerin with embellishments by the famous Austrian baritone Johann Michael Vogl (1768-1840). Vogl was an early promoter and performer of Schubert's music, and many of Schubert's contemporaries held his performances in high esteem. Thus, his embellishments are important to an historical understanding of Schubert's songs. In the nineteenth century, singers varied their performances much more broadly than twenty-first century vocal practices suggest. Vogl had his own personal style of performance, but it was related to nineteenth-century vocal practices. Vogl's manner coincided with instructions for realizing ornaments and introducing free embellishments found in nineteenth-century vocal treatises. In many cases, there was not a single correct way to realize embellishments in the nineteenth century; instead, there was a range of possibilities. Diabelli's print differs significantly from modern editions of Schubert's well-known song cycle with respect to transposition, text, declamation, melody, and even formal structure. It reveals how Vogl might have performed the songs within this cycle in the early nineteenth-century, and that period vocal practices for Schubert's Lieder are significantly different than modern practices. Understanding the possibilities of how Vogl and his contemporaries would have performed Schubert's songs in the nineteenth century results in a more historically informed understanding of Schubert's Die schöne Müllerin.

The Florida State University musicology program comprises a community of like-minded individuals in both the faculty member and student cohorts. The umbrella concept of “Big M” Musicology is valued and central to creating identity and cohesion among FSU’s musicology community members. This thesis serves to understand the FSU musicology program’s history and how community members understand, define, and embody “Big M” Musicology based on their lived experiences in the program. This thesis examines FSU’s musicology program through historical and ethnographic study. I first provide an institutional history of Florida State University’s musicology program by examining the institutional structures, administrative involvement, and the influence of faculty member research areas and relationships on the program’s development. I recount how the ideal of “Big M” Musicology was born out of the FSU School of Music’s desire for comprehensive programming through the establishment of an ethnomusicology program, the implementation of a terminal degree in musicology, and an emphasis on applied musicology and performance. I also argue that the collegiality among faculty members contributed to the program’s growth and to the musicology department’s shared “Big M” vision. In the subsequent chapters of this thesis, I analyze survey data that I collected from current students, alumni, and current and former faculty members affiliated with the program from the years 1988–2018 to understand individual community members’ experiences of “Big M” Musicology. First, I synthesize the definitions of “Big M” provided by FSU musicology affiliates, and I explore their perspectives on how this philosophy manifests in FSU’s program. I then analyze individual community members’ experiences in the program in order to reconcile the policy of “Big M” with its implementation and practice. I conclude by placing “Big M” Musicology in the context of contemporary trends in the field to demonstrate how the inclusivity inherent in this ideal might foreshadow a future path for musicology and its subdisciplines. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Spring Semester 2019. / April 1, 2019. / Institutional Ethnography, Institutional History, Musicology / Includes bibliographical references. / Sarah Eyerly, Professor Directing Thesis; Douglass Seaton, Committee Member; Frank Gunderson, Committee Member.

Situational Leadership is a business management model that has been used in many of the top Fortune 500 companies, the United States Military, and educational administration since the early 1980s. This model provides a simplified approach for managers leading various levels of employees. The focus of this treatise will be to show how an applied professor can incorporate this model into his/her approach when working on studio management and student development. The four categories, or Developmental Levels (D1, D2, D3, and D4), of Situational Leadership are each defined by two rubrics: Competency and Commitment. Level One is Low Competency-High Commitment and describes a student that is new but eager to learn. Level Two is Low Competency-Low Commitment and could be a younger student who is not as interested in a particular task. Level Three is High Competency-Variable Commitment. This would describe a student with fine skills but may feel stagnant or one whose buy-in could waver. Level Four is High Competency-High Commitment and might describe a student that is more experienced and takes school and their future career more seriously. The teacher’s Leadership Styles (S1, S2, S3, and S4) would then vary based on the needs of the student defined by two rubrics: Support and Direction. Competency and Commitment level of the individual student would have a specific correlation to the amount of Support necessary to affect Commitment and Direction necessary to affect Competency. The Leadership Styles correspond to Development Levels in such a manner to optimize the teacher-student relationship. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2019. / April 12, 2019. / Includes bibliographical references. / John Drew, Professor Directing Treatise; Richard Clary, University Representative; Christopher Moore, Committee Member; Michelle Stebleton, Committee Member.

The following is an exploration of Roland Dyens arrangements of “Nuages,” “Round Midnight,” “Over the Rainbow,” “Take the A Train,” and “A Night in Tunisia.” Chapter one will focus on Dyens’ own life and connection to other styles of music, namely jazz and Brazilian. Chapters two and three will examine each of the arrangements in turn. This analysis will include information on the harmonic and structural aspects of the pieces; historical and biographical details about relevant styles and artists, as well as Dyens’ allusions to them in his arrangements; and discussion of solutions to difficult passages and extended techniques within the arrangements all with an eye towards producing more accurate interpretations of the pieces. Finally, chapter four will put these arrangements into historical context within the larger guitar repertoire and consider the best practices for programming these pieces. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2019. / April 8, 2019. / arrange, Dyens, Guitar, Jazz, Strings / Includes bibliographical references. / Bruce Holzman, Professor Directing Treatise; Jane Piper Clendinning, University Representative; Corinne Stillwell-Bowman, Committee Member; Greg Sauer, Committee Member.

First adopted in 1951, the Doctor of Music, or Doctor of Musical Arts degree, has been on campuses across America for nearly 70 years now. Since its inception, the main concern surrounding the education of the performer has been how best to develop and serve the artistic needs of the musician while maintaining the level of high scholastic achievement required of the doctorate. Even after decades of existence, the idea of balancing the demands of both the artist and scholar is still relevant, perhaps even more now than ever before. This treatise considers what constitutes a “comprehensive” terminal degree for performing artists in today’s field. Particular attention will be given to the curricular requirements for obtaining the Doctor of Music or Doctor of Musical Arts degree as they relate to the artist’s life post-academia. The purpose of this research is to gather information about the Doctor of Music degree, concentrating specifically on coursework and curriculum within the context of the development of the arts in America. It aims to examine what constitutes a comprehensive terminal degree for performers, the Doctor of Music or Doctor of Musical Arts degree, and proposes curricular changes to enhance the degree. The author will achieve these objectives through: 1) A brief summary of the evolution of the arts in America, with particular attention given to the period of “cultural-consciousness;” 2) A brief summary of the evolution of the Doctor of Music and Doctor of Musical Arts degrees to provide historical context for the current state of the degree; 3) A consideration of curriculum questions relevant to the doctorate in music and proposals for continued improvement. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2019. / April 8, 2019. / Includes bibliographical references. / Deborah Bish, Professor Directing Treatise; Charles Brewer, University Representative; Anne Robinson Hodges, Committee Member; Jonathan Holden, Committee Member; Michael Thrasher, Committee Member.

This treatise discusses and exemplifies the stylistic and programmatic elements in three works by award-winning American oboist and composer, Alyssa Morris (b. 1984): Four Personalities for oboe and piano; Up and Away: The Story of a Balloon for oboe, bassoon, and piano; and Chrysalis for English horn and piano. Beginning with her first published work in 2007, Four Personalities, Morris’s music has become very popular. Several of her works have been recorded by prominent oboists and have been performed at conferences of the International Double Reed Society. The document provides biographical information on the composer and gives a detailed description of her compositional style and influences. This is followed by a thorough analysis of the form of each movement, and a discussion of the stylistic and programmatic elements utilized in each of these three works. The purpose of this research is to highlight the accomplishments of a composer who has made a significant contribution to woodwind music in the 21st Century, as well as to identify which qualities and compositional techniques allow her works to stand out in the wide selection of music written during this time period. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2019. / April 1, 2019. / Includes bibliographical references. / Eric Ohlsson, Professor Directing Treatise; Richard Clary, University Representative; Eva Amsler, Committee Member; Jeffrey Keesecker, Committee Member.