British singer/songwriter Elvis Costello once said, “Talking about music is like dancing about architecture – it’s a really stupid thing to want to do” (in Brackett, 1995, p. 157). In this thesis I talk not only about music but I also talk about talk about music, perhaps an even stupider thing to want to do. But I do so because recent critical discourses in musicology and music education suggest talk about music is an inherent part of music, such that if we talk about music at all we must additionally talk about talk about music. But in talking about talk about music we are called upon to talk about talk. Consequently this thesis divides into five parts. In Part I I talk about talk with a discussion of performativity. I outline three different conceptions of the performative, showing how ethics inheres in language, with talk about talk necessarily being talk about ethics to some extent. In Part II I talk about talk about music, showing how musicology has attempted to respond to this ethical dimension of talk with a “new” musicology. In Part III I write in a number of different genres, exploring the discursive norms governing genres of writing about music and musicians and how they impact what we take music to be. Thus I write in philosophical, ethnographic, genealogical, narratological, autobiographical and literary forms, concluding that literary writing on music and musicians acts as a meta-discourse on music, bringing multiple different discourses into dialogue within a single unified text. In Part IV I explore the implications of literary writing about music and musicians for the practice of music education with critical readings of four novels, concluding with the recommendation that a “Non-foundational approaches to music education” course be offered as part of music teacher education programs, in addition to the more traditional “Foundational approaches to music education” course. In Part V I provide two annotated bibliographies for teachers interested in teaching such a course and for those who simply wish to further their understanding of music and music education through critical engagement with literary texts about music and musicians.

Dramatic, in the sense of “highly intense,” is a quality we often associate with the music of Beethoven, but no theory has attempted to define drama in any systematic manner. This study therefore explores the idea by constructing a theory that distinguishes between dramatic and non-dramatic passages. At the core of the theory is the notion that drama is the result of several types of tension occurring simultaneously. Dramatic passages have a “High” tension level, whereas non-dramatic ones have a “Low” level. Individual tension types are divided into two categories: rhetorical and syntactical. Rhetorical tension types include such features as a loud dynamic, a fast rhythm, and a thick texture, which need no musical context to be expressed. By contrast, syntactical tension types include such features as chromaticism, metric irregularity, and phrase expansion, which always require a comparison of events to be expressed. Only tension types from the same category may combine to form drama. Because this study examines the relationships between drama and sonata form, the analysis of form is a key issue that receives a separate chapter and additional thought throughout. The methodology combines aspects of William E. Caplin’s theory of formal functions and James Hepokoski and Warren Darcy’s Sonata Theory, and is applied to all of Beethoven’s first-movement sonata forms, a total of eighty-seven movements. Each formal unit is analyzed as one of six dramatic “archetypes” that describe a basic outline of High and/or Low tension levels. These archetypes constitute the dramatic structure of the piece. Percentage frequencies of the archetypes were calculated for each formal unit in the movements as a whole, and as grouped by the categories of key, mode, genre, and style period. The greatest distinctions in dramatic structure occur among the three style periods of early, middle, and late, the early works showing a sectional approach with contrasting tension between phrases and the middle to late works gradually becoming more continuous, maintaining the same tension levels between units. A concluding analysis of Beethoven’s String Trio, op. 3, demonstrates the theory’s ability to enrich the interpretation of an individual work.

The intriguing parallels between musical and literary forms have long been a focus of musicological inquiry, particularly in recent debates concerning music’s narrative properties. However, parallels between musical and historical forms and processes remain under-examined. Indeed, while historically-based operas continue to be prominent in the repertoire, there has been little if any attempt to interrogate how the unique structural, temporal, and narrative dimensions of the operatic form might render a representation of the past that is unique in comparison to those in other modes. This dissertation takes up this issue, and probes it on musical and aesthetic levels, asking the following questions: Given recent inquiries into history’s creative nature in historiography, what kind of historical account does opera represent? What elements of historical experience, knowledge, or memory are accessed in these works? How do music’s temporal, dramatic, and narrative dimensions interact with what we presume to be the objective realm of history? And most importantly: Can these works be seriously considered historiographical in any sense? In this dissertation, I investigate these questions with a focus on Canadian historically-based opera specifically. Applying a hermeneutical approach that connects current threads in musicology, narrative theory, theory of the sublime, film theory, and philosophy of history, I define and theorize the powerful discourse that music contributes to Canadian historiography in six of Canada’s most prominent historically-based operas: Harry Somers and Mavor Moore’s Louis Riel (1967); Harry Somers and James Reaney’s Serinette (1991); John Estacio and John Murrell’s Filumena (2005) and Frobisher (2007); and Istvan Anhalt’s Winthrop (1986) and La Tourangelle (1975). The conclusions of this study are, however, not limited to this repertoire. Rather they are applicable to the canon of historically-based works as a whole, and speak directly to some of the most critical and current aesthetic issues in musicology and historiography. As an art form that reopens the space between past and present by reaffirming history’s subjective and temporal nature, and by exploring the ephemerality it shares with living memory, opera validates itself as a truly distinct historiographical mode.

This dissertation proposes an educational model for use by praise and worship leaders and those who endeavor to guide them in becoming skillful musicians and spiritually mature leaders of contemporary praise and worship. Primarily aimed toward the singer as praise and worship leader, the model centers on dimensions of instruction that help singers to know the meaning and purposes of worship and principles of leading worship, the nature of spirituality and vocal leadership in worship, and context-specific applications of vocal leadership in worship. The model is interdisciplinary in orientation and builds on foundational biblical, theological, historical, and ethical ideas and principles contained in normative literature; socio-psychological material found in empirical literature, and practice of ministry guides appearing in operational literature. The final diagram of a holistic instructional model results from the development, implementation and evaluation of a course at Beulah Heights Bible College, from interviews with selected Atlanta area praise and worship leaders representing six denominations, and from reflections on the roles of the praise and worship leader as observed in the praise and worship ministry of Babbie Mason. The diagrammatic representation of the educational model identifies the important relational worship environment about which the praise and worship leader must be aware. The model is inclusive of prophetic, priestly, and revivalist roles of praise and worship leaders and specific activities of guiding and mediating a congregation's experience of and closer relationship with God. It also includes the ethicist role with the specific activity of perpetuating biblical principles, values, and images of justice, inclusivity, and non-violence; the role of the change agent with the specific activity of drawing attention to a vision and activity toward societal transformation; the role of pastoral agent who brings the healing qualities of music to bear on a congregation; the role of the clear communicator of the messages of God; the role of administrator; the role of the worshipper who is familiar with the nature of worship; and the cultural leader who is familiar with the culture of the setting and ensures that the music and style of worship is relevant to the worshippers. And finally, the diagrammatic representation highlights important qualities which the praise and worship leader must develop and exhibit in the conduct of worship including pastoral sensitivities to the congregation's cognitive, affective, psychomotor, and kinesthetic needs, involvement in the spiritual disciplines, and cultural understanding and receptivity.

As a violinist, teacher, and thinker, I am concerned to articulate the relevance of music to the lives of my audience, my students and myself. But my concern is not merely to describe the meanings that people experience when they engage music. Rather, I am interested in constituting the musical relevance that each of us must actualize as we work to make our lives vital and meaningful. Accordingly, in my study I articulate in philosophical, yet practical, terms, a particular attitude of musical engagement that I call meeting. Grounded in Martin Buber’s idea of human existence as I-Thou, my conception of meeting has a specific character. Each side of the meeting must meet itself in its work to constitute the adequacy of its engagement with the other as it must meet with the other in its work to constitute the adequacy of its engagement with itself. It follows that the essence of human meeting is not merely the “reality” – physical, cultural, intellectual – of people who come together. Rather, the essence is their self-critical thought that is created as they share their lives with each other. The focus, then, is not the meeting’s outcome but rather the meeting itself insofar as it constitutes mutual understanding, communication and love. Thus, at the heart of my study, I constitute music in the same way, not as a physical or cultural “reality,” but rather as the meeting between music and musical participant that demands that each – music and participant – attend to self and other. The idea that music’s whole being is meeting has profound implications for how we conceive of music education. Accordingly, the ultimate purpose of my study is to bring my ideas of musical meeting to bear upon how we teach and learn music in the classroom.

Regina is a one-act opera based on the true story of Regina Jonas, the first woman to be ordained as a rabbi in the Jewish faith, in 1935. Jonas struggled to gain this recognition and subsequently perished in the concentration camp at Auschwitz. It was only in 1991 that another woman uncovered the papers that proved Jonas' legacy. This opera follows Regina, waiting to be uncovered in the piles of paper records locked away in East Berlin, and through vignettes of her past. This is paralleled with the story of Anna, who is desperately fighting against her Nazi father's legacy. Anna believes that, if she can uncover stories like Regina's, she will free herself of her father's torment. Regina is similarly haunted by her mother's ghost, whose discouraging words have shaped Regina's lifelong self-doubt. Both Regina and Anna need to be set free. This opera uses leitmotifs to differentiate the two main characters, but these themes are also often used as signifiers of the common struggles that both characters embody and represent. As well, they employ rhythmic and melodic styles that pervade both the vocal and instrumental parts throughout the opera, thus unifying the characters' goals. Because of the fact that the opera takes place in multiple time periods (sometimes simultaneously) the various choices of instrumentation and harmonic material often reflect these temporal shifts (for example, the accordion is often associated with Regina's path to ordination, her relationship with her rabbi, and a time of joy and calm before the war.) In addition, melodic and rhythmic motifs are used to represent specific as well as general events, such as the three-note 'ordination' theme and the two-chord repeated motif in the piano. The overall extended tonal style contributes to a largely lyrical setting of Maya Rabinovitch's libretto.

This study engages a network of music, myth, and metaphysics within late-ancient and twelfth-century music theory and cosmology. It traces the development, expansion, and demise of a (natural-)philosophical harmonic speculation that stems largely from an a priori commitment to a harmonic cosmology with its deepest roots in Plato’s Timaeus. It argues that music theory not only allowed twelfth-century thinkers to conceptualize the fabric of the universe, but it also provided a hermeneutic tool for interpreting the ancient and late-ancient texts that offered detailed theories of the world’s construction. The twin goals of this study are thus philosophical and musicological: firstly and philosophically, to analyze and re-assert the importance of musical speculation in the writings of the self-styled physici, who probed the physical world and its metaphysical foundations during the ‘Twelfth-Century Renaissance’; secondly and musicologically, to document the sources and scope of this musical speculation and to situate it within the larger tradition of ‘speculative music theory.’ The first part of the thesis (chapters one and two) disentangles the knotty question of sources for and connections between the late-ancient texts (by Calcidius, Macrobius, and Boethius) that form the background of twelfth-century thought, and it sketches the proper domain of musical thought by tracing the expansion of music’s role in quadrivial and natural-philosophical contexts from late-ancient encyclopedism though various twelfth-century divisiones scientiae. The second part of the thesis (chapters three through five) assembles and analyzes the direct evidence for twelfth-century harmonic theory. These chapters, heuristically organized around the Boethian tripartition of music, present an anagogic ascent per aspera ad astra. Chapter three (musica instrumentalis) highlights the occasional and perhaps surprising employ of practical, technical music theory in cosmological contexts, and focuses on the epistemological foundations of hearing and the ontological status granted to the sonorous ‘objects’ of hearing. Chapter four (musica humana) targets the anthropological, psychological, and ethical implications of musical relations in and between body and soul. Finally, chapter five (musica mundana) outlines the cosmological framework, the anima mundi in particular, that underpins the concordant machinations of the machina mundi in all its manifestations.

This study engages a network of music, myth, and metaphysics within late-ancient and twelfth-century music theory and cosmology. It traces the development, expansion, and demise of a (natural-)philosophical harmonic speculation that stems largely from an a priori commitment to a harmonic cosmology with its deepest roots in Plato’s Timaeus. It argues that music theory not only allowed twelfth-century thinkers to conceptualize the fabric of the universe, but it also provided a hermeneutic tool for interpreting the ancient and late-ancient texts that offered detailed theories of the world’s construction. The twin goals of this study are thus philosophical and musicological: firstly and philosophically, to analyze and re-assert the importance of musical speculation in the writings of the self-styled physici, who probed the physical world and its metaphysical foundations during the ‘Twelfth-Century Renaissance’; secondly and musicologically, to document the sources and scope of this musical speculation and to situate it within the larger tradition of ‘speculative music theory.’ The first part of the thesis (chapters one and two) disentangles the knotty question of sources for and connections between the late-ancient texts (by Calcidius, Macrobius, and Boethius) that form the background of twelfth-century thought, and it sketches the proper domain of musical thought by tracing the expansion of music’s role in quadrivial and natural-philosophical contexts from late-ancient encyclopedism though various twelfth-century divisiones scientiae. The second part of the thesis (chapters three through five) assembles and analyzes the direct evidence for twelfth-century harmonic theory. These chapters, heuristically organized around the Boethian tripartition of music, present an anagogic ascent per aspera ad astra. Chapter three (musica instrumentalis) highlights the occasional and perhaps surprising employ of practical, technical music theory in cosmological contexts, and focuses on the epistemological foundations of hearing and the ontological status granted to the sonorous ‘objects’ of hearing. Chapter four (musica humana) targets the anthropological, psychological, and ethical implications of musical relations in and between body and soul. Finally, chapter five (musica mundana) outlines the cosmological framework, the anima mundi in particular, that underpins the concordant machinations of the machina mundi in all its manifestations.

As a violinist, teacher, and thinker, I am concerned to articulate the relevance of music to the lives of my audience, my students and myself. But my concern is not merely to describe the meanings that people experience when they engage music. Rather, I am interested in constituting the musical relevance that each of us must actualize as we work to make our lives vital and meaningful. Accordingly, in my study I articulate in philosophical, yet practical, terms, a particular attitude of musical engagement that I call meeting. Grounded in Martin Buber’s idea of human existence as I-Thou, my conception of meeting has a specific character. Each side of the meeting must meet itself in its work to constitute the adequacy of its engagement with the other as it must meet with the other in its work to constitute the adequacy of its engagement with itself. It follows that the essence of human meeting is not merely the “reality” – physical, cultural, intellectual – of people who come together. Rather, the essence is their self-critical thought that is created as they share their lives with each other. The focus, then, is not the meeting’s outcome but rather the meeting itself insofar as it constitutes mutual understanding, communication and love. Thus, at the heart of my study, I constitute music in the same way, not as a physical or cultural “reality,” but rather as the meeting between music and musical participant that demands that each – music and participant – attend to self and other. The idea that music’s whole being is meeting has profound implications for how we conceive of music education. Accordingly, the ultimate purpose of my study is to bring my ideas of musical meeting to bear upon how we teach and learn music in the classroom.

While considerable research has explored the skills elite professionals use to sustain performance excellence in a multitude of disciplines, much less research has focused on professional musicians. Multi-faceted skills are needed to maintain performance excellence. This research investigates the deliberate skills and processes professional opera singers employ to preserve elite performance. Data drawn from individual semi-structured interviews with ten professional opera singers, with a minimum career length of ten to twenty years, were analyzed within the methodology of grounded theory. Results revealed a strong role for creation of a music "road-map" in the context of deliberate preparedness in both physical and mental skills, which contributed to high levels of learning self-efficacy. High-level skills cultivated in the preparation phase were applied directly within the context of live performance, facilitated "flow" experiences, involved energy exchanges with other performers and audiences, and resulted in higher levels of performing self-efficacy.