Michel Foucault's structures of knowledge define meaning in history. In the museum, meaning is made through the material evidence of people and their environment. This study examines how Foucault's classification paradigm established in The Order of Things: An Archaelogy of Knowledge assigns meaning and order in two historical and one contemporary museum. Foucault's Renaissance episteme is analyzed in the Palazzo Medici, his Classical episteme is examined through the Studio Aldrovandi, and Foucault's Modern episteme is analyzed in the Walker Art Center. Specific attention is given to the gardens attached to each museum. This study will help individuals interested in museums to more fully realize the shifts and ruptures in the construction of knowledge in the museum from the fifteenth to the modern era. / A Dissertation submitted to the Program in the Interdisciplinary Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Fall Semester, 2005. / Date of Defense: November 4, 2005. / Garden History, Museum Studies / Includes bibliographical references. / LaurenS. Weingarden, Professor Directing Dissertation; Walter W. Wager, Outside Committee Member; Maricarmen Martinez, Committee Member; Viki Thompson-Wylder, Committee Member.

The purpose of this thesis is to catalogue and analyze the stamps on Italian red-gloss pottery discovered at San Venanzo, Italy (locality Poggio delle Civitelle) during the 2000 to 2003 seasons. When viewed within the greater context of Italian red-gloss pottery as a class of artifact, the pieces allow one to form some initial hypotheses about the site as a whole. The catalogue of pottery stamps contains twenty-two pieces of ceramic. Most pieces are quite small and all comprise only parts of larger vessels. Many of the stamps are partially broken and/or worn. All of the pieces have suffered some degree of surface damage. Discussions of the site and a brief history of Italian red-gloss pottery are presented first, in order to put the San Venanzo finds into their proper context. It is appropriate to include aspects of nomenclature, manufacture, value, classification, and red-gloss pottery outside of Italy in the latter section. The catalogue groups together stamps that originated from the same regions of Italy, as well as those which cannot be identified due to illegibility. Within these groups, stamps from the same workshop are placed next to each other to facilitate comparison. The catalogue also provides a description of the appearance of each piece, a concordance of stamp and form types (when possible), and attribution to a known Italian red-gloss pottery workshop (when possible). The examination of the pieces of stamped Italian red-gloss pottery from San Venanzo suggests several ideas about the site. First, the settlement had enough trade with the outside world to be able to acquire a significant amount (at least twenty-two pieces) of non-local, non-utilitarian pottery, esteemed around the Roman Empire for its aesthetic value. Second, the settlement imported its red-gloss pottery primarily from two identified areas, Arezzo, the most famous Italian red-gloss production center, and Scoppieto, a very small, nearby production center. Third, based on the finds to date, only stamps from the 1st century AD have yet been identified at the site, although Italian and provincial red-gloss continued to be produced into the 4th century AD. Whether this indicates a shift in trade or is the result of changes in manufacturing spheres is difficult to ascertain. / A Thesis submitted to the Department of Classics in partial fulfillment of the requirements for the degree of Master of Arts. / Degree Awarded: Summer Semester, 2004. / Date of Defense: April 6, 2004. / Roman Red-Gloss Pottery, Terra Sigillata, Roman Pottery, San Venanzo, Poggio delle Civitelle, Florida State University Excavations, Pottery Stamps / Includes bibliographical references. / Nancy T. de Grummond, Professor Directing Thesis; Christopher A. Pfaff, Committee Member; Daniel J. Pullen, Committee Member.

The purpose of this study was to examine gender differences among full term infants' responses to music played at a range of decibel levels. These responses were measured by physiological data (heart rate) and behavioral data (behavior state score). All subjects (N = 36) were healthy, 24 – 48 hours old, and had passed a hearing screening at the time of testing. Heart rate and behavior state were recorded as male (n = 18) and female (n = 18) subjects listened to alternating 3 minute periods of silence and music for 21 minutes. The music – an excerpt of an instrumental lullaby –was presented via small speakers placed on either side of each subject's head and played at three different loudness levels: 55 – 60 dB, 65 – 70 dB, and 75 – 80 dB. Heart rate was measured using a pulse oximeter with a Y-sensor attached to each subject's great toe, and behavior state was measured using a scale adapted from the Neonatal Behavioral Assessment Scale (Brazelton & Nugent, 1995). A two-way analysis of variance with repeated measures computed for both order and gender found no significant difference in heart rate or behavior state during the three loudness levels. Possible reasons for this difference include enjoyment of the music regardless of intensity or physical inability to discriminate between the different levels. / A Thesis submitted to the School of Music in partial fulfillment of the requirements for the degree of Master of Music. / Degree Awarded: Fall Semester, 2003. / Date of Defense: August 28, 2003. / Heart Rate Response, Infant Children, Music / Includes bibliographical references. / Dianne Gregory, Committee Member; Clifford Madsen, Committee Member.

Americans first experienced and embraced dance marathons in 1923, after which these events quickly gained popularity. But the dance marathon that burst upon the scene as yet another fad in keeping with the ebullient nature of the 1920s was dissimilar in form and intent from the dance marathon as it would evolve during the depression years of the 1930s. Within a decade, dance marathons were quickly transformed into a combination of contest and entertainment, replete with spectacle, humor, horror, romance suspense, and drama. By applying Victor Turner's rites of passage and social drama theories to these contests, the dance marathon circuit is revealed to have been a society within, and to a great degree separate from, the larger American society. This viewpoint serves to demonstrate why and how the marathon developed as it did. The specific social drama that developed within the marathon was a smaller reflection of the nation's larger Meta drama – establishing the micro within the macro of society. Viewed from this perspective – as a secondary or alternate society – social drama is confirmed to be the main utility in its development. / A Thesis submitted to the Department of Dance in partial fulfillment of the requirements for the degree of Master of Arts. / Degree Awarded: Fall Semester, 2006. / Date of Defense: November 3, 2006. / Spectacle Entertainment, Gender Roles, Great Depression, Social Dance, Roaring Twenties, Walkathons / Includes bibliographical references. / Sally R. Sommer, Professor Directing Thesis; Tricia H. Young, Committee Member; John O. Perpener, III, Committee Member.

This study addressed the traveling preferences possessed by the retired baby boomer generation. This demographic is looking for authenticity, historical richness, and comfort in a lodging space. Many retired baby boomers are also seeking accessible and sustainable lodging accommodations. For the purposes of this study, an existing architecturally significant house located in Apalachicola, Florida was selected to be renovated into a bed and breakfast to accommodate the lodging desires and needs of the retired baby boomers. The bed and breakfast offered a historical rich environment that was made accessible and eco-friendly. Materials selected for the interior of the bed and breakfast were derived from the Art Nouveau time period which honored the particular style of design when the house was built in 1908. Existing hardwood flooring, window treatments, stained glass windows, fireplaces, and chandeliers remained in the house to maintain the historical value of the house. The bed and breakfast has the ability to offer an eco-friendly environment by providing sustainable furniture, lighting, and materials. / A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts. / Degree Awarded: Summer Semester, 2007. / Date of Defense: June 15, 2007. / Art Nouveau, Baby Boomers, Hospitality Design, Bed And Breakfast, Interior Design, Apalachicola, Young Tourists, Florida, Historic Heritage Tourists, Accessible Design, Sustainable Design / Includes bibliographical references. / Lisa Waxman, Professor Directing Thesis; Eric Wiedegreen, Committee Member; Jill Pable, Committee Member.

The purpose of this paper is to provide an historical examination of founder/director Alexia Jones' use of Christian-based dance as a treatment for substance addiction through the Beracha Dance Institute. This study analyzes how Jones' integrative process intuitively drew on the similar techniques and methodologies of clinical dance therapy and those of faith-based dance ministries. Jones' work combined the transformative and restorative properties of both of these applications of dance. In addition, Jones' work, and the sources it drew on, echo the healing dance rituals that have been used in traditional societies throughout the ages. Consequently, an historical analysis of her work necessitates looking at the foundations of, and analogies between, the clinically therapeutic application of dance and the spiritually therapeutic application of dance, as well as their historical precedents. / A Dissertation submitted to the Department of Interdisciplinary Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Fall Semester, 2007. / Date of Defense: October 16, 2007. / Drug Treatment Therapy, Christian Dance, Beracha Dance Institute, Crack Cocaine In Tallahassee FL., Alexia Jones / Includes bibliographical references. / John O. Perpener, III, Professor Directing Dissertation; Neil Jumonville, Outside Committee Member; William Cloonan, Committee Member; Nancy Smith Fichter, Committee Member; Tricia Henry Young, Committee Member.

The purpose of this document is to examine the relationship between the traditional university percussion curriculum and technology, specifically audio and video production. An overview of the current university percussion curriculum will be presented, followed by a survey of the available audio and video technologies with a step-by-step image tutorial provided. Then a detailed description how to implement technology into the contemporary curriculum will be discussed and further supported by interview transcriptions and questionnaire responses from current and graduate percussionists from the Florida State University Percussion Studio. A survey of available technology for every budget will conclude the document for those interested in augmenting their curriculum with audio and video technology. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Summer Semester 2017. / July 14, 2017. / Microphones, Percussion, Recording, Technology / Includes bibliographical references. / John W. Parks, IV, Professor Directing Treatise; Richard Clary, University Representative; Leon Anderson, Committee Member; Patrick Dunnigan, Committee Member.

This dissertation seeks to better understand the concept of community engagement through the application of the arts to address social concerns. This case study focused on The Tallahassee Community Chorus and its performance of “Sing for the Cure: A Proclamation of Hope.” The research questions dealt with aspects related to the planning, implementation, and evaluation of the concert, in an attempt to determine if the effort could be considered community engagement based on the applied methodological framework: Borwick’s (2012) eightfold path of community engagement and Rendón’s (2009) notion of sentipensante. The research study relied on data collected through observations of board meetings, rehearsal sessions, and the concert itself. Additional data came from interviews of board members, executive staff persons, audience members, and a representative of the partnering organization, Tallahassee Memorial Hospital’s Cancer Center. Also, concert ushers distributed survey cards to audience members, who returned the cards upon exiting the concert. I analyzed the collected data through NVivo and Excel software, and determined prominent themes related to the study, which were then applied to the framework and, ultimately, to the research questions. Time constraints, low attendance, organizational role related to input and goal formulation, varied performer support for the topic of breast cancer, aspects of the performance, addressing a social issue, and applying the concert to cancer generally, were the prominent themes of this study. The Tallahassee Community Chorus presented an example of community outreach, but not engagement, as determined by failure to solicit an external partner and build a relationship with them before deciding on the piece to perform. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the Doctor of Philosophy. / Summer Semester 2017. / May 2, 2017. / Administration, Arts, Community, Engagement, Management, Outreach / Includes bibliographical references. / Pat Villeneuve, Professor Directing Dissertation; Wanda Brister-Rachwal, University Representative; David Gussak, Committee Member; Anne Hodges, Committee Member; Antonio Cuyler, Committee Member.

Because of composers' ongoing contributions to the repertoire, there is a need to recognize and uncover twenty-first century unaccompanied solo works for the bass trombone. Performers and teachers alike benefit from receiving information on the demands of new music for the bass trombone. It is important for bass trombonists and trombone teachers to be aware of available repertoire other than the standard works. Furthermore, it is hoped that highlighting the overall value of pieces specifically from trombonist composers will encourage future contributions to the repertoire. Currently there is not an existing resource that covers the twenty-first century unaccompanied bass trombone repertoire written by trombonist composers. New additions to the solo repertoire for the unaccompanied bass trombone continue to increase in the twenty-first century; however, most of these additions are vastly unrecognized. This collection of information can positively influence future composers and their potential additions to the repertoire. At its minimum value, this document serves to observe and analyze new music. Two lecture recitals served as a distillation of this document on the same topic. These lectures contained biographical information about each composer, outlined each unaccompanied piece, highlighted specific technical demands for the performer, offered practice and performance suggestions to overcome said demands, and included a performance of select movements or the piece in its entirety. This document covers all the same information but features a more in-depth scope and includes greater detail in the specific challenges presented in each piece. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / March 29, 2018. / Includes bibliographical references. / John Drew, Professor Directing Treatise; Richard Clary, University Representative; Christopher Moore, Committee Member; Leon Anderson, Committee Member.

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