Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by 4 recitals, recorded June 16, 1997, June 29, 1998, June 25, 2001, and Mar. 4, 2002. Includes bibliographical references (p. 51-52).

PhD in Performance / Performance related musculoskeletal disorders (PRMDs) are a frequent reality for practicing musicians. Many aspects of the bassoon make bassoon players particularly susceptible to PRMDs. This thesis explored the prevalence of PRMDs among bassoon players and assessed the frequency, types, and locations of PRMDs. Also identified were treatments used for PRMDs, contributing factors to PRMD development, and the perceptions of the bassoon community regarding PRMDs. The International Bassoonist Questionnaire was distributed via the World Wide Web (n = 166, 58% male, 42% female). Eighty-six percent of bassoon players reported PRMDs. Pain was the most common PRMD symptom reported (78%). Females reported PRMDs (96%) more frequently than males (78%). Younger bassoon players reported more PRMDs. Most bassoon players (88%) were attempting to treat their PRMDs. The most common self-administered treatments were rest (60%) and reducing playing time (53%). Bassoonists attributed the cause of PRMDs to “long hours of practice” and “sudden increase in playing time.” Bassoon players felt strongly that the medical profession did not know how to treat a bassoon related injury. They believed that a knowledgeable teacher was the best resource against the onset of PRMDs even though technical aspects of playing were not identified as significant contributors to PRMDs. The bassoon playing population needs more information about PRMDs in order to develop treatment and prevention strategies.

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains 1 score (vi, 29 p.) For clarinet, bassoon, and chamber orchestra (two trumpets, two horns, tenor trombone, bass trombone, percussion, piano, harp, and strings (six first violins, six second violins, four violas, four cellos, and two basses) Includes bibliographical references.

Thesis (M. Mus.)--University of Wisconsin--Madison, 1960. / For flute, oboe, clarinet, horn, and bassoon. Holograph. eContent provider-neutral record in process. Description based on print version record.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1987. / Typescript. Vita. Appendices: leaves 39-123. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf 38).

Treatise (D.M.A.) Florida State University, 2004. / Advisor: Jeff Keesecker, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 74 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.M.) Florida State University, 2005. / Advisor: Ladislav Kubik, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-20-2007). Document formatted into pages; contains 49 pages. For flute, saxophone, bassoon, piano, violin, violoncello, and percussion (2 players). Includes biographical sketch.

abstract: Nino Rota was a prolific composer of twentieth-century film and concert music, including the Concerto for bassoon and orchestra in b-flat major. Composing over 150 film scores for directors such as Federico Fellini, Francis Ford Coppola, Henry Cass, King Vidor and Franco Zeffirelli, Rota received distinguished acclaim from several film institutions, professional film reviewers and film music experts for his contributions to the art form. Rota also composed a great deal of diverse repertoire for the concert stage (ballet, opera, incidental music, concerti, symphonies, as well as several chamber works). The purpose of this analysis is to emphasize the expressive charm and accessibility of his concerto in the bassoon repertoire. The matter of this analysis of the Concerto for bassoon and orchestra concentrates on a single concerto from his concert repertoire completed in 1977, two years before Rota's death. The discussion includes a brief introduction to Nino Rota and his accomplishments as a musician and film composer, and a detailed outline of the motivic and structural events of contained in each movement of the concerto. The shape of the work is analyzed both in detailed discussion and by the use of charts, including reduced score figures of excerpts of the piece, which illustrate significant thematic events and relationships. The analysis reveals how Rota uses lyrical thematic material in a consistently, and he develops the music by creating melodic sequences and varied repetitions of thematic material. He is comfortable writing several forms, as indicated by the first movement, Toccata - a sonata-type form; the second movement, Recitativo, opening with a cadenza and followed by a theme and brief development; and the third movement, a theme (Andantino) and set of six variations. Rota's writing also includes contrapuntal techniques such as imitation, inversion, retrograde and augmentation, all creating expressive interest during thematic development. It is clear from the discussion that Rota is an accomplished, well-studied and lyrical composer. This analysis will inform the bassoonist and conductor, and aid in developing a fondness for the Concerto for bassoon and orchestra and perhaps other concert works. / Dissertation/Thesis / D.M.A. Music 2012

abstract: A common concern among musical performers in today'’s musical market pertains to their capacity to adapt to the constantly changing climate of the music business. This document focuses on one aspect of the development of a sustainable, entrepreneurship skill set: the production of a recording. While producing the recording Chocolates, the author examined and documented the multiplicity of skills encompassed with a recording project. The first part of the document includes a discussion of various aspects of the recording project, Chocolates, through an entrepreneurial lens, and an evaluation of the skill sets acquired through the recording process. Additionally, the inspiration and relevance behind the recording project and the process of collaboration between the two composers from whom I commissioned new compositions, Noah Taylor and James Grant, and myself is considered. Finally, I describe the recording and editing processes, including the planning involved within each process, how I achieved the final product, and the entrepreneurial skills involved. The second portion of this document examines a broad range of applications of entrepreneurship, marketing, and career management skills not only within the confines of this particular project, but also in relation to the overall sustainability of a twenty-–first century music-–performing career. / Dissertation/Thesis / D.M.A. Music 2013

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