This study looks at the effects of silence as compared to two different types of music and one type of irrelevant speech to analyze the effects on an assessment of 4 categories of mathematical questions. The hypothesis tested was that students would perform best when subject to no distraction (silence), followed closely by non-verbal music (dubstep), while verbal music (Rap) and irrelevant self-speech (repeating the word ‘za’) would result in a decrease in performance. The hypothesis was not found to be statistically significant, but a general trend supporting the hypothesis was present and found to be consistent with similar research. / text

The purpose of this study is in one part to observe the evolution of the wind octet genre and another to research the evolution of the bassoon's role in this ensemble. Specifically the essential role of the two bassoons are revealed by showing that they are the only pair of instruments that remain intact in the wind octet ensemble from the time of Mozart to the time of Stravinsky. Because of this, they provide the wind octet it's characteristic sound. To illustrate these points, two significant wind octets were examined in detail: The Serenade in Eb, K. 375 (1782) by Mozart and the Octet for Winds (1923/revised 1952) by Stravinsky. Despite the long time span between these two works, and the obvious changes in instrumentation, the Octet for Winds by Stravinsky could be called an evolved version of the earlier traditional wind octet. The research within illustrates how the writing for the bassoons changed and stayed the same as related to range, articulation, technical demands, interaction and blending, idiomatic features and role between the years of 1782 and 1923. Other octets that fall between these dates were examined to demonstrate this evolution. Also, in order to have a better understanding of the Serenade by Mozart and Octet for winds by Stravinsky, their symphonic works were analyzed to determine how each composer wrote for the bassoon in other genres and this is compared to the use of the bassoon in their octets.

The problem of how to perform the early Classical keyboard slur has prompted perplexity and dissension in generations of thoughtful performers and teachers. While the mandatory legato indicated by the slur is unquestioned, diversity of opinion centers around the performance of the last note of the slur, specifically regarding its length. Modern pedagogy has generally followed a time-honoured principle of an early release for the last note of a slur, yet many artists seem to disregard this guidance at will. This study attempts to clarify the issue by examining several treatises of the early Classical period. A brief history of the slur is included because its origins undoubtedly influenced how it was later performed. Most of the research, however, focuses on relevant material found in three treatises written by contemporaries of Wolfgang Mozart, namely, CPE. Bach, Daniel Turk, and Mozart's father, Leopold. The three components of the slur—the first note, the notes under the slur, and the last note are treated in turn by presenting information found in the treatises and providing interpretative commentary. This information is then applied to slurs found in the keyboard sonatas of Wolfgang Mozart. Unfortunately, treatises provide no definitive answer to the question of the performance of the last note of a slur. This lacuna is most likely due to the daunting task of describing the many musical circumstances involved in performing the last note under a slur. Solutions to the problem, therefore, cannot simply be founded solely on treatise instructions regarding the slur. Fortunately, the wealth of descriptive writing on the general art of effective music-making also provides some important clues to understanding the principles of performing the last note under a slur. Much of this study focuses on understanding the three important factors influencing the slur's ending: formal structure, Classical violin bowing technique and, most important, the musical context in which a slur is found. When these three aspects of performance are understood, much of the uncertainty surrounding Wolfgang Mozart's slurs will disappear.

Until such players as Lionel Tertis improved the status of their instrument in the twentieth century, violists have had to rely to a considerable extent on arrangements to help redress the void which exists in viola literature (when compared with the extensive repertory of many other instruments), a gap that is particularly apparent in the eighteenth century. One such example is the arrangement of Mozart’s Clarinet Concerto, K. 622 for solo viola. During the twentieth century, a small number of arrangements were made of this composition for viola; however, among the most interesting is an anonymous arrangement made only eleven years after the composer’s death, in 1802, by the German publishing firm Johann Anton André. This paper identifies the extant sources for the original clarinet version of the work, followed by an examination of the 1802 André arrangement. A comparison of the latter with an arrangement for viola by Lionel Tertis dating from the 1940s will also be made, with each version discussed in light of the culture, techniques and performance practices of its period, alongside a consideration of the overall feasibility of this work for the viola.

Until such players as Lionel Tertis improved the status of their instrument in the twentieth century, violists have had to rely to a considerable extent on arrangements to help redress the void which exists in viola literature (when compared with the extensive repertory of many other instruments), a gap that is particularly apparent in the eighteenth century. One such example is the arrangement of Mozart’s Clarinet Concerto, K. 622 for solo viola. During the twentieth century, a small number of arrangements were made of this composition for viola; however, among the most interesting is an anonymous arrangement made only eleven years after the composer’s death, in 1802, by the German publishing firm Johann Anton André. This paper identifies the extant sources for the original clarinet version of the work, followed by an examination of the 1802 André arrangement. A comparison of the latter with an arrangement for viola by Lionel Tertis dating from the 1940s will also be made, with each version discussed in light of the culture, techniques and performance practices of its period, alongside a consideration of the overall feasibility of this work for the viola.

Thesis (Ph.D.) -- Florida State University, 2003. / Advisor: Dr. Jane Piper Clendinning, Florida State University, School of Music. Title and description from dissertation home page (viewed Mar. 10, 2004) Document formatted into pages; contains 251 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 13, 2006, Feb. 12, 2007, Nov. 8, 2007, and Mar. 5, 2008. Includes bibliographical references (p. 38-40).

Inaug.-Diss.--Basel. / Vita. Bibliography: p. 153-154.

Thesis (Ed.D.)--Teachers College, Columbia University, 1966. / Typescript; issued also on microfilm. Sponsor: Harry R. Wilson, . Dissertation Committee: Frederick D. Mayer. "Complete listing of the choral church music of Mozart" : leaves 110-114. "Recordings of choral church music of Mozart" : leaves 115-116. Includes bibliographical references (leaves 104-106).

Thesis (D. Mus. Arts)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 120-122).