Source: Dissertation Abstracts International, Volume: 30-02, Section: A, page: 0752. / Thesis (Ph.D.)--The Florida State University, 1968.

Source: Dissertation Abstracts International, Volume: 30-07, Section: A, page: 3038. / Thesis (Ph.D.)--The Florida State University, 1968.

Source: Dissertation Abstracts International, Volume: 30-11, Section: A, page: 5021. / Thesis (Ph.D.)--The Florida State University, 1968.

Source: Dissertation Abstracts International, Volume: 31-09, Section: A, page: 4816. / Thesis (Ph.D.)--The Florida State University, 1970.

Source: Dissertation Abstracts International, Volume: 31-09, Section: A, page: 4821. / Thesis (Ph.D.)--The Florida State University, 1970.

Source: Dissertation Abstracts International, Volume: 31-11, Section: A, page: 6103. / Thesis (Ph.D.)--The Florida State University, 1970.

Source: Dissertation Abstracts International, Volume: 32-04, Section: A, page: 2117. / Thesis (Educat.D.)--The Florida State University, 1971.

A quintessential example of the synthesis of Taiwanese and Western musical elements can be found in the Zheng Concerto--Dots, Lines, and Convergence by Chihchun Chi-Sun Lee. / A Thesis submitted to the School of Music In partial fulfillment of the Requirements for the degree of Master of Music. / Degree Awarded: Spring Semester, 2004. / Date of Defense: April 2, 2004. / Music Theory / Includes bibliographical references. / Matthew Shaftel, Professor Directing Thesis; Frank Gunderson, Committee Member; Evan Allan Jones, Committee Member.

The purpose of this study was to compare the effects of music, gestures, and music with gestures on the sight-word recognition of students with dyslexia. Specifically, this study examined participants': 1) sight-word recognition in isolation, 2) time-delay in sight-word recognition, 3) sight-word recognition in reading passages, and 4) reading comprehension of reading passages. Students with dyslexia at a private school for students with dyslexia and attention deficit disorder served as participants (N = 6). All participants received reading instruction on the target sight-words using music, gestures, and music with gestures. During the music condition, participants sang the target words to short melodic motifs. During the gesture condition, participants signed the words. During the music with gesture condition, participants both sang and signed the target words. Results indicated that participants made significant improvement pre- to posttest for sight-word recognition in isolation and in reading passages. All conditions resulted in significant participant improvement pre- to posttest; however, both music and gestures used alone were significantly more effective than music with gestures. There was no significant difference in participants' time-delay of sight-words in isolation or in reading comprehension of selected passages. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Therapy. / Degree Awarded: Summer Semester, 2007. / Date of Defense: June 25, 2007. / Sign Language, Reading, Dyslexia, Gesture, Music / Includes bibliographical references. / Alice-Ann Darrow, Professor Directing Thesis; Jayne M. Standley, Committee Member; Sarah Gregory, Committee Member.

Despite being the focus of studies in fields such as ethnomusicology, cultural studies, philosophy, and history, punk rock—and American hardcore punk rock in particular—has yet to fall under the analytical gaze of music theorists. In this dissertation I aim to fill this gap by examining some typical stylistic practices in hardcore punk, a repertoire described as aggressive, reflecting energy and intensity, and driven by an impulse toward brevity of song forms. In order to capture these elements, I examine instrument-specific items, such as drum patterns and guitar/bass riffs, as well as how repetitions of these play into creating form. Further, as the primary texts of hardcore are recordings, I also delve into matters of recording attributes. I argue that each of these items is integral in defining hardcore as a musical genre. While the first incarnation of hardcore took place from the late-1970s to the mid-1980s and included a number of bands, I focus on early hardcore (roughly 1978–1983) and on four main bands: Black Flag, Bad Brains, Minor Threat, and the Dead Kennedys. I begin the dissertation by examining previous studies of hardcore music, of which there are very few. Following this, I briefly outline some of the main characteristics of the genre before presenting a history of each main band, via their discography. Chapter Two turns to the construction of drum patterns and what I call "riff schemes": patterns of physical motion on the guitar that form the basis of several types of riffs. Further, this type of kinesthetic focus also informs my examination of common melodic and harmonic features of hardcore riffs, as I engage these patterns on a guitar's fretboard. Chapter Three moves to larger aspects of form and addresses the components of individual formal sections, such as verses and choruses. Previous literature devoted to form in popular music supplies definitions, but many are too restrictive for application to hardcore; thus, I frame my own understandings by seeking out the main elements of each section—as identified by others—and shape them to reflect hardcore practice. Chapter Four examines recording attributes; in particular, I discuss the spatial aspects of recordings, with a brief foray into timbre. Recordings reflect several dimensions, including width (the placement and total spread of instruments on a horizontal plane); depth (the placement and total spread of instruments on a receding plane, as well as their placement in a performance environment); and height (the placement of instruments on a vertical plane, which measures high to low and is based upon frequency spectra). I address each attribute as it is reflected in hardcore before ending the chapter with a discussion of texture, specifically relating the creation of texture to these three dimensions. Chapter Five provides four in-depth analyses that address all of the previous musical elements examined in the dissertation, but also seeks to identify how certain metaphors of hardcore are signified in the music. While aggression is found in rhythmic and textural practices, energy and intensity are reflected in the construction of riffs, their deployment throughout a song, and the tempo at which they are performed. Brevity is present in all musical parameters, from formal constructions to recording attributes. The dissertation ends with a series of conclusions and prospects for future research. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Spring Semester, 2011. / Date of Defense: March 29, 2011. / Riff Schemes, Drum Patterns, American Hardcore, Punk Rock, Guitar Riffs, Dead Kennedys, Minor Threat, Bad Brains, Black Flag, Timbre, Texture, Recording Space, Analysis of Recordings / Includes bibliographical references. / Jane Piper Clendinning, Professor Directing Dissertation; Frank Gunderson, University Representative; Joseph Kraus, Committee Member; Matthew Shaftel, Committee Member.