The purpose of the study was to explore the music therapy knowledge among college music students in Taiwan. This study chose three groups of students. Group A (n = 50) included Junior and Senior music students who had taken or were currently taking music therapy courses. Group B (n = 57) consisted of music students selected from the ranks of Sophomore or Junior at each of the colleges offering music therapy courses, who had not taken any music therapy course. Group C (n = 83) was constituted of students selected from among the Junior and Senior attending colleges that did not offer music therapy courses. The results of the study showed that students in group A were significantly more knowledgeable about music therapy than students in groups B and C. The music therapy courses did help to increase understanding of the diverse uses of music and its applications to specific populations in a variety of settings and using different techniques. A second analysis indicated that there were no significant difference among those three groups on evaluation of music therapy interests and curriculum. The researcher suggested that music educators in Taiwan should take the benefits of course offerings in music therapy into consideration when contemplating the development of the curricula of their schools. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Degree Awarded: Summer Semester, 2005. / Date of Defense: July 1, 2005. / Music Therapy Interest, Evaluation of Music Therapy Curriculum, Music Therapy Development / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Alice-Ann Darrow, Committee Member; Dianne Gregory, Committee Member.

The purpose of this study is to determine which form of music therapy sessions, bi-weekly group sessions or weekly individual sessions, is more effective in increasing music participation and decreasing depressive symptoms in elderly persons with dementia in a residential facility environment. The Participants (N=13), were each chosen based on a diagnosis of dementia from two residential facilities in Florida. Participants in group one (N=7) received two 30 minute group music therapy sessions twice a week for three weeks, while participants in group 2 (N=6) received a 20 minute individual music therapy session once a week for three weeks. Each group acted as its own control, so data were taken the week prior to treatment as well. The instruments used in this study were a simple on task/off task form to observe participation levels. Participation levels were converted into charts and graphs. Results showed that participation levels were consistently higher in the individual sessions than in group sessions. The researcher used the Cornell Scale for Depression in Dementia (CSDD) to observe depressive symptoms. The CSDD was administered four times, at the end of the first week to establish baseline and the following three weeks of music therapy intervention. Data for the CSDD were statistically analyzed using a two-way repeated measure, ANOVA. There were significant differences in both groups on the CSDD between no intervention and the music therapy conditions (F=23.091, df=3,α=.000). However, there was no significant difference between group vs. individual music therapy sessions (F=1.247, df=3, α=.309). / A Thesis submitted to the School of Music in partial fulfillment of the requirements for the degree of Master of Music. / Degree Awarded: Summer Semester, 2005. / Date of Defense: April 29, 2005. / Dementia, Music Therapy, Depression / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Clifford K. Madsen, Committee Member; Dianne Gregory, Committee Member.

Gordon Binkerd has composed one of the largest choral repertoires in the twentieth century. Including works in preparation, the repertoire now totals more than one-hundred compositions--all but six, published by Boosey & Hawkes, Inc. / Three major areas are explored: (a) influences which helped shape Binkerd's musical growth as well as his understanding and love of poetry; (b) borrowed music: the process of adapting texts to music of composers from earlier periods to create an interesting and unique genre in twentieth-century choral repertoire; and (c) musical implications of text-painting analyzed in four compositions. / Binkerd has combined preparation as a musicologist, while at Harvard (1946-49), with love and knowledge of literature and poetry. This blend of disciplines is a principal reason for the large choral repertoire and for the genre of composition identified as borrowed music: use of the compositional techniques of parody, paraphrase, intabulation and contrafactum in adapting poetry to music--primarily keyboard works--of composers from earlier periods. The study explores poetical influence on this and other facets of Binkerd's choral repertoire with particular attention to how this influence has contributed to Binkerd's text-painting style. The final chapter outlines briefly the educational value found in this extensive repertoire. / Included are three appendices which contain a complete catalog of choral works; an annotated alphabetical listing of poems and other textual sources used in the settings; and, available only from the Florida State University Music Library, six cassettes containing thirty-six recordings of compositions from the choral repertoire and full scores of the eleven compositions analyzed in Chapters IV and VI. / Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2690. / Thesis (Ph.D.)--The Florida State University, 1984.

This symphony is programmatic in conception, implied by the title. "Apocalypse" comes from the Greek meaning "revelation." Revelation may be considered from a Christian point of view; or it may be interpreted in other ways, depending on the individual. / The first movement is a broad ternary form; the outer sections are related in tempo, texture, and mood, rather than in theme. The second movement is a free sectional form, dance-like in character. The third movement is rhapsodic, agitated, and very complex. / Although many sections are lyrical, recurring themes are not used. Textures are basically thick, often polyphonic, especially in the first and third movements. The work is mostly atonal, except for a few places which use pedal points and germinal chords, notably in the first movement and the closing section of the third movement. / Source: Dissertation Abstracts International, Volume: 41-03, Section: A, page: 0848. / Thesis (D.Mus.)--The Florida State University, 1980.

Source: Dissertation Abstracts International, Volume: 40-10, Section: A, page: 5244. / Thesis (Ph.D.)--The Florida State University, 1979.

Concerto for Violoncello and Orchestra is a highly virtuosic work in three movements, Andante - Allegro, Molto Lento, and Allegro Leggiero, all of which are played without pause and together last ca. twenty-four minutes. The orchestra consists of two flutes (the second flute doubling on alto flute and piccolo), two oboes, two B('b) clarinets, B('b) bass clarinet, two bassoons, contrabassoon, four F horns, two C trumpets, two trombones, tuba, three percussionists (who play two bongos, snare and tenor drums, two tom-toms, two bass drums, two marimbas, xylophone, vibraphone, crotales, three suspended cymbals, two tam-tams, and sleigh bells), timpani, piano (who also plays celesta), harp, solo violoncello, and full strings. / The Concerto is a romantic work concerned with pitting the solo against the tutti and with allowing the solo violoncello to sing in broad melodies. The themes each contain all twelve chromatic pitches (with little or no repetition), but this is done for a sense of chromatic completeness rather than as part of any established twelve-tone technique. Each movement is organized around a central pitch (A,D, and G, respectively) which begins main thematic material and is further stressed through repetition. Harmony is otherwise a local event. / The first movement is conceived as a mono-thematic sonata form with a slow introduction. The energetic theme is first presented in the solo violoncello and then by the tutti. A cadenza leads to the development section, from which the solo violoncello is largely absent. The recapitulation begins with the solo violoncello stating the theme in a different setting. A tutti statement follows and leads to a coda, which is both a second development section and a transition to the second movement. / A long, quiet introduction begins the second movement in order to disperse the high degree of tension generated by the first movement, a full statement of the theme not occuring until over two minutes into the movement. Although this theme climaxes with forte strings and winds, the majority of this movement consists of various "chamber music" combinations. A coda follows the second theme and briefly recalls the first theme before making a transition to the final movement. / The third movement is light and quick and in the form of the variation rondo, i.e. a variation of the refrain is used for the second and third refrains rather than a repetition. A development section follows the first statement of the refrain. The first and third episodes present a broad, cantabile theme. The solo, however, only plays this theme in the third episode. The central second episode is scored largely for percussion, first with the solo violoncello and then with bassoons and trombones. A sudden outburst from the clarinet interrupts this section and leads to the third refrain. The material for the clarinet solo is derived from the theme from the first movement. This reoccurs at the end of the third episode in the solo violoncello and is extended into a short cadenza. The tutti follows with the final refrain and a codetta, in which it is joined by the solo violoncello to end the work. / Source: Dissertation Abstracts International, Volume: 41-01, Section: A, page: 0016. / Thesis (D.Mus.)--The Florida State University, 1979.

The purpose of this paper is to explore the conflict between power, politics and family relationships in Richard Wagner's Der Ring des Nibelungen. Selected familial relationships between characters will be analyzed using various method , including Jungian analysis, comparative mythology and musical analysis. The project will attempt to show that intepretations of the Ring have not given enough attention to the tension and paradoxes inherent in family relationships in Wagner's tetralogy and will provide for a more human understanding of the cycle. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Degree Awarded: Spring Semester, 2006. / Date of Defense: March 28, 2006. / Wagner, opera / Includes bibliographical references. / Douglas Fisher, Professor Directing Treatise; Seth Beckman, Outside Committee Member; Matthew Lata, Committee Member; Jerrold Pope, Committee Member.

This dissertation is a Concerto for Orchestra in three movements, with an approximate duration of 26 minutes. The orchestra consists of 3 flutes, 2 oboes, English horn, 2 clarinets in B('(FLAT)), bass clarinet, alto saxophone, tenor saxophone, 2 bassoons, contra bassoon, 4 horns, 3 trumpets, 2 trombones, bass trombone, percussion (3 players), piano, and strings. / The first and the third movements use sonata form as a point of departure. In the first movement, the "development section" as such is relatively short, compensating for the fact that there is much variation in the course of the exposition and the recapitulation. In the third movement, the recapitulation is abbreviated, its place being taken by a coda using material derived from the first two movements. The second movement is in ABA form. / The harmony throughout the composition has no tonal functions and is generally subservient to the linear movement. Though there are many tempo changes within the movements, the three movements follow a tempo plan of fast-slow-fast. The second and third movements are to be played without intervening pause. / Source: Dissertation Abstracts International, Volume: 41-09, Section: A, page: 3774. / Thesis (D.Mus.)--The Florida State University, 1980.

This study argues that no significant interaction occurred between music and humanism or musicians and humanists during the early Renaissance (ca. 1360-1450). It further argues that the best explanation of that fact lies in the classical and medieval relationship between music and philosophy and in the evolutions of philosophy and rhetoric as independent, sometimes antagonistic, traditions. / From Mesopotamia the Greeks received various notions concerning the numerological, astrological, and cosmological significance of the ratios of certain musical intervals. These beliefs are generally referred to as celestial harmony. The doctrines of celestial harmony became increasingly attached to the institutions and disciplines of philosophy, particularly so in the writings of Pythagoras and Plato and in the medieval writings of Boethius. / At least as early as the Greek sophists there is evidence of important epistemological and methodological differences between philosophers (especially natural philosophers) and rhetoricians. Those differences were aggravated and crystallized by the Roman orators, among whom Cicero was most important, and by the medieval system of liberal arts. / When, in the early Renaissance, humanists successfully restored the values of classical rhetoric, they rejected at the same time the value of the classical and medieval philosophical tradition to which music had become attached. One effect of the rise of humanism was, therefore, a polarization of the values of philosophers and rhetoricians which effectively insulated musicians from humanists even when together at the same court or under the same patron. To this phenomenon may be added other related and supportive factors such as social, geographic, and educational differences all of which prevented the interaction of musical and humanistic thought. / Nevertheless, some historians, many of whom are musicologists, have been eager to find evidence that humanism influenced music of the period. Their eagerness may be explained by the popularity of zeitgeist assumptions among many cultural historians together with an inadequate understanding of the meaning and nature of Renaissance humanism which has led to a widespread overestimation of the importance of humanism. They have, in the process neglected the evidence which Renaissance music provides that all that was worthwhile in the Renaissance was not necessarily humanistic. / Source: Dissertation Abstracts International, Volume: 42-06, Section: A, page: 2351. / Thesis (Ph.D.)--The Florida State University, 1981.

This study concerns the restoration of an English chamber organ built in 1837 by William Hill and Frederick Davison. The organ is now owned by the School of Music at Florida State University. The first chapter documents the history of this organ from the time of its original purchase by Christ Church in Savannah, Georgia, through its moving to several Savannah churches, until its donation to the Florida State University and subsequent restoration from 1977 to 1984. The remainder of the study describes the components of the organ, their condition prior to restoration, and the restoration procedures employed. These five chapters are concerned with the wind supply, the windchest, the action, the pipework, and the casework respectively. Figures illustrate the various components, and an appendix lists the scaling dimensions of the pipework. This organ is the only extant Hill and Davision organ and the only organ by those builders to have been exported to the United States. It is distinctive in that both its manual keyboard of 59 notes and its pedal keyboard of 18 notes (connected by pulldowns) slide into the mahogany case like drawers. A combination action acts directly upon the sliders and drawknobs, offering four permanently preset registrations. Among its six stops is a Claribella, which is the earliest known occurrence of that stop. While heavily damaged, the organ was found in a largely intact and unaltered condition, and thus its restoration is considered to be historically accurate. / Source: Dissertation Abstracts International, Volume: 46-01, Section: A, page: 0016. / Thesis (Ph.D.)--The Florida State University, 1984.