This thesis studies the effect of the difference of felt emotion versus expressed emotion on the rate of annoyance in western popular music. It consists of four experiments, the first of which looks at the general effect of the music and change of emotions. The second experiment looks at the effect of lyrics in songs on annoyance, the third at modality and loop type, and the fourth on rhythmic complexity. There is evidence found that points to a difference in felt versus expressed anger predicts an increase in the annoyance rating. The effect of the difference in happy ratings is not as consistent and depends on the song. Familiarity of the song had a slight effect on lowering the annoyance rating. Lyrics, modality, and loop type do not have a main effect on the rate of annoyance. The combination of faster tempos and simpler rhythms reduced annoyance ratings.

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Thesis (D.M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-01

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-01

The problem of this study is to set forth some principles of teaching beginning music theory in Texas colleges; to survey and evaluate critically a sampling of standard theory textbooks basing the evaluation on the principles outlined; and to recommend a methodology for teaching beginning college theory.

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This study proposes temporal referentiality—roughly defined as the orientation of substance in its temporal medium—as a theoretical and analytical framework for musical form. Operating on the principle of music as a temporally extended entity, this thesis explores the connections that occur between substance across its medium, suggests an additional interpretation of medium connections (temporality) in terms of language tense, and examines substance connections (referentiality) through different types of filtering. I also propose a means for visual and literary interpretation of temporal referentiality, depicting a network of substance relationships established over a piece’s timespace. Analysis of this type assumes a listener’s complete familiarity with the substance in its temporal boundaries. Visual representations portray the amount and strength of future- and past-oriented musical substance at a given point in time, including which sections are connected to one another (medium connection) and which variables or features of sameness are responsible for this connection (substance connection). Employing an analogy between orientation and tense, it also becomes feasible to construct a “model prose composition” with the same temporal referentiality as a piece of music. Finally, a system of filtering serves to isolate portions of medium and substance and to clarify what elements are responsible for the elusive concept of “sameness.” The possibilities for temporal reference analysis are applied to the first movements of Bartók’s Fourth String Quartet and Brahms’s Violin Concerto, as well as Bach’s Contrapunctus #9 from The Art of Fugue and the Variations movement of Webern’s Symphony op. 21.

Many incoming students have studied piano prior to entering college and receive much of their theory training through music study with a piano teacher. The National Association of Schools of Music (NASM) designed a website page for potential students to answer the question, "How should I best prepare to enter a conservatory, college, university as a music major?" Theoretical concepts they suggest can be grouped into three main categories: Basic Music Theory Rudiments, Ear-Training Skills, and Form and Harmony. This research examines five piano theory method books (Alfred Premier Piano Course, Bastien Piano Basics, Faber Piano Adventures, Harris Celebrate Piano!, and Kjos Fundamentals of Piano Theory) to assess their effectiveness in presenting the theoretical concepts NASM recommends they should know. The five books used for this study provide a basic foundation for many of the concepts undergraduates will be expected to know as they enter college theory courses.

How forgivable is a musicological text on deconstruction two decades after its assimilation by the other "humanities" disciplines? Moreover, how forgivable is a discipline as a whole which has allowed one of the most challenging aspects of post-war critical theory to pass it by to this extent? In no other field are Laing's remarks more likely to resonate today than that of critical musicology. Even the adoption of the critical epithet itself is a relatively recent phenomenon. However, it is indicative of an emergent desire for musicology to finally engage with contemporary critical discourse in general. Such a call has been made from "outside" the profession by cultural critic Edward Said, who calls for an end to "the generally cloistral and reverential, not to say deeply insular, habits in writing about music." [Musical Flaborations, p.58] From "within" the field, Susan McClary laments that the crucial critical debates are "almost entirely absent from traditional musicology." [Feminine Endings, p.54] Likewise, what is increasingly unforgivable according to Ruth Solie is "our customary methodological behindhandedness [sic]" [Musicology & Difference, p.3]. Various routes away from the methodological backwaters have been suggested. For instance, in a conference paper in 1984, Richard Middleton defined a twofold approach which appears to combine aspects of structuralism and Marxism. Middleton called firstly for a move in to "semiology, broadly defined and stressing the social situation of signifying practise: this should take over from traditional formal analysis." [quoted in Shepherd, Music as Social Text, p.209] Secondly, this should be supplemented with an "historical sociology of the whole musical field, stressing critical comparison of divergent sub-codes of the 'common musical competence': this should take over from liberal social histories of music" [ibid., p.209] As a method for introducing this new musicological mode, Middleton recommends the inclusion of popular music as a field of study. Indeed, his implication is that such a challenge to the classical hegemony would naturally entail a move towards this twofold approach, and would by itself open up "a golden opportunity to develop a critical musicology" [Studying Popular Music, p.123]. In this sense, an expansion of the field of study could lead to a necessary adoption of new methodologies.