Thesis (M.M.) Florida State University, 2006. / Advisor: Frank Gunderson, Florida State University, College of Music. Title and description from dissertation home page (viewed DATE). Document formatted into pages; contains 101 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 61-63).

Thesis (Ph. D.)--University of California, San Diego, 2007. / Title from 1st page of PDF file (viewed Mar. 5, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 164-176.

The purpose of this project was to examine aspects of flute choir formation, participation, and performance as they relate to ensembles at the university level. Three main areas were covered: (1) a presentation and an analysis of data resulting from a survey of colleges and universities that are members of the National Association of Schools of Music (NASM); (2) a discussion of the advantages of establishing a college flute choir and the problems encountered in maintaining the ensemble; and (3) a presentation of various warm-up exercises that may be used in a flute choir rehearsal.Of the 449 flute choir questionnaires distributed, 120 (26.9%) were returned of which 71 (59.2%) were found to have existing flute choirs. A list of states represented by the respondents and twelve tables were presented. The tables included facts pertaining to the profile of the universities and music departments of the respondents, various structural elements of flute choirs, reasons for maintaining a university flute choir, and the relative importance of various warm-up exercises.The data presented in the tables included details regarding frequency and length of rehearsals, availability of E-•flat, alto, and bass flutes, number of concerts given, membership and audition requirements, and college credit offerings for university flute ensembles. Problems encountered in maintaining the ensemble, selection of repertoire, and preparation for performance were also covered. The reasons deemed most important for establishing or retaining a university flute choir include the development of chamber ensemble playing skills, individual playing skills, style interpretation, sight-reading skill, and the addition of a performance outlet. Warm-up exercises listed as the most often used in flute choir rehearsals include those for intonation, scales, and triads. Warm-up exercises that can be used in a flute ensemble setting to enhance the rehearsal routine are included and cover the following areas: Relaxation Techniques, Breathing, Tone Development, Intonation, Technical Exercises (Scales and Triads), Rhythmic Drills, and Sight-reading.From the statistics cited and the topics explored in this project, the premise is substantiated that the university flute choir is a viable performing ensemble and can also serve as an effective instructional medium. / School of Music

Thesis (Ph. D.)--University of Washington, 1992. / Vita. Includes bibliographical references (leaves [246]-256).

This thesis explores the role of popular music in articulating socio-cultural identities by examining the contribution of the Acadian group, 1755. As the rapid modernization of Acadians' way of life led to a sense of cultural alienation, cultural products played a prominent role in asserting their cultural specificity. Accordingly, the 1970s were not only rich in artistic production, but also saw the development of a distinctive Acadian popular music practice. Responding to fears of acculturation and folklorization, Acadian popular music embodied Acadians' desire to embrace a modern identity all the while maintaining ties with their traditional identity. 1755's music actively took part in reinventing Acadian identity by constructing a cultural narrative that reflected Acadians' contemporary reality and by renegotiating what was commonly held as "Acadian" music. As a result, it became invested with ideological significance by Acadian consumers, regarded not merely as commercial music but rather as a symbol of their cultural emancipation.

No description available.

This project includes a promotional campaign for the Inland Empire / Riverside County Philharmonic as well as the preliminary market analysis for the campaign. The market targeted was well-educated twenty to forty year olds in Riverside, Temecula and Corona.