Thesis (M.A.)--Georgia State University, 2006. / Title from title screen. Susan Talburt, committee chair; Kathryn McClymond, Layli Phillips, committee members. Electronic text (145 p.) : digital, PDF file. Description based on contents viewed May 16, 2007. Includes bibliographical references (p. 120-131).

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves [269]-307). Also available on the Internet.

xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms. / Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski

Spanish settlers brought the precursor to the bassoon, el bajón, to Mexico in the late sixteenth century. Documentation of the bassoon was intermittently from the sixteenth century on, the current playing traditions were not established until the second half of the twentieth century. Bassoon education in Mexico flourished in the 1970's because several bassoonists became expatriates, and chose to live and work in Mexico for the entirety of their careers. Two major pedagogues, Lazar Stoychev and Jerzy Lemiszka paved the way for the current Mexican bassoon community. This dissertation presents a selective lineage of bassoonists who have held positions in major Mexican orchestras and universities since the mid-twentieth century. The purpose of this study is to recognize the contributions these players and teachers have given to the bassoon world. In recent years, Mexican bassoonists have commissioned hundreds of works for the bassoon and this significant achievement has placed the Mexican bassoon community in an upward trajectory. To place these players in proper historical context, a brief history of classical music institutions in Mexico since the sixteenth century is given. This dissertation documents the history and pedagogy of recent bassoonists in Mexico via a cohesive family tree.

This author conducted a qualitative interview study of community orchestra musicians to better understand why they have sustained their music-making. The first chapter of this dissertation outlines the three research questions along with a rationale and author’s narrative. A problem statement along with a conceptual framework are also included within the first chapter. Three key areas of connected and relevant literature are identified and discussed in the second chapter of this proposal: 1) Socioeconomic Status (SES), parental involvement, efficacy, and attrition in formal school settings: Motivations of students to start learning an instrument and sustain that learning through high school; 2) Characteristics of members of community orchestras; and 3) Studies examining why adults sustain their music-making. The first dimension enables comparisons and contrasts between community orchestra members and school music students. The second and third domains offer a context for both the musicians' individual work and adult music-making in general. The third chapter is a description of the methods, research questions, and timeline of data collection. Data were gathered via a semi-structured interview and a PhotoVoice activity from 10 community orchestra musicians in the New York City area. A description of the pilot study is also included along with the findings. Additionally, the third chapter includes a detailed description of the PhotoVoice method. There were three main findings for each of the three research questions and those findings and the supporting themes/codes are described in chapter 4. The discussion chapter includes extensive thoughts on the implications of the findings. The concluding chapter summarizes the research, lays out plans for future research, and reflects on the study.

James Caesar Petrillo, President of the American Federation of Musicians, called a strike effective July 31, 1942, prohibiting union members from making any disc recordings or electrical transcriptions. The present study recounts the history of that strike, including efforts to end it, reactions to it by various government and trade organizations and the circumstances under which it finally did end. The study focuses on the effect of the strike on radio broadcasters, both directly (through recordings they used) and indirectly (through the strike's effects on the recording and related industries), and concludes that it changed the character of radio's music somewhat, but had little detrimental effect on radio's profits.

The present study is a comparison of music and non-music students with respect to their response patterns on the Brief Symptom Inventory as well as several demographic questions. The sample consisted of 148 non-music students and 141 music students at three levels: (1) freshmen/sophomore; (2) juniors/seniors; and (3) graduate students. Music students consisted of volunteers from several different music classes and non-music students were volunteers from non-music classes. There were no significant differences found among or between groups for the BSI subscales. However, music students were significantly less likely to have gone to counseling in the past and to seek professional counseling for future problems. Recommendations for psycho-educational interventions with musicians are discussed as well as suggestions for future research.

This study explores the experiences of young string players in a music collective called Face the Music. The organization consists of musicians aged 10 to 18, and is dedicated to the preparation and performance of music by living classical composers. I begin with the assertion that contemporary classical music, hereinafter referred to as contemporary music, is often misinterpreted and underappreciated by the general public, and even musicians themselves. There is minimal research exploring what contemporary classical music education is or could be, especially regarding non-professional musicians and/or adolescents. From this starting point, I explore the experiences of 18 members, six coaches, and one parent. Data includes focus group interviews with young string players in quartet settings, individual interviews with coaches, field notes, and a variety of musical artifacts. Face the Music musicians were highly flexible and versatile musicians; they identified as performers, composers, and improvisers—and possibly rebels of some kind. In addition to these subjectivities, their most prominent characteristic was revealed in their “polytonal roles,” a concept I explicate. Findings suggest complex relationships between their emotions and contemporary music. Several disparate benefits, especially social benefits, were manifested through the idea of community. Coaches at Face the Music perceived their roles as pushing the boundaries of traditional classical music training and promoting living composers. The unsureness and uncertainty from the young string players also reflect the ambiguous nature of contemporary music. Findings suggest that there is a space for music educators to re-conceptualize contemporary classical music education for young musicians.

M.A., Faculty of Humanities, University of the Witwatersrand, 2011 / Most previous academic studies undertaken on music festivals in South Africa have been largely done through economic lenses. They have dealt with growing the festival; financial benefits for the festival organisers; management styles and models of festivals. This research interrogates the impact of music festivals on the participating artists’ social, creative, intellectual and sustainable growth. The research studied these aspects through the analysis of the Standard Bank Joy of Jazz festival, which in 2010 was celebrating its diamond jubilee, and following six musicians who have participated in the festivals at different levels. Being a jazz artist myself, I became interested in what constitutes the development of a musician who participates in a jazz festival. This research seeks to depart from the socio-economic based studies by analysing the role of the Standard Bank Joy of Jazz festival in the lives of six South African jazz musicians and the perceived benefits. It also draws on a wide range of literature that covers issues ranging from socio-political scenarios to arts and culture policies from around the 1920s to the present day. What the research found is that music festivals had varying impact on developmental bands in comparison to established bands and musicians. It also looked at the effectiveness of arts and culture policies, legislations and their implementation in the South African music industry. Due to the width and breath of this research topic it must be stated that there are other areas that the research did not delve into due to the researcher’s limited tools - such as the psychological analysis capacity.

Magister Artium - MA / This thesis explores the production of music with musicians, singers and music producers who adhere to and promote Pentecostalist Christianity. The music they produce is a recently emerged genre, which I call 'Pentecospel'. I have coined this term to refer to a contemporary form of religiously inspired popular music, which is performed by young musicians belonging to various Pentecostal churches in Cape Town. I argue that 'Pentecospel' music is an emergent social form of self-representation, which is framed around Pentecostalism and the sound of Cape Town, as identified by Martin (2013). Young musicians and singers in Cape Town are absorbing and appropriating global styles of music, concepts and beliefs and music making techniques within their own musical compositions and transform their music performances in a way that enhances their local popularity. Thus, I elaborate on the processes of production through technical and social interpretations. This thesis will explore how performance, engaging audiences, the social interaction between people and technology, and the creation of their own unique sound on their musical instruments are linked to visual approaches located in the anthropology. This thesis is based on ethnographic fieldwork which took place mostly between December 2014 and February 2015. During this period, I worked with music producers and young people who have recorded at the 'Sounds of the Nations Africa: Cape Town' recording studio in Bellville, Cape Town, sharing their experiences of everyday life in and outside the studio. My three month long fieldwork included in-depth interviews, conversations and discussions, photographic and video material, and activity field notes. I made use of these methods in order to record my observations in the recording studio, during rehearsals and in public performances focusing on the social and musical interaction with the performing artists I got to know, through participant observation. I include my own participation as a musician and audience member with the use of these methods, in recording music in the 'Sounds of the Nations' recording studio for their upcoming album "Sound of Africa" and in public performances.