Thesis (M.A.)--Indiana University, 1964. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 89-90).

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-3-07). Document formatted into pages; contains 67 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.A.)--York University, 2005. Graduate Programme in Music. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11820

Contemporary Canadian music is rarely performed and studied in school music programs (Bartel, Dolloff, & Shand, 1999; Shand & Bartel, 1998; Varahidis, 2012) and post-secondary institutions (Andrews & Carruthers, 2004; Carruthers, 2000). This is primarily because the music of modern professional composers is inaccessible to students (Andrews, 2004; Bowden, 2010). In other words, composers are trained in such a way that their pieces are only playable by professionals for specialized audiences (Hatrik, 2002; Colgrass, 2004; Terauds, 2011). This study examines what eight wind-composers learned from writing educational music for young musicians. Using a narrative framework, grounded in John Dewey’s theory of learning as expressed by Clandinin and Connelly (2000), data was collected through interviews. These were then interpreted and analyzed with the aid of the composers’ biographies and questionnaires. Four story categories emerged from the data regarding how to write pedagogically valid educational music: 1) The composer must desire to compose technically appropriate, challenging and enjoyable music for young musicians; 2) The composer must collaborate and have direct contact with students; 3) The composer must have a working knowledge of the instruments; and 4) The composer and teachers can use the Music Complexity Chart (MC²) as numerous benefits are associated with it.

This dissertation asks how the British anti-slave-trade movement permeated musical culture of the late eighteenth and nineteenth centuries and how musical activities, in turn, were used to support the cause. It examines a group of newly discovered musical scores—described here as “serious antislavery songs”—that were published in the years between the founding of the Society for Effecting the Abolition of the Slave Trade (1787) and the passage of the Slave Trade Act of 1807. Highlighting the inclusion of such scores in extant personal music collections of contemporary British women, the study explores both who used the scores and how they used them. The dissertation thus paints a detailed picture of musical abolitionism and argues that composing, collecting, practicing, and performing serious antislavery songs enabled female amateur musicians to promote opposition to human trafficking from their homes. The study joins close readings of ideas—found in letters, poems, and musical content—with analyses of activities, such as private musical practice and polite shopping. The first chapter discusses the music of Ignatius Sancho, who died before the start of widespread mobilization against the slave trade but who nevertheless used his music to make a powerful, if subtle, antislavery statement. The second chapter moves to the beginning of the British abolition movement, examining two politically charged poems written in 1788 that became popular songs among female amateur musicians. The next three chapters explore the varied ways that these women incorporated serious antislavery songs into their everyday lives. Chapter 3 maps out the London musical marketplace for scores where women could purchase a variety of songs, including abolitionist and anti-abolitionist songs alike. The fourth chapter explores the activity of music-making and argues that practicing from musical scores and singing through them among friends was a form of conversation. It therefore introduces the term “sociable abolitionism,” of which “musical abolitionism” was one key component. Finally, Chapter 5 uses extant music collections that were once owned by British women to unpack the ethical tensions involved in white Britons’ practice of singing serious, sympathetic songs whose lyrics were written from the imagined perspective of enslaved Africans. The chapter argues that singing these songs was a kind of “musical masquerade”—one where singers could indulge in identity play while encouraging abolitionism from their listeners. The dissertation addresses a major gap in the literature on abolitionism: while literary, theatrical, and visual contributions to the movement have been received ample scholarly treatment, musical scores have remained virtually absent from discussions of antislavery activism. Scores are presented here as key sources for understanding the ways women enacted their opposition to human trafficking and bondage. Problematic but politically useful, scores incorporated easily into the activities of British women’s everyday lives and contributed to the widespread culture of abolitionism.

Self-handicapping is a psychological behavior people engage in to protect their self-image, project a desired image to others, and to augment feelings of success and achievement. Self-handicapping occurs when individuals have a positive but uncertain self-image about their competence in an arena of life fundamental to their self-identity. Musicians have been underrepresented in self-handicapping studies; yet the very competitive nature of their education and craft, the strong identification musicians have as musicians, and the frequent challenges during all phases of development to their abilities would suggest they are extremely vulnerable to developing self-handicaps. This dissertation discusses the theoretical components of self-handicapping, the personality traits typically exhibited by high self-handicappers, causes, types, and possible motivations for self-handicapping, short and long term effects of the behavior, and the implications these concepts have to the musician community. In addition, it contains the results of an extensive survey of musicians which examines self-handicapping tendencies, depression, imposter phenomenon, and self-esteem ratings to determine 1) if musicians self-handicap, 2) how the four constructs are related to each other within the musician population, 3) if other factors concerning musicians and self-handicapping are related, 4) areas for future research. Several significant relationships involving the four constructs tested, as well as a significant difference between the self-handicapping behaviors of professional and amateur players were found. In addition, it contains the results of an extensive survey of musicians which examines self-handicapping tendencies, depression, imposter phenomenon, and self-esteem ratings to determine 1) if musicians self-handicap, 2) how the four constructs are related to each other within the musician population, 3) if other factors concerning musicians and self-handicapping are related, 4) areas for future research. Several significant relationships involving the four constructs tested, as well as a significant difference between the self-handicapping behaviors of professional and amateur players were found.

There is plenty of support for local musicians in Austin. It ranges from providing health benefits to receiving home loans to equipment insurance. The live music capital of the world has provisions for recording artists as well as street performers whose primary source of income is music. These facilities go a long way in maintaining Austin‟s identity as one of the major music cities in the world. They also bring together members of this community for benefits that help strengthen the local music industry, which has been an important part of the city‟s economy for several years. / text

The primary purpose of this study was to investigate the subjective and objective career success perceptions of music school graduates who now identify as professional musicians. This study approached that purpose in four ways. First, the study examined how musicians conceptualized success compared to the literature. Second, the study investigated how musicians conceptualize how success is shown in themselves relative to how it appears in others. Third, the study examined if and how musicians attribute the success that they have achieved in their careers to the institutional preparation they received at academic institutions. Fourth, the study investigated the possibility that geography may play a role in sculpting the perceptual values and qualifiers of success in musicians. This study was informed by the literature surrounding the area of careers, career success, career development as it pertains to musicians, and career success as it pertains to musicians. A survey was the research tool utilized for this descriptive study, and the survey was constructed and facilitated via Qualtrics Software. The survey included 26 Likert-type questions and seven open-ended questions. The sample population used for this study was 326 participants from the New York City Chapter of the American Federation of Musicians Union. The data that was collected from the survey was organized, analyzed, and synthesized to discover emerging themes and answers to the guiding research questions. The findings of this study suggest that musicians understand and value the points of the comparison that those outside of the field of music may use to value and evaluate their own careers. The findings of this study also suggest that musicians may perceive some of the underlying components that make up career success differently in themselves that they do in others. Further, support is provided in this dissertation for the understanding that objective career success and subjective career success are linked in a way that is underrepresented in the literature, and thus is underrepresented in the discussion of the two concepts.

Thesis (M.A.)--California State University, Chico. / Includes abstract. "Located in the Chico Digital Repository." Includes bibliographical references (p. 138-145).

Expanded and rev. version of the author's doctoral dissertation--University of California, Los Angeles. / Includes bibliographical references (p. 305-310) and index.