The Quechua community of Q'eros in the Andes of southeastern Peru is renowned in the Cusco region and within various circles (layman, scholarly, esoteric, tourist). The Q'eros are also known nationally and internationally for their continued practice of indigenous customs such as musical rituals that other Andean communities no longer maintain. This dissertation shows how the Q'eros' two principal indigenous song genres, Pukllay taki (Carnaval songs) and animal fertility songs, serve as active forms of social and cosmic renewal, regeneration, and reproduction. Regenerative processes through musical performance occur on many levels: the revitalization of relationship with the cosmological spirit powers, the Apu (mountain spirits) and Pacha Mama (Mother Earth); the renewal and reinforcement of social ties and women's and men's roles; and the re-creation and reproduction of cosmological worldview. This dissertation shows how the Q'eros actively regenerate, re-create, and reproduce social and cosmic relationships and cosmological perceptions through their music-making. Three Andean concepts that the Q'eros specifically name and describe show how music serves in the regenerative processes of social and cosmic relationships, and in cosmological worldview: animu, yanantin, and ayni. Animu is the animated essence that is in every person, object, and invisible spirit, which propels the life-governing concepts of yanantin (complementary duality) and ayni (reciprocity). Yanantin is the union of two contrasting and interdependent parts that are in movement with one another, in continual search of equilibrium, and with a meeting and overlap in a center. The Q'eros articulate the reproduction of the cosmological worldview of yanantin in performance roles and instrument pairs. I argue that yanantin is also expressed on the micro level of relationship between vocal and pinkuyllu (flute) melodies in song structure and between songs, as well as on the macro level of communally sung expressions of joy and grief. Ayni is the most fundamental and life-sustaining form of reciprocal exchange in Q'eros, and many other, Andean communities. The Q'eros give offerings in many forms (food, drink, special ingredient bundles, and songs) to the Apu and Pacha Mama in exchange for the well-being of the people and their animals. Q'eros' singing and flute playing are active forms of ayni, in that they are musical offerings that are sent out through samay (breath, life essence and force) in propitiation. To ensure receipt of the songs by the spirit powers, the Q'eros employ a vocal technique they call aysariykuy ("to pull"): ends of phrases are sung in prolonged, held tones with a final, forced expulsion of air. This is the Q'eros' active way to send the song out so that it will reach the spirit powers. Once the spirit powers successfully receive a song, the powers will be able to reciprocate beneficially. The tension caused by the desired necessary, successful reciprocation from the spirit powers to the people, and remembrance of times when that has not been the case, often result in the sung expression of grief and anxiety. The singing of grief and anxiety rebuilds sociability that loss and death have disrupted. By contrast, the joyful communal singing in the annual Carnaval celebration serves to re-establish social ties and renew social relationships in the community, a practice that balances the communal singing of grief during animal fertility. This dissertation shows that the regular and expected release of joy and grief through music contributes to individual and communal balance and healing. The dissertation details the social and cosmic regenerative processes throughout in the form of detailed ethnographic description; insight from the author's participation; interviews; analyses of musical detail and aesthetics of specific audio examples; musical transcriptions (both in five-line staff and alternative transcription design to show cosmological view imbedded in song structure); and transcriptions, translations, and analyses of song texts. / A Dissertation submitted to the College of Music in partial fulfillment for the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Summer Semester, 2009. / Date of Defense: April 22, 2009. / Andes, Peru, Indigenous, Q'eros, Quechua, Grief, Grief Singing, Animal Fertility, Ritual, Carnival, Andean Cosmology, Social Cosmic Renewal, Social Cosmic Reproduction, Ethnomusicology, Duality, Reciprocity, Andean Animism / Includes bibliographical references. / Dale A. Olsen, Professor Directing Dissertation; Michael Uzendoski, Outside Committee Member; Frank Gunderson, Committee Member; Benjamin D. Koen, Committee Member.

Daniel Pinkham is best known for having produced one of the largest bodies of works for choir and organ of any composer of the twentieth century, most of which were written for the church. However, he also wrote extensively for other instruments, including guitar, harp, and brass ensemble, and all woodwinds. His instrumental writing includes solo and chamber works and in various combinations with other instruments, organ, and choir, in both sacred and secular settings. This instrumental output includes six works featuring oboe or English horn as a solo instrument. These compositions will be the primary focus of this treatise. They were written over the course of several decades of Pinkham's life and are representative of his style from 1961 to his death. Although much has been written on the subject of Pinkham's organ, choral, and sacred composition, very little discussion of Pinkham's composition has focused on his instrumental writing. Writings on the more widely discussed areas of Pinkham's composition will provide insight into characteristics that pervade his musical style. I will then draw comparisons between what is discussed and Pinkham's oboe writing from the corresponding period in his life. With this paper I hope to expand the discussion of Pinkham's work beyond the areas with which his music is most often associated into the area of his instrumental writing, in which his output is nearly equal to that of his choral and organ writing. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Degree Awarded: Summer Semester, 2010. / Date of Defense: March 3, 2010. / Daniel Pinkham, Oboe, English Horn, Composition, Instrumental, Analysis / Includes bibliographical references. / Eric P. Ohlsson, Professor Directing Dissertation; Michael Allen, University Representative; Jeffrey Keesecker, Committee Member; Deborah Bish, Committee Member.

The purpose of this dissertation is the analysis of texture in relation to the structure of complete, large-scale movements, divergent in style, from select twentieth-century piano sonatas. The central thesis of the dissertation is that the treatment of texture can be essential in the generation and organization of a musical structure. / The works chosen for analysis are first movements of four piano sonatas by well-known composers of the twentieth century: Sergei Prokofiev, Sonata No. 7, Op. 83, 1942; Roger Sessions, Second Sonata for Solo Piano, 1946; Pierre Boulez, 2eme Sonate pour Piano, 1948; and Samuel Barber, Sonata for Piano, Op. 26, 1949. The selection of music was based on considerations of medium, genre, form and style. That the works are piano sonatas allows for the analysis of texture in terms of a common medium and genre. That the four movements exhibit fundamental principles of sonata form provides a basis for a comparison of texture in related structures. The works selected differ in compositional procedures, harmonic language, and treatment of the medium to allow for a comparison of texture in music that is stylistically divergent. / Preliminary chapters include an examination of definitions of texture and its aspects, a discussion of methods of structural and textural analysis, and clarification of the method of analysis used in this study. The main body of the dissertation consists of an analysis of each of the four movements. The analyses focus on the manner in which textural processes contribute to the articulation of structural divisions and the delineation of hierarchic structure. Conclusions drawn are then compared with those found in other studies. / Though each movement exhibits diversity in the treatment of texture, recurring textural processes and configurations are evident within each movement that are essential to structural organization and stylistic consistency. In spite of the contrasting styles of the four movements, comparable textural processes are evident that illuminate the functions of texture in musical structure. The similarities in structural function of these processes, observed in this and other studies, suggest the possibility of a general theory of texture, though the formulation of such a theory is beyond the scope of this study. / Source: Dissertation Abstracts International, Volume: 47-07, Section: A, page: 2363. / Thesis (Ph.D.)--The Florida State University, 1986.

Juan Carlos Paz (1901-1972) was an Argentinian composer, theorist, and music critic. As a composer, he adopted serial techniques in the early 1930's, and as a music theorist, he tried to explain and defend contemporary aesthetics, and assumptions that underlie avant garde compositional practices. During the 1930's and 1940's, he was almost alone in Latin America in his opposition to the use of nationalism and folklore in music. However, later in his life, he was increasingly regarded as an important and influential musical figure, particularly among younger Latin American composers. / Paz is the author of over fifty published articles and four books, none of which is available in English. Introduccion, one of his latest and most extensive writings, contains an exhaustive survey of twen- tieth century Western music, Paz's evaluations of musical practices, his explanations of musical aesthetics, and his attempt to identify those compositional procedures that carry in them possibilities for future developments, and why. / This dissertation focuses on Paz's role as a music theorist and writer, through a translation of the second edition of Introduccion, and through a commentary on the opinions expressed in this book, in relation to selected contemporary views on the same issues. Some of the writings used for comparative purposes in this commentary include those of Rene Leibowitz, Antoine Golea, George Perle, Gisele Brelet, and Donald Mitchell, many of which appear in Paz's bibliography. The commentary concentrates on Paz's central ques- tion of which compositional techniques have expanded the musical language (according to him, atonality, serialism, microtonality, aleatory procedures, etc.), and on his contributions to theories of twentieth century compositional practices. It was found that in spite of its inordinate length, complex writing style, and some inaccuracies in details, Introduccion contributes some unique perspectives on twentieth century compositional practices, especially in those areas with which Paz was most familiar. / Source: Dissertation Abstracts International, Volume: 47-08, Section: A, page: 2795. / Thesis (Ph.D.)--The Florida State University, 1986.

The purpose of the study was to evaluate college band instrumentalists' detection of common performance errors in an initial attempt to determine a hierarchy, by difficulty, of common performance error types. An additional aspect of the study investigated the effects of conducting on error detection ability. Post hoc comparisons involved subjects' college major, major instrument, and experience level. / One hundred and forty-one instrumentalists enrolled in the Wind Orchestra, Symphonic Band, Concert Band, Jazz Ensemble I and Jazz Ensemble II at The Florida State University served as subjects. All subjects were randomly assigned to a conducting or a non-conducting condition. / The Error Detection Test (EDT), constructed for the study by the investigator, served as the data gathering instrument. The EDT consisted of eleven recorded, brass trio excerpts containing randomly assigned errors; articulation, dynamics, intonation, note accuracy, phrasing, and rhythm accuracy. Subjects were required to circle and identify, on scores provided, detected performance errors. / The EDT was administered in group settings in the regular rehearsal hall for each ensemble during a thirty-minute segment of a regular rehearsal. Data used for statistical analyses were based on subjects' correct response scores. / Results indicated that there was no significant difference in overall error detection performance across the error types selected. Additionally, conducting did not significantly affect overall error detection skills. Post hoc comparisons indicated that music majors detected errors with significantly greater accuracy than non-music majors and that brass instrument subjects performed the error detection task with significantly greater accuracy than non-brass instrument subjects. In addition, both an overall and a music major analysis indicated that the upper and graduate level experience groups detected errors with significantly greater accuracy than the lower level groups. There was, however, no significant difference between the upper and graduate experience groups. / Source: Dissertation Abstracts International, Volume: 47-12, Section: A, page: 4225. / Thesis (Ph.D.)--The Florida State University, 1986.

Ben Van Dijk is an active performer in The Netherlands in several professional ensembles, and is also on faculty at the Amsterdam Conservatory as one of seven classical trombone professors. The list of works composed for Ben has grown to more than twenty-five, and more are still being written. Recent years have witnessed Ben Van Dijk’s popularity growing through appearances at international venues, and this has continued to encourage the composition of music for him. A helpful method of expounding further on the repertoire composed for Ben is through the medium of lecture recitals. The research for these recitals was conducted primarily through email and telephone conversations with the composers and Ben Van Dijk, and yielded circumstantial and anecdotal information regarding the pieces of music. The composers’ and Ben’s websites were also helpful resources in learning about their lives and careers. The result of this research was two public lecture recitals. The first gave an overview of every work that had been written for Van Dijk at the time, and the second recital focused on just one piece of music, Canticles for Bass Trombone. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Summer Semester 2017. / July 11, 2017. / Includes bibliographical references. / John Drew, Professor Directing Treatise; Richard Clary, University Representative; Paul Ebbers, Committee Member; Christopher Moore, Committee Member.

This thesis analyzes selected dream ballets, examining their appearances and investigating how they were used throughout their existence, offering a new perspective on an often-neglected dramatic device of American music theater. Each chapter analyzes the dream ballet from a different interrelated perspective: (1) as a transformative, liminal stage in the course of plot through which the main character(s) undergo some rite of passage (e.g., a “coming of age” ritual); (2) as a device of theatrical artifice rather than an engine of dramatic action; and (3) as a vehicle of political agency. My study analyzes four iconic examples: the dream ballet sequences of Oklahoma! (1943), Carousel (1945), West Side Story (1957), and Billy Elliot the Musical (London, 2005). A relatively unexamined field in academic discourse, the dream ballet has rarely been the focus of scholarly investigation. Many of the secondary sources I use in this paper are either studies of the genre generally or of specific productions or biographies on significant figures of my research. My primary sources are housed in archival manuscript collections at the New York Library for the Performing Arts or the Library of Congress, where I conducted my research the summer of 2016. I integrate such sources with theoretical approaches derived from psychology, cultural anthropology, gender studies, and other fields—Sigmund Freud’s classic formulations in The Interpretation of Dreams (1899), Victor Turner’s anthropological concept of liminality, and Ellen Koskoff’s work on performing gender—to move beyond the specific case studies toward a broader musicological consideration of the dream ballet as a dramatic device. Through this approach, I bring the dream ballet to the fore of musicological thought, revealing new insights into the musical, cultural, and performative dimensions of music theater. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Summer Semester 2017. / July 13, 2017. / Broadway, critical theory, dance, dream ballet, musical theater / Includes bibliographical references. / Charles E. Brewer, Professor Directing Thesis; Michael Bakan, Committee Member; Michael Buchler, Committee Member.

This dissertation engages with scholarship in musical semiotics and hermeneutics to offer insight into the aesthetics of hard bop (c. 1954–65), a jazz genre often characterized as a return to jazz’s roots. By synthesizing the semiotic perspectives of Raymond Monelle, Danuta Mirka, and Stephen Rumph on the notion of musical topics (style references), I posit a generalized model of topical signification that is sound regardless of stylistic context. From this theoretical stance, I infer three categories of topics in hard bop: vernacular topics, nostalgic topics, and exotic topics. This study culminates with a reading of the 1963 Jazz Messengers recording of Wayne Shorter’s “One by One” (Ugetsu: Art Blakey’s Jazz Messengers at Birdland) that questions the narrative temptations that topics may elicit. This reading draws on Lawrence Kramer’s notion of “narrativity”—a meaningful teleological impulse (e.g., a power struggle)—but does not espouse any master narrative or plot. Instead, my eclectic interpretation draws on the philosophical and psychoanalytic writings of Gilles Deleuze, Félix Guattari, and Slavoj Žižek to establish a network of associative meanings. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / May 3, 2017. / jazz, narrative, semiotics, topic theory / Includes bibliographical references. / Evan A. Jones, Professor Directing Dissertation; Denise Von Glahn, University Representative; Joseph Kraus, Committee Member; Jane Piper Clendinning, Committee Member.

The treatise consists of two sections. The first section focuses on 24 Preludes for Piano by Lera Auerbach. This large-scale composition is among her most significant works. It continues the tradition of cycles of twenty-four preludes for piano written in all major and minor keys. This paper discusses the history of the genre of a prelude and analyzes Auerbach’s harmonic language, polystylism, motivic connections and pedaling. The second section of the treatise is about the Ninth Piano Sonata by Boris Tishchenko. He is a well-known composer in Russia but his music is not very often performed in the United States. The paper introduces the composer, focuses on the analysis of the texture, use of counterpoint, motivic connections, harmonic language and traditional and non-traditional treatment of the sonata form in this composition. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2017. / April 12, 2017. / Includes bibliographical references. / Read Gainsford, Professor Directing Treatise; Clifton Callender, University Representative; David Kalhous, Committee Member; Diana Dumlavwalla, Committee Member.

The ability to learn and execute extended techniques is not universal among bassoonists, yet the concept of extending technique in general has been fundamental to the development and evolution of the bassoon over the centuries. Many of the techniques that are considered nontraditional and extended in today’s modern bassoon repertoire will most likely be considered commonplace in the future as many of the historical examples explored in this treatise are now. As there is no writing to date on the history and development of extended techniques for bassoon, it is the goal of this treatise to explore the relationship between compositional demand, instrument design, and the historical trajectory towards what today’s bassoonists consider to be extended techniques. Additionally, this treatise will provide concrete performance instructions for the extended techniques found in two twentieth-century works: Philippe Hersant’s Hopi and Kalevi Aho’s Solo V. The advice given for these techniques offers bassoonists a set of tools that can be transplanted into many contemporary works and more that will be written in the future. / A Treatise submitted to the College of Music in partial fulfillment of the Doctor of Music. / Summer Semester 2017. / May 3, 2017. / Bassoon, Bassoon History, Extended Techniques, Kalevi Aho, Pascal Gallois, Philippe Hersant / Includes bibliographical references. / Jeffrey Keesecker, Professor Directing Treatise; Richard Clary, University Representative; Eric Ohlsson, Committee Member; Heidi Louise Williams, Committee Member.