This treatise is an adaptation of a series of two lecture recitals given on the use of Schenkerian methods in discovering expressive ideas for performance. The first lecture recital used examples from the repertoire of German lieder, while the second lecture recital focused on adapting the process for trombone solo repertoire not limited to the common practice period. Examples include “Auf dem Flusse,” “Einsamkeit,” and “Letzte Hoffnung” from Franz Schubert’s Winterreise, the third song from Johannes Brahms’s Vier ernste Gesänge, the final song from Ludwig van Beethoven’s An die ferne Geliebte, Romance by Carl Maria von Weber, Cavatine by Camille Saint-Saëns, and the second movement from Jacques Castérède’s Sonatine for Trombone and Piano. / 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 18, 2017. / music performance, music theory, Schenkerian Analysis, trombone repertoire / Includes bibliographical references. / John Drew, Professor Directing Treatise; Joseph Kraus, University Representative; Christopher Moore, Committee Member; Michelle Stebleton, Committee Member.

Phrases in common-practice music are traditionally defined by harmonic processes, particularly goal-directed progressions to tonic. In popular music, however, harmonic motion toward a tonic is not always present, making traditional approaches to phrase segmentation problematic. The goal of this dissertation is to provide a systematic methodology for addressing phrase segmentation and closure in popular music, particularly in the absence of goal-directed harmonic motion. Additionally, I aim for simplicity of application and consistency of results. Because contemporary popular music is heavily focused on vocal melodies and lyrics, it is important to use a methodology that privileges melodic activity in classifying formal structures. My methodology for phrase segmentation is based on patterns of melodic repetition, particularly in reference to recurring quadruple hypermeter. With a consistent method for segmenting phrases, cadences can be identified and classified, allowing for comparison of closure in popular songs. This research aims to engage the musical syntax of popular music on its own terms while drawing on the rich resource of common-practice analytical methodologies. There are many theoretical concepts and terms that carry into popular practice such as periods, sentences, and cadences; however, the transfer is not always exact, resulting in some concepts that are loosened or expanded, such as allowing subdominant (IV) and subtonic (bVII) harmonies to support half cadences. New categories of phrase structure and cadences are also necessary to accurately describe popular music, specifically rotated phrases, rotated subphrases, and submediant cadences, none of which have established analogues in common-practice scholarship. In rotated phrases and subphrases, lyrical content is displaced from melodic repetition, creating formal ambiguity. Submediant cadences occur as part of the submediant double-tonic complex (DTC), where tonal fluidity is created between relative major and minor keys. Songs featuring the submediant DTC fluctuate between the major and minor rotations of a single diatonic collection, allowing cadences that articulate the major and minor modes simultaneously. This dissertation represents the first step of a longer process of studying, classifying, and presenting the musical syntax of popular music. The methodology has the potential to address the wide spectrum of popular music, and I trust that it will be a useful tool for scholars working in the field of popular music scholarship. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2017. / April 4, 2017. / Cadence, Form, Hypermeter, Music, Phrase, Popular / Includes bibliographical references. / Jane Piper Clendinning, Professor Directing Dissertation; Bruce Holzman, University Representative; Michael Buchler, Committee Member; Mark Richards, Committee Member.

The purpose of the current study was to evaluate the effects of single-session music therapy on pain, discomfort, and anxiety in in-patient hospice patients. Participants were adults (N=24) receiving hospice care at an in-patient hospice unit. Participants were randomly assigned to one of two groups: experimental (single-session music therapy) and no contact control. Music therapy sessions consisted of Iso principle or music-based life review. The control group received standard care, with no additional services provided. Physiological measures of heart rate, respiration rate, and oxygen saturation level were taken pre- and post-intervention in the music therapy group, and before and after 20 minutes in the control group. Objective nonverbal indicators of pain were also taken during the study-related sessions. Three repeated-measures ANOVAs found no significant differences between groups on physiological measures. Behavioral observations were examined graphically, with trend lines added. While not statistically significant, the music therapy group tended to have more positive responses than the control group. Limitations, implications, and need for future research are discussed. / 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 14, 2017. / anxiety, hospice, Music therapy, pain / Includes bibliographical references. / Lori F. Gooding, Professor Directing Thesis; Jayne M. Standley, Committee Member; John M. Geringer, Committee Member.

Ian Bousfield is considered one of the preeminent trombonists in the world. There are numerous truncated biographies highlighting his achievements. However, there has not been a significantly-detailed biography, written on his behalf, that also includes his teaching and his recent work with equipment manufacturers. This document will detail Bousfield's life in four chapters. It will begin with his early life and lead into his time with the Hallé Orchestra, the London Symphony Orchestra, and the Vienna Philharmonic. His teaching will be separated into two sections, institutions and pedagogy; the first of which will highlight his relationship with four institutions where he is on faculty, and the second will discuss his pedagogical beliefs. The third chapter will illuminate his relationship with trombone and mouthpiece manufacturers, and the final chapter will allow Bousfield to reflect on his career. Ian Bousfield finished his orchestral career in 2012. His playing career lasted over thirty years and has been well documented through ample recordings; specifically, with the London Symphony Orchestra and their work on film soundtracks. He has been teaching full-time since he ended his orchestral career, and his students are some of the most successful trombonists through their posts in orchestras and academic institutions throughout the world. / 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 7, 2017. / Halle Orchestra, Hochschule der Künste, Ian Bousfield, London Symphony Orchestra, Trombone, Vienna Philharmonic / Includes bibliographical references. / John R. Drew, Professor Directing Treatise; Brian Gaber, University Representative; Christopher Moore, Committee Member; Leon Anderson, Committee Member.

This document investigates the potential connection that can be made between performer and audience by disrupting the normal order of performance. I have drawn from the disciplines of Theater and Psychology to find new ways to convey actively the interpretive visions that inform a concert to an audience, without relying on the more typical program note or pre-concert talk. Helping an audience stay interested and curious in the music’s meaning, for themselves and for the performer, is the primary goal of the project. I have chosen two works to test these methods: Shostakovich’s Violin Concerto No. 1 and String Quartet No. 1 of György Ligeti. A separate recital is dedicated to each piece, and the way the connection is made with the audience remains distinct for each concert. The preliminary work and research that has gone into the planning of these two recitals is the first section of the writing regarding each performance (so that the reader has a first-hand view of exactly how the end-project was decided upon and achieved). The treatise also discusses the post-concert performer reaction, as well as an overview of each performance. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / April 20, 2018. / Audience Engagement, Extra-musical elements, Ligeti String Quartet No. 1, Shostakovich Violin Concerto / Includes bibliographical references. / Shannon Thomas, Professor Directing Treatise; Alice-Ann Darrow, University Representative; Alexander Jiménez, Committee Member; Benjamin Sung, Committee Member.

The purpose of this treatise is to reframe the concept of "being authentic" as "expressing integrity," both in the context of early music performance and as a way to discuss the personal expression of the self. The culture of the early music movement in the twentieth century provides an interesting case study for understanding how a modern notion of authenticity impacted the beliefs, value system, and identity of early music's invested groups and individuals. "Expressing integrity" is a new semantic model that better represents the process of musical performance as well as the unique experience of the individual. While authenticity in early music implies an extra-personal and extra-musical set of standards that limits personal expression in the music-making process, "expressing integrity" values each unique interpretation and performance as only one facet of an individual's personal experience. In this way, "expressing integrity" as a concept is not limited to early music but is also applicable to other areas of performance and creative expression. This treatise strives to define authenticity, identify its limitations, and re-cite authenticity to the individual as an expression of integrity. More specifically, this project aims to highlight the experiences of Baroque flute players from different generations of the early music movement and to create empathy for the processes of becoming an early music specialist. Three Baroque flute players contributed to this project: Stephen Preston, Jed Wentz, and Sarah Paysnick. Each of these flutists began his/her career at different times, and their early music training took place in three different countries. The first half of this treatise defines the philosophical concepts of sincerity and authenticity in the context of twentieth-century modernist thought. This also includes unpacking the language and mindset regarding authenticity within the context of the early music movement, discussing the moral implications of the "Authenticity Debate," and describing the "authentic" performance-practice principles central to the early music revival. Expressing integrity emerges from an understanding of the objective and subjective dimensions in early music performance and aims to re-cite authenticity to the individual. The second half of this treatise presents the three interviews with the Baroque flutists as discrete chapters. The interviews represent individual expressions of integrity and are reflections of these Baroque flute players' experiences as early music professionals. Through the interview process, Preston, Wentz, and Paysnick share their insight and wisdom on topics relevant to the practice of early music while contemplating its future trajectory. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Summer Semester 2018. / May 1, 2018. / Authenticity, Baroque Flute, Early Music, Flute / Includes bibliographical references. / Eva Amsler, Professor Directing Treatise; Richard Clary, University Representative; Eric Ohlsson, Committee Member; Jeffrey Keesecker, Committee Member; Sarah Eyerly, Committee Member.

Former President of the International Trombone Association and Professor of Trombone at the University of Texas at Austin, Dr. Nathaniel Brickens is a highly regarded pedagogue and performer in the trombone world. He has maintained a top-notch trombone studio while producing orchestral musicians, acclaimed soloists and aspiring college professors to help further the cause of trombone pedagogy. Dr. Brickens succeeded his former instructor, Professor Emeritus at the University of Texas at Austin and renowned pedagogue, Donald Knaub. Before Knaub’s appointment at UT, he was bass trombonist with the Rochester Philharmonic and Professor of Tuba at Eastman School of Music from 1951 to 1971. After the sudden passing of renowned pedagogue, Emory Remington, he assumed the Professor of Trombone position at the university until the spring of 1977. Knaub started the University of Texas Trombone Choir in the fall of 1977, which has since been recognized as one of the premier trombone studios in the United States. Since Brickens’ arrival in 2000, not only have his methods helped continue the legacy established by Knaub but also he has taken the group to greater heights. In recognition of his teaching, Brickens has received several citations including being nominated for the 2013 UT Regents Outstanding Teaching Award, the 2012 Blunk Memorial Professorship, and the UT Senate of College Councils 2009 Professor of the Year Award. He was also the recipient of the 2009 College of Fine Arts Distinguished Teaching Award, the 2006-07 Dad’s Association Centennial Teaching Fellowship and the 2005 Texas Exes Excellence in Teaching Award. His students have won competitions sponsored by the International Trombone Association, the Eastern Trombone Workshop, the Zellmer Minnesota Orchestra Trombone Competition, the Big XII Conference, the Music Teachers National Association Competition, Fort Worth Trombone Summit, just to mentions some of the more notable competitions. As a freelance trombonist, Brickens has performed with a variety of orchestras and artists including the Houston Symphony, Kansas City Symphony, St. Louis Symphony, Opera St. Louis, the Austin Symphony, San Antonio Symphony, the Victoria Bach Festival Orchestra, Ray Charles, Lena Horne, and the Temptations. While there are articles and journals regarding Nathaniel Brickens’ impact as a pedagogue and the engine behind the success of his trombone studio, he was the primary source of information for this paper. Many details of his life and career, however, were gathered from interviews conducted by the author. His former trombone professor, Paul Adams, provided insightful information regarding Brickens’ upbringing as a high school and an undergraduate student. The interview highlights specific details on the persistence Dr. Brickens showed in his studies and how he matured into the person he is today. Additionally, Brickens’ current and former students provided recollections of their time with the professor in a student questionnaire survey. Certain aspects of their experiences with him were addressed including Brickens’ teaching philosophies, his influence on their lives, and memorable anecdotes. Appendices include select achievements from the students of Dr. Brickens, trombone education journal features, and his curriculum vitae. Also included are the discography and accomplishments of the UT Trombone Choir. The result is a synopsis of information for trombone music educators and performers regarding the life and achievements of Dr. Brickens. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / April 12, 2018. / Nathaniel Brickens, Pedagogy, Performance, Trombone, Trombone Choir, University of Texas / Includes bibliographical references. / John Drew, Professor Directing Treatise; Richard Clary, University Representative; Alexander Jimenez, Committee Member; Leon Anderson, Committee Member.

This dissertation explores the American wind ensemble community, specifically focusing on the relationships between composers and conductors. Using Kay Kaufman Shelemay’s definition of musical communities, the history of the wind ensemble is traced from its roots in the American band tradition, a community shaped by processes of descent; its founding in the 1950s through processes of dissent; and ending with today’s thriving community shaped primarily by processes of affinity. My study of the contemporary wind ensemble community draws upon interviews with community members as well as observations at the 2017 meeting of the College Band Directors National Association. Each chapter considers one of four themes that are important to wind ensemble insiders: American national heritage, sound palettes, hierarchies and canonicity, and gender, specifically the privileging of male participants over female ones. These elements also affect the relationships that form the backbone of a historically vital American music community. Today, composer-conductor relationships form the fundamental bonds of the wind ensemble community. Wind ensemble conductors value contemporary American composers and emphasize new music and repertoire growth; as a new generation of composers emerges, an increasing level of outside attention is given to the wind ensemble. Overall, the wind ensemble community represents a vibrant part of American musical culture: one that is worthy of further study and of attention from outsiders of the community. The composers and conductors interviewed for this project were welcoming and eager to talk about their work; their enthusiasm about the community of which they are a part emphasized the value and vitality of wind ensemble music. While American musical culture is changing rapidly, especially as the clout of the symphony orchestra declines, the band’s adaptability and resilience over the course of the nation’s history suggests that the tradition of wind music will continue to thrive if its community actively and enthusiastically changes with the times. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2018. / March 21, 2018. / CBDNA, Community, Wind band, Wind ensemble / Includes bibliographical references. / Denise Von Glahn, Professor Directing Dissertation; Leigh Edwards, University Representative; Charles Brewer, Committee Member; Michael Broyles, Committee Member; James Mathes, Committee Member.

The purpose of this study was to understand the effects of both instrumentation and lyrical content on the perceived genre of popular music. Participants for this study (N= 58) were undergraduate and graduate students from a large, public, south-eastern university. Results revealed there was no significate difference between the effect that instrumentation alone had on the perceived genre of music compared to the full composition/recording (instrumentation and lyrics). However, there were significant differences found between the effect that lyrical content alone had on the perceived genre of music compared to the full composition/recording, as well as the effect that instrumentation alone had on the perceived musical genre compared to that of lyrical content alone. This indicated that even though lyrical content does in fact matter in how a song is classified, instrumentation is more impactful in that regard. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Arts. / Spring Semester 2018. / April 19, 2018. / Genre, Instrumentation, Lyrics, Music, Perception, Popular / Includes bibliographical references. / Brian Gaber, Professor Directing Thesis; Clifford Madsen, Committee Member; Kimberly VanWeelden, Committee Member.

The music curriculum in higher education is very strenuous, and the added physical and mental stress of personal practice, ensemble rehearsals, and performances often leads to performance anxiety and a variety of performance-related tension and pain. Despite these issues, not many institutions offer courses that could equip music students with tools for dealing with stress, anxiety, tension, and pain. Within a short period of time, pain and fatigue resulting from stress, anxiety, and tension can turn into repetitive stress injuries and musculoskeletal disorders, such as tendonitis, carpal and ulnar tunnel disorders, TMJ disorder, and/or many other common conditions. These issues are often exacerbated for flutists due to the unnatural way the instrument is held while playing. Many music educators and private instructors lack the training and knowledge to deal with these issues, and the rising cost of health care makes it difficult for students to seek treatment when pain persists and progresses into a musculoskeletal injury or disorder. Musicians and other performing artists are turning to somatic disciplines to help them connect with and gain awareness about what is happening in and around their bodies, in an effort to figure out the root causes of tension, stress, and pain. Somatic disciplines include such practices as yoga, tai chi, the Alexander Technique, the Feldenkrais Method, and body mapping, just to name a few. A study was conducted to examine the effect of a 3-week intervention program of constructive rest on stress, tension, numbness, and pain levels in collegiate flute students. The participants (N = 30) for this study were all students in the flute studio in the College of Music at Florida State University. Participants were divided into two groups. Group 1 (n = 15) participated in sessions of constructive rest. Group 2 (n = 15) was a control group, receiving no sessions of constructive rest. Results indicated significant differences in stress levels for both Group 1 and Group 2 participants. Significant differences were also found in reported pain levels for various areas of the body, more so for Group 1 than for Group 2 participants. Group 1 showed substantial improvement in in four areas of the body listed within the dependent measure, while Group 2 showed noteworthy change in only one area from pretest to posttest. Additionally, the majority of Group 1 participants noted a positive difference in their levels of stress (87%) and tension, numbness, and pain (93%). These data do indicate that a regular practice of constructive rest has a positive effect on the perceived levels of pain. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / April 10, 2018. / Constructive Rest, Flute Students, Pain, Stress, Tension / Includes bibliographical references. / Eva Amsler, Professor Directing Treatise; Richard Clary, University Representative; Deborah Bish, Committee Member; Eric Ohlsson, Committee Member; Kimberly VanWeelden, Committee Member.