This research explores the need for a unique, self-help manual to provide music students with diagnoses of dyslexia under the umbrella of specific learning disorder (SLD) and/or attention-deficit/hyperactivity disorder (ADHD) a positive way of coping with their musical tendencies. Dyslexia and ADHD are the most prevalent, comorbid neurodevelopmental disorders with symptoms affecting academic, social, and/or personal life. Musical symptoms could include difficulties in any of the following areas: notation reading; time, pulse, and rhythm; posture; fingering coordination; memorization; sight-reading; organization of thoughts, time, and materials; spatial and directional awareness; focused attention; retention of new concepts; positive attitude; and the ability to process written and/or oral information quickly and accurately. This dissertation includes scientific information related to the conditions; an analysis of musical tendencies; pedagogical approaches; personal anecdotal stories that serve to illustrate scientific concepts; and a self-help manual. The manual, "Music, Dyslexia, and ADHD: A Self-Help Manual for Students with Exceptionalities," is a colorful, accessible resource that begins to fill the self-help gap in the musical instruction literature for students with dyslexia and/or ADHD. It offers useful information, multisensory/multimodal techniques, and coping strategies to empower students with these learning differences to achieve more rewarding, independent success throughout their musical studies.

Younghi Pagh-Paan is an internationally renowned contemporary Korean-German composer. While her music has been strongly influenced by German contemporary musical aesthetics, her compositions also possess Korean musical and cultural influences. In her works, Pagh-Paan employs Western instruments and musical languages that incorporate contemporary techniques such as vibratos, flatter tonguing, pitch bends, and legato glissandi. These effects are thought to imitate the sounds created by traditional Korean instruments. Man-Nam I, for clarinet and string trio, was the second work that Pagh-Paan composed following her move from Korea to Germany. The piece includes many sounds representative of traditional Korean instruments, along with significant symbolism of the sociological background, culture and history of Korean people. The study of Man-Nam I focuses on unraveling hidden elements of Korean traditional music and culture, and addresses the need for the performers to understand its rich Korean influences in order to reach a deeper interpretation of Pagh-Paan's work.

Zou Xiangping is one of the most significant Chinese composers who writes music for the saxophone. These works, however, are not well-known in the classical saxophone repertoire. The purpose of this dissertation is to help international saxophonists develop an enlightened understanding and ultimately, performance of two selected pieces by Chinese composer Zou Xiangping (邹向平) (b. 1951), Images of Yalong River for Alto Saxophone and Piano (雅砻江印：为中音萨克斯管和钢琴) and Song of Chuanjiang River Boatman for Saxophone Quartet (川江纤夫之歌: 为萨克斯管四重奏) (2022). The compositional background, the relevant introduction about Chinese culture, the manner in which the composer combined this with Western compositional techniques, and comprehensive performance advice of each piece are provided.

The main purpose of this dissertation is to offer classical guitarists an additional analytical technique for interpreting and performing the music of Johann Sebastian Bach. While this mode of analysis can be successfully applied to any of the instrumental works by Bach frequently transcribed and performed by guitarists, I have chosen for this study my recent transcription of the Partita in A minor for solo flute traverso, BWV 1013. With a continuo-based, harmonic realization of the Partita, I contribute to the existing guitar repertoire by offering a new transcription of this work, while demonstrating how historical concepts of rhetorical structure and aesthetics found in relevant primary source material can inspire a new approach to analysis, transcription, and performance practice. In this way, my investigations create additional perspectives for classical guitarists regarding the analysis and performance of this work, while complementing traditional harmonic analysis and subject labeling. Although it is my hope that this new transcription of the Partita will serve as an important contribution to the existing literature, the main purpose of this dissertation resides in the musico-rhetorical analytical technique and its implications on performance practice for classical guitarists.

Strategies for Developing Individual Education Programs for Public School Music Students with Attention Deficit Hyperactivity Disorder and Dyslexia explores the need for curriculum modifications, accommodations, and remediation techniques for beginner band students with specific learning disorders (SLDs) under the umbrella of Individual Education Programs (IEPs) or 504 plans for attention-deficit/hyperactivity disorder (ADHD) and/or dyslexia. ADHD and dyslexia are the most common of the neurodevelopmental disorders, often affecting a student's ability to stay focused and attentive; remain quiet and well behaved; comprehend written, visual and/or oral instruction; organize thoughts and materials; exhibit good time management; execute fine and gross motor skills; retain and recall information; decode symbols; process information quickly and correctly; maintain healthy, interpersonal relationships; and overcome anxiety. In order to provide inclusive instruction, music educators should understand how to identify these (often comorbid) conditions and the musical challenges these students might encounter, including time/pulse, notation, rhythm, posture, fingerings, and sight-reading. A guide for instrumental directors and private instrumental teachers, "How to Accommodate or Modify Musical Instruction for a Student with ADHD and/or Dyslexia" is included in this dissertation to provide useful information, multisensory techniques, and suggestions to help students with these learning disabilities achieve better success in the music …

The purpose of this study is to research the music of Geonyong Lee (이건용), one of the most recognized active Korean composers, while determining Lee's intent to compose with influences from both Western and traditional Korean music. This paper analyses Lee's violin works Rhapsody for Piano and Violin and Heoten Garak, and explains the cultural and historical significance surrounding both works in terms of traditional Korean music. Lee asserts that his primary influence Rhapsody for Piano and Violin was Nongac (농악), a traditional form of Korean farming music. Similarly, Heoten Garak displays a distinct influence of traditional Korean music genres, Heoten Garak and Pansori. By analyzing Geonyong Lee's compositional style and approach to the violin, one learns how his musical philosophies combine Western and traditional Korean music practices into a unique compositional approach. The study concludes by summarizing not only Western and traditional Korean style as evident in his music, but also the conceptual approach by which the composer attempts to bring a unique combination of these influences to his audience.

Brass musicians are known to experience a performance problem that is sometimes called valsalva maneuver or musical stuttering. This problem is known to cause difficulty starting a first note, tension in the throat, and tightness in the chest. Unfortunately, the research literature lacks sufficient details for evidence-based interventions. Therefore, the purpose of this study is to characterize and define this performance problem as experienced by brass musicians. An online epidemiologic survey was developed and deployed to collect data from brass musicians who have experienced this problem in their own playing. The survey was designed to acquire data in order to characterize and define the phenomenon through a biopsychosocial framework. The survey was also designed to assess whether this problem aligns with Altenmuller's heuristic model of motor control disruptions. A diverse group of brass musicians (n = 252) participated and offered relevant details for characterizing and defining this problem. Analysis of characteristic data suggests this problem is not a form of musical stuttering. Considering these data through Altenmuller's model suggests that this problem is experienced as a spectrum of motor disruptions that can develop into a unique type of musician's dystonia. While additional research is warranted, the results of this study …

While unaccompanied music encompasses an ever increasing portion of clarinet literature, it comprises a comparatively small percentage of music performed. However, study of unaccompanied repertoire provides a valuable pedagogical bridge between etudes and accompanied music that is abundant with opportunity to address larger universal musical concepts, rather than repertoire-specific solutions. This dissertation demonstrates the application of concept-based pedagogy to selected unaccompanied clarinet repertoire of five different ability levels. Using principals of concept-based pedagogy, each work is broken down to its component technical and expressive parts in order to address larger musical concepts. Three to five exercises addressing each work's technical and expressive challenges are provided and explained.

This dissertation presents the clarinet pedagogy of Robert Marcellus through reorganizing, documenting, and consolidating the archival recordings of summer master classes held at Northwestern University from 1977-1990. Pedagogical discussions and exercises are examined on topics such as wind, articulation, hand and finger position, and phrasing. Marcellus' interpretation and comments are discussed, along with musical examples from Cyrille Rose's 40 Studies for Clarinet, numbers 13, 21 and 32. This dissertation contains Marcellus' repertoire list and a sequence of study. Through this examination and consolidation of Marcellus' own words, this dissertation serves as a unique resource for those clarinetists interested in learning about this distinguished pedagogue.

The purpose of this study is to analyze two of Chen Yi's works that include flute. She was raised in China and later studied in the United States, leading to a compositional output notable for its combination of Eastern and Western musical elements. Her unusual early experiences, such as experiencing the Chinese Cultural Revolution, working in rural areas, studying the violin, playing the piano in the orchestra, and being influenced by Western modernists, became her musical inspirations in her later compositional career. Focusing on the composer's Three Bagatelles from China West and Woodwind Quintet No.3, this study explores how the composer links Chinese traditional folk tunes to Western compositional techniques, as well as Western flute techniques to Chinese musical styles. Since the folk tunes in the first movement, Introduction, and third movement, Miao Dances, of Woodwind Quintet No. 3 are the same as those used in the second and third bagatelles of Three Bagatelles: Nai Guo Hou and Dou Duo, both are studied, presenting how they relate to each other.

In this paper, I analyze the musical content in Federico Alvarez del Toro's marimba concerto El Espiritu de la Tierra. This dissertation represents my analysis of features I hear in the composition, and does not reflect the composer's original compositional process. Commissioned by the governor of Chiapas, the piece was composed in collaboration with internationally renowned marimba virtuoso Zeferino Nandayapa and premiered in 1984 with the Philharmonic Orchestra of Mexico City at Festival Cervantino in Guanajuato. The work has not been published and has been mentioned only briefly in scholarship. Particular attention in the analysis is given to indigenous and folk idioms from the southern region of Mexico combined with post-modern compositional techniques. My primary argument within the dissertation is that I believe the piece demonstrates a respect for tradition and heritage while concurrently utilizing non-traditional and contemporary compositional techniques. Analytically, I argue that two basic shapes are used throughout the piece, and I argue that the many cultural references within the piece solidify a preoccupation with the lineage of southern Mexico.

Dieter Schnebel's String Trio from 2007-2009 is a spatial sound composition that features unique visual components within a traditional string trio setting. This research provides performers and audiences a more thorough understanding of the String Trio and its evocative aesthetic qualities, by identifying and organizing the ways in which the visual and musical material interact. To provide context for String Trio, a brief overview of Schnebel's compositional style and influence on avant-garde musical trends of the latter half of the twentieth century is provided in chapter 2. Special consideration is given to his instrumental chamber music and works for string instruments. In chapter 3, the prior musical analysis and aesthetic context provides a basis for the many conceptual implications resulting from the incorporation of theatricality into a typically non-theatrical genre. The performers' roles within the ensemble and the ways in which they relate to one another as well as their audience, are illuminated and ultimately contribute to a deeper, enhanced experience of the piece. Expectations and traditional notions concerning formal, classical music etiquette are also explored through Schnebel's complex directional changes in orientation and unconventional utilization of the performance space.

Modern flute pedagogy tends to focus on repertoire which utilizes or builds upon tonal and Romantic stylistic conventions, largely ignoring works that disregard or reject these conventions until later in student's education. This lack of stylistic diversity in commonly studied works from the first half of the twentieth century can be problematic when students are approaching avant-garde or modernist repertoire for the first time, as they are unfamiliar with the style and technical needs of the pieces. This dissertation provides a style guide and progressive curriculum for the avant-garde repertoire of the early- and mid-twentieth century to help students bridge the gap from commonly-studied early-twentieth century repertoire to Post-War Modernist works. The curriculum and style guide are accompanied by an overview of avant-garde musical styles prominent in Europe and American between the 1890s and 1970s, a discussion of the pedagogical challenges of avant-garde repertoire, and two performance guides for avant-garde pieces included in the curriculum, Diaphonic Suite No. 1 by Ruth Crawford and Variations for Solo Flute by Ursula Mamlok.

David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability and experience in interpreting jazz styles. The purpose of this document is: (1) to provide background, style, and performance considerations for Baker’s Clarinet Sonata and Heritage: A Tribute for Great Clarinetists, for Clarinet, Violin, Piano and Double Bass; (2) based on these style elements, to provide suggestions for interpreting jazz-style works for classically trained clarinetists; and (3) to archive Baker’s published and unpublished clarinet compositions. Appendices include transcripts of interviews with David Baker and other experts in this field (James Campbell, Rosana Eckert, Mike Steinel and Steven Harlos).

The document provides an annotated bibliography of the compositions for clarinet by Dr. Nguyen Phuc Linh, one of Vietnam's foremost contemporary classical musician. Brief biography of Nguyen and his music aesthetic are also included. The dissertation also provides an overview of Vietnamese music and instrumental music.

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 …

British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites …

The American Clarinet School includes approaches to clarinet playing from European immigrants who instilled their musical style and ideas in the first generation of American-born clarinetists. Some of the first influential pedagogues from Europe include Daniel Bonade (1896-1976), Gustave Langenus (1883-1957), Gaston Hamelin (1884-1951), and Simeon Bellison (1881-1953). Even though they inspired many ideas of the American approach to clarinet, they were known in their time as performers rather than teachers first. The aim of this dissertation is to provide further examination into the modern clarinet professorship in the United States by examining three of the first generation of American-born clarinet professors and their contributions to pedagogy: Keith Stein (1908-1980), William Stubbins (1911-1975), and Himie Voxman (1912-2011). Topics discussed include embouchure, hand position, articulation, technique, expression and phrasing, equipment, teaching beginners, and repertoire.

Occupational burnout is a concern to the health and longevity of clergy and musician careers. However, no known study has assessed occupational burnout among pastoral musicians. A literature review revealed pastoral musicians anecdotally experienced multi-tasking, workplace politics, inequality of workload, competing liturgical styles, lack of job security, lack of financial security, and lack of rest, among other indicators of burnout. Therefore, the aims of this paper were to: (1) describe pastoral musicians as a population; (2) identify the prevalence rate of burnout among pastoral musicians; (3) investigate the relationship between pastoral musicians' burnout and religious coping; and (4) investigate the relationships between pastoral musicians' burnout and depression, anxiety, and stress. In 2021, an online questionnaire was designed to assess burnout among pastoral musicians. Dissemination techniques included emails to members of the Hymn Society of North America and via social media to collect data from pastoral music directors in the United States of America. The survey yielded n = 1,050 respondents: 83.8% experienced one or more symptoms of burnout (41.3% with low efficacy; 12.4% with high emotional exhaustion; 21.3% with high cynicism; 8.8% with burnout). Ineffectiveness was positively correlated with negative religious coping. Emotional exhaustion and cynicism were positively correlated with …

Clarinet works by Taiwanese female composers are not well researched or catalogued, and to date, and no comprehensive research codifies this subcategory in Taiwan or elsewhere. A comprehensive research and bibliography is necessary to the international community. It is hoped that through this annotated bibliography, readers will gain a deeper understanding of this genre. This study contains a brief history of Taiwan's Western music history, the female composers' history in Taiwan, and literature review. A total of twenty compositions by eighteen different Taiwanese female composers are discussed in the annotated bibliography, including thirteen for unaccompanied clarinet and seven for clarinet and piano. Information includes a brief biography of the composer, the date of composition, duration, premiere, dedication, commission, location of the score, difficulty and commentary on the piece.

Identity is a powerful concept that influences behavior and health. For over thirty years, researchers in sport psychology have been using the Athletic Identity Measurement Scale (AIMS) as a research instrument providing insights into the relationships between athletic identity and health variables. While musician identity is recognized as an important factor to be investigated in relation to occupational health, there are no known robust instruments like the AIMS in music psychology research. The current study aimed to adapt and validate the athletic identity measurement scale for use with musicians. The AIMS history includes episodes of modifications for performance enhancement of the instrument that resulted in five different models. The validation process includes evaluating the psychometrical properties across all five models. The sample included student musicians and non-student musicians (N = 1040). The traditional confirmatory factor analysis (CFA) and the maximum likelihood (ML) estimation method were used. The exploratory structural equation modeling (ESEM) and robust weighted least squares (WLS) was utilized to explore a new method of estimation that was known to resolve issues consistent with the CFA and ML method. The goodness-of-fit indices of CFA and ESEM were compared. The results showed that the MIMS is a reliable and valid …

This study assessed music educators' health literacy, musician health literacy, and intentions to teach the health-related Fine Arts TEKS in ensembles. An online survey was developed using the integrated behavior model, Newest Vital Sign (NVS), and Musician Health Literacy Questionnaire (MHL-Q19). Texas music educators who taught secondary band, choir, or orchestra were recruited via email and social media. Results: This survey yielded N = 207 respondents, with 43%, 29%, 14.5%, and 13.5% teaching band, choir, orchestra, and multiple ensembles, respectively. Most participants (67.6%) demonstrated adequate health literacy by answering at least four items correctly on the NVS. Attitude (p =.47) and personal agency (p =.30) were significant predictors of behavioral intention, while perceived norm was not (R2 =.484). Including NVS total score and MHL-Q19 total score in the model showed that while both factors improved the model (ΔR2=.038), only NVS total score was significant (p =.26) in predicting behavioral intention. Music educators in this study had adequate health literacy, which may contribute to their intentions to teach health concepts in ensembles. However, future efforts to improve these intentions should focus on bolstering perceived norms and personal agency by providing music educators with opportunities to take charge of implementing these concepts …

Charlotte Moorman (1933–1991) was a Juilliard-trained cellist whose life and work made an indelible mark on the development of the American avant-garde. In her career, Moorman acted as a performer, collaborator, composer, administrator and muse. She solely founded the inaugural New York Avant Garde Festival, and subsequently directed fifteen of these festivals between 1963 and 1980, the feat for which she is most widely acknowledged today. Yet, her revolutionary performance practice, which blurred the lines between her life, her body, and her work, and brought into focus the dynamics of corporeality, the feminine body, female nudity and sexuality, and gendered politics within the contexts of musical performance, has so far escaped serious consideration in the written histories of the American avant-garde. This dissertation describes the nature of Moorman's practice as one that evolved to become inherently and irrevocably embodied, explores how this approach fell at odds with the pervasive avant-garde philosophies of music, and illustrates how her work troubles even a feminist musicological analysis. Further, through a contemporary critique of Moorman's oeuvre which centralizes the social, cultural, and political implications of her body in performance as integral to the work, this project offers a retrospective visibility to the artist which …

Many classically-trained clarinetists do not know how to use their performance skills and life experiences to create financially sustainable and artistically fulfilling musical opportunities. Music careers have traditionally included teaching positions in academia and performance positions in professional ensembles. Because of the limited number of jobs in these two areas, clarinetists, and classical musicians in general, often turn to work that provides financial security but may lack artistic fulfillment. The proposed solution to this situation is for musicians to create "portfolio careers," which is defined in this document as a combination of multiple part-time jobs to create full-time work. The purpose of this document was to examine best practices in creating and sustaining a portfolio career through the specific lens of seven clarinetists who have shown themselves to be successful performers and entrepreneurs. Results showed that the best practices include: 1) turn ideas into actions, even if the idea is still in the prototype stage, 2) build and utilize a network of successful and supportive people, 3) say "yes" to opportunities, and 4) find creative work outside the field of music that inspires music-related work.