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 …

This dissertation presents an analysis of Akrodha (1998), a multiple percussion solo in two movements, composed by Kevin Volans. The analysis is focused on the motivic content and subsequent iterations written within the tempos that provide the structural form of the piece. The structural tempos are supported by the presence of various motifs that serve as the tempos' characteristic traits, thereby giving the tempos more tangibility. As the work develops, these motifs reappear either as note-for-note reiterations or as variations that still maintain the unique qualities of the motifs. For comparison, similar analyses of Mr. Volans' other multiple percussion solos, She Who Sleeps with a Small Blanket (1985) and Asanga (1997), are also presented to further explore Mr. Volans' use of motifs as they relate to structural tempos. In addition, a comprehensive performance practice of Akrodha is presented based on a synthesis of considerations and methods from individuals involved in the piece's development and early performances. These include Dr. Volans himself, Jonny Axelsson (for whom Akrodha was written), and Robyn Schulkowsky (for whom She Who Sleeps with a Small Blanket and Asanga were written), as well as the author's personal experiences. This dissertation provides a deeper understanding of Akrodha for …

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 …