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Designing a Health Promotion Message to Advocate the Use of Clarinet Neckstraps as an Injury Prevention Method in Public School Band Programs: Thesis written by a student in the UNT Honors College discussing clarinet neck straps and their promotion within the clarinet community.
Selected Art Songs of Chinese Composer Huang Zi: Music, Poetry, and Social-Historical Considerations: This dissertation examines the contributions of the early twentieth-century Chinese composer Huang Zi to the genre of Chinese art songs. It discusses how he combined Western compositional techniques with traditional Chinese music and ancient or contemporary Chinese poetry, focusing on his works 花非花 Flowers in the Mist, 点绛唇, 赋登楼 Ode to Ascending the Tower, 思乡 Missing Homelands, and 春思曲 Spring Nostalgia. Huang's songs, which created a bridge between East and West, are still significant today in China and deserve performance in the West, too. Translations and a phonetic guide to the four songs are provided so that Western singers have the tools they need to perform these songs.
Assessing Perception and Attitude of Pianists toward Ergonomically Scaled Piano Keyboards (ESPK): Raising Awareness about ESPK and Evaluating Changes of Attitude through an Educational Survey: As epidemiologic research demonstrates health concerns for hand problems among pianists, scientists are measuring historic piano keyboards and realizing that much of the piano literature was composed for and played on pianos with smaller keys compared to what is used on the modern piano. Having to play this literature on a larger keyboard is especially difficult for small-handed piano students and professionals. Fortunately, smaller keyboards are now available for use with standard pianos - and research shows that this ergonomic adjustment does reduce piano-related hand pain for small-handed musicians. Major universities are now offering this option to students, but only a few music schools possess these keyboards and not many people know about them. There are no known research studies to address people's awareness and attitude toward ergonomically scaled piano keyboards (ESPKs). The purpose of this study was to assess perception and attitude toward ESPKs and help to raise its awareness. To examine pianists' perception, two surveys was composed. First one was conducted on UNT campus in which ESPKs are available for their students, and the second survey was carried out on schools of music in the United States. The results reveal that substantial number of people already know about the existence of ESPKs, but they are not totally aware specific information about ESPKs. Subjects who are aware of ESPKs report significantly higher positive attitude compared to those have not known about ESPKs. Results from this study may have implications for health education initiatives within NASM schools of music.
Politics and the Piano during the Great Proletarian Cultural Revolution in China: An Analysis of Three Piano Works, "Music at Sunset" (1975), "Hundreds of Birds Paying Homage to the Phoenix" (1973), and "Liuyang River" (1972): As a political disturbance and social movement, the Cultural Revolution hugely impacted the development of Chinese piano art. The piano went through many stages throughout this ten-year period. This dissertation examines the suppression and later expansion of piano music in China during the Cultural Revolution, along with the historical motivations and forces that shaped each stage of its development. The study is supported by historical documents and relevant literature. This dissertation includes an analysis of the roles that piano music played during this era and the piano's relationship with the Cultural Revolution's modernizing goals. The analysis focuses on the musical characteristics of three piano pieces from this period and explores the instrument's historical importance, to better understand how Chinese piano music maintained a careful balance between its value as a tool for socio-political propaganda and its transformation under the burden of political pressure and creative limitations. Additionally, this dissertation examines playing techniques in these works that define a distinctly Chinese piano style that is enormously popular today. To complement the dissertation, these piano pieces were performed during the dissertation recital.
A Real-Time Electronic Sound Analysis System with Graphical User Interface: Noise-induced hearing loss is a serious problem common to musical environments. Current dosimetry technology is primarily designed for industrial environments and not suited for musical settings. At present, there are no government regulations that apply to the educational music environment as it relates to monitoring and prevention of hearing loss. Also, no system exists than can serve as a proactive tool in observation and reporting of sound exposure levels with the goal of hearing conservation. Newly proposed system takes a software based approach in designing a proactive dosimetry system that can assess the risk of sound noise exposure. It provides real-time feedback trough a graphical user interface that is capable of database storage for further study.
Electronic Sound Analysis with Hardware System and Remote Internet Display: Currently, standards from government agencies such as the National Institute for Occupation Safety and Health exist to aid in safeguarding individuals’ capacity for hearing, but only in factory settings in which large machines often produce loud levels of sound. Neglecting the fact that these preventative measures are only in place in the most limited of settings, no system currently exists to observe and report sound exposure levels in a manner timely or easily recognizable enough to adequately serve its purpose of hearing conservation. Musicians may also incur significant levels of risk for hearing loss in their day-to-day rehearsals and concerts, from high school marching bands to university wind bands. As a result, music school accrediting organizations such as the National Association of Schools of Music and even the European Union have begun taking steps meant to determine the risks associated with music. To meet these goals and improve upon current technologies, a system has been developed that electronically records sound levels utilizing modern hardware, increases the speed of reporting by transmitting data over computer networks and the Internet, and displays measures calculated from these data in a web browser for a highly viewable, user-friendly interface.
Conductor Awareness of, Knowledge of, and Attitude Toward Sound Intensity Levels Generated During Ensemble-based Instructional Activities in College-level Schools of Music: In 2011, the National Association of Schools of Music (NASM) took an official position to recognize the importance of hearing health and injury prevention as a standard for all member-accredited institutions. This is the largest national acknowledgement promoting hearing health and safety within the music discipline and among students seeking a music degree in the United States. The purpose of the study is to describe what conductors (i.e., instructors) of college-based ensembles know about hearing health and the generation of sound intensity levels. The study aimed to describe the 1) current state of conductors’ awareness and knowledge of sound intensity levels, 2) current attitudes of conductors toward learning and sharing knowledge of sound intensity levels, and 3) current teaching practices of conductors in regard to equipment usage (e.g. sound level meter, noise dosimeter, hearing protection devices) relating to sound measurement and exposure. Findings indicate 80.2% of conductors (N = 162, 66% employed by NASM-accredited institutions) agree that sounds generated during ensemble-based instructional activities (EBIAs) in college-level schools of music are capable of harming human hearing, but 24.1% “do not know” if EBIAs they conduct ever exceed sound intensity levels capable of harming human hearing, 54.9% do not know “what services or resources” their home institutions offer/refer to students, 93% are never using a noise dosimeter, 40% have never had an audiology exam, and 70% have never used hearing protection during an EBIA. Conductors have a strong openness to change current teaching practices and inform themselves about hearing health, but few are personally informing and educating their students during the EBIA. The study serves to assist conductors and foster a new dialogue among their students, colleagues, staff, and administrators to revise current curriculum, explore sound measurement technologies, and evaluate current hearing health and safety issues inherent in the practice, performance, and …
Epidemiological Evaluation of Pain Among String Instrumentalists: Pain and performance anxiety (PA) are common problems among string players. Therefore, the purpose of this study was to assess and compare PA and prevalence rates and locations of pain in violinists, violists, cellists, and bassists. Subjects completed a questionnaire that included sections on demographics, musical background, practice habits, musculoskeletal problems, non-musculoskeletal problems, and PA. Anthropometric data were gathered on all 115 subjects. Results show that there are differences in both pain and PA across instrument groups. Violinists reported the highest number of pain sites, followed by violists, bassists, and cellists. The left shoulder was the most-often reported pain site, followed by the neck and right shoulder. Aching was the most cited term selected to describe pain. Several anthropometric indices were significantly correlated with pain, notably right thumb to index finger span in both cellists and bassists. In all instrument groups, at least one pain site was significantly correlated with one of four PA questions. Results warrant the development of intervention strategies and further study of the relationship between pain and performance anxiety.
A Pedagogical Guide to the Twenty-Four Preludes for Piano, Op.67 (1814), by Johann Nepomuk Hummel: Johann Nepomuk Hummel (1778–1837) was a leading composer, virtuoso pianist, and well-known pedagogue during the late Classical and early Romantic periods. His music was important and frequently performed during his lifetime, but his piano preludes, Op. 67, seem to have been completely forgotten. These preludes reflect the traditional use of the prelude, with many traditional piano techniques. The influence of Hummel's Op. 67 on the next generations is clearly shown in the similarities in their compositions, especially the works of Chopin. This dissertation includes a formal analysis of the preludes and a discussion of each specific type of piano techniques with practicing suggestions, providing a pedagogical guide for students on how to use Hummel's works to prepare for other composers.
A Performance Guide to a Forgotten Piece by Carl Czerny: "Fantaisie sur des melodies de Beethoven," Op. 752 (1844): Carl Czerny (1791-1857) was an Austrian piano teacher, composer, pianist, historian, and theorist, who made many contributions to the musical world. He wrote many pieces of music over the course of his life, the most familiar to us being his exercises. His other types of work are less known and studied nowadays for various reasons. Yet it cannot be denied that Czerny was a very important figure who should not be allowed to fade away. We must delve deeper into his life and uncover more of his pieces, to reveal aspects of his work that are unknown for us. This study concentrates on the forgotten piece Fantaisie sur des mélodies de Beethoven, Op. 752. This is one of the pieces that I included in a World Premiere release recording issued by Toccata Classics. The intent of the program for the recording was to change the traditional concept of Czerny's work and show that his compositions are worth adding to today's recital repertoire. The program included five forgotten pieces by Czerny, of which Op. 752 was the most complicated and virtuosic. The purpose of this study is to analyze the piece and illustrate practicing methods or solutions for the technical challenges of different types that it requires, thus constituting a performance guide. Furthermore, this dissertation also gives suggestions for using the piece in teaching. The aim is to help pianists and teachers to understand and successfully perform the piece on the modern piano. Moreover, I hope that this study will draw more attention to Czerny and inspire others to uncover more of his works.
The Application of Hackman and Oldham's Job Characteristic Model to Perceptions Community Music School Faculty Have Towards Their Job: Hackman and Oldham's Job Characteristic Model was applied to study of perceptions community music school faculty hold towards their job. The research questions addressed core job characteristics of skill variety, task identity, task significance, autonomy, and feedback, critical psychological states (experienced meaningfulness, experienced responsibility, and knowledge of results); personal and work outcomes of satisfaction and motivation; need for professional growth. The results were compared to the national norms for nine different job families provided by Oldham, Hackman, and Stepina. Thirty-three schools, all members of the National Guild of Community Schools of the Arts, located in every geographical region of the United States, yielded 437 faculty responses (64% return rate). Of the core job characteristics, dealing with others and autonomy received the highest ratings; feedback and task significance received the lowest ratings. Of the psychological states, experienced responsibility yielded the highest rating and experienced meaningfulness yielded the lowest ratings. Of the personal/work outcomes, personal development and colleague relations received the highest ratings; pay satisfaction and overall general satisfaction received the lowest ratings. A comparison to the professional job family norms, using a one-sample ttest, found significant differences in 16 out of the 18 variables measured by the Job Characteristic Model. Strong positive feelings for growth combined with less than strong feelings for the core job dimensions yielded a low motivating potential score of 96.18.
Rebecca Clarke: A Viola Duo Transcription of the Prelude, Allegro, and Pastorale: Throughout centuries of great classical music, many viola compositions have been crafted from a wealth of literature for instruments of similar range. Clarinet, violin, and cello concerti and ensemble literature often adapt into challenging literature for the viola. In November 2009, Oxford Music Publishing gave me permission to transcribe and perform the Prelude, Allegro, and Pastorale by Rebecca Clarke in New York's famed Carnegie Hall - Weill Recital Hall. This dissertation explains the process by which I transcribed the Prelude, Allegro, and Pastorale from an original Bb-clarinet/viola duo, to a new arrangement for two violas (approved by Oxford Music Press arrangement license #7007940), and discusses challenges faced throughout the transcription process.
Polystylistic Features of Schnittke's Cello Sonata (1978): Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.
The Effect of Head Flexion/extension on Acoustic Measures of Singing Voice Quality: A study was undertaken to identify the effect of head flexion/extension on singing voice quality. The amplitude of the fundamental frequency (F0), and the singing power ratio (SPR), an indirect measure of singer’s formant activity, were measured. F0 and SPR scores at four experimental head positions were compared with the subjects’ scores at their habitual positions. Three vowels and three pitch levels were tested. F0 amplitudes and low frequency partials in general were greater with more extended head positions, while SPR increased with neck flexion. No effect of pitch or vowel was found. Gains in SPR appear to be the result of damping low frequency partials rather than amplifying those in the singer’s formant region. Raising the amplitude of F0 is an important resonance tool for female voices in the high range, and may be of benefit to other voice types in resonance, loudness, and laryngeal function.
Risk Factors for Flute-Related Pain among High School and College Students: Flutists have reported musculoskeletal pain from practicing and performing their instrument. This study was a statistical approach to investigate potential causal risk factors for flute related pain among high school and college students. The study focused on the relationship between flute related pain and musical background or anthropometric measurements including size, strength and flexibility. Subjects included thirty high school and college-aged flutists who were assessed using a questionnaire, bi-lateral anthropometric measurements of the upper-extremities, upper-extremity performance tests for range of motion, isometric strength and rotation speed, and instrument specific questions. Four questions regarding pain associated with flute playing were treated as dependent variables and used for correlation and regression analyses with other independent variables. A six-factor regression model was created and each model was statistically significant. Results of this study show that strength, flexibility, pain spots, and exposure are risk factors for flute related pain. Both left and right pinch strength and right isometric pronation strength were significantly correlated to flutists experiencing pain while playing. Knowledge of these factors in relationship to pain is needed in flute pedagogy to help teachers and performers understand why flutists report pain during and after playing. Additional studies are warranted for replication of this study and for determining the clinical and pedagogical relevance of these findings.
Determining the Authenticity of the Concerto for Two Horns, Woo 19, Attributed to Ferdinand Ries: Ferdinand Ries is credited as the composer of the Concerto for Two Horns, WoO. 19 preserved in the Berlin State Library. Dated 1811, ostensibly Ries wrote it in the same year as his Horn Sonata, Op. 34, yet the writing for the horns in the Concerto is significantly more demanding. Furthermore, Ries added to the mystery by not claiming the Concerto in his personal catalog of works or mentioning it in any surviving correspondence. The purpose of this dissertation is to study the authorship of the Concerto for Two Horns and offer possible explanations for the variance in horn writing. Biographical information of Ries is given followed by a stylistic analysis of Ries’s known works. A stylistic analysis of the Concerto for Two Horns, WoO. 19 is offered, including a handwriting comparison between the Concerto for Two Horns and Ries’s Horn Sonata. Finally, possible explanations are proposed that rationalize the variance in horn writing between the Concerto for Two Horns, WoO. 19 and Ries’s other compositions that include the horn.
Exploring Texas Music Educators' Health Literacy, Musician Health Literacy, and Intentions to Address the Health-Related Fine Arts TEKS in Ensemble Instruction Using the Newest Vital Sign, MHL-Q19, and Integrated Behavior Model: 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 in their classrooms while showing that other stakeholders (i.e., campus administration, parents of students, and music educator colleagues) are also invested in presenting health concepts to student-musicians.
The Association between Sleep Patterns and Singing Voice Quality during the COVID-19 Pandemic: This study investigated the associations between sleep patterns and singing voice quality in 231 adult singers of various skill levels across the United States. The four-part survey using a general questionnaire on demographics, musical background, vocal health, and three established survey instruments: the Pittsburgh Sleep Quality Index (PSQI), the Singing Voice Handicap Index-10 (SVHI-10), and the Epworth Sleepiness Scale (ESS) found that while scores were worse than normative values for the PSQI and the SVHI-10, a Pearson correlation between the two showed a moderate association. A linear regression also yielded that 8.9% of the variance in SVHI-10 scores could be predicted from PSQI scores. While further research is needed in this area, this study suggests that the amount of sleep needed for an optimal singing voice may be different from the amount needed to feel well-rested for some singers. Moreover, singers may overestimate the influence of sleep on their singing voices.
Traditional Korean Music in Contemporary Context: A Performance Guide to Gideon Gee Bum Kim's Kangkangsullae: Gideon Gee Bum Kim is an internationally-acclaimed contemporary Korean-Canadian composer. Kim has utilized traditional Korean music with Western composition techniques in some of his works. Kim created his own style by incorporating traditional Korean musical elements such as the scale, rhythmic diversity, syncopation, variation, ornamentation, and the progression of melody into a body of music that is otherwise contemporary and Western. The purpose of this study is to develop a performance guide for Gideon Gee Bum Kim's Kangkangsullae for string trio. Kangkangsullae trio is based on Korean historical, cultural and musical influences. I give a detailed historical and cultural background for this work and demonstrate how Kim integrated Western compositional techniques with traditional Korean music. My emphasis is on defining specific characteristics of traditional Korean music which will provide several points toward understanding Kim's compositional style.
An Analytical Survey of Hendrik Hofmeyr's Compositions for Solo Saxophone: Hendrik Hofmeyr is considered one of the most important and influential living composers in South Africa. His music for solo saxophone is not well-known in the classical saxophone repertoire. His four works for solo saxophone (Concerto per saxofono contralto e orchestra, Concerto per saxofono baritono e orchestra, Partita canonica, and Necromancer) are substantial and terrific repertoire for the instrument. This study is intended to inform a saxophone performer's understanding of these compositions through analysis of form, melodic, and harmonic content relevant to performance; and, demonstrate through example the conclusions determined by the analysis about apparent compositional techniques in the music.
Blueline Concerto: Critical Essay: The purpose of this critical essay is two-fold. First, the essay presents a detailed critical analysis of my original composition, Blueline Concerto for bass trombone and wind ensemble. Second, using Blueline Concerto, the essay presents preliminary findings of my study to develop an approach to composing that takes into account the musicians' health, specifically regarding noise induced hearing loss (NIHL). Through various hypothesized composition- and orchestral-based approaches, I test effectiveness on changes in NIHL risk while also noting that artistic merit and compositional integrity is preserved.
An Assessment of Extant Euphonium Methodologies for Developing and Performing in the Upper Register: This dissertation presents a categorization of existing methodologies of upper register development for euphoniumists with evaluation of effectiveness and current use of these methodologies. The purpose of this study is to provide euphonium musicians as well as educators with essential references and guides to applicable methods for developing the upper register more effectively with greater efficacy. The assessments of current methodologies include three steps: categorization, summarization, and evaluation. To support the significance why it could be more beneficial than the methodology alone, the dissertation will include the examination of the aspect of biomechanics and ergonomics, suggestions, and discussion of particular issues of the upper register.
A Scientific Characterization of Trumpet Mouthpiece Forces in the Context of Pedagogical Brass Literature: Embouchure dysfunctions, including those from acute injury to the obicularis oris muscle, represent potential and serious occupational health problems for trumpeters. Forces generated between the mouthpiece and lips, generally a result of how a trumpeter plays, are believed to be the origin for such problems. In response to insights gained from new technologies that are currently being used to measure mouthpiece forces, belief systems and teaching methodologies may need to change in order to resolve possible conflicting terminology, pedagogical instructions, and performance advice. As a basis for such change, the purpose of this study was to investigate, develop and propose an operational definition of mouthpiece forces applicable to trumpet pedagogy. The methodology for this study included an analysis of writings by selected brass pedagogues regarding mouthpiece force. Finding were extracted, compared, and contrasted with scientifically derived mouthpiece force concepts developed from scientific studies including one done at the UNT Texas Center for Music & Medicine. Results characterized five mouthpiece force principles as the basis for an operational definition of mouthpiece force. This definition recognizes the relationships between average mouthpiece force and mouthpiece force variability. Mouthpiece force principles as presented in this study may contribute to a better understanding of mouthpiece force and its link to lip related injuries. However, additional studies are needed to better understanding the relationships between how the trumpet is taught and learned and the resulting mouthpiece forces produced when playing the trumpet.
An Argument in Favor of the Saxhorn Basse (French Tuba) in the Modern Symphony Orchestra: The French tuba was a much-needed addition to the brasswind musical instrument family, adding depth, projection and a unique color to French orchestral literature. Its ancestors the serpent and ophicleide both lacked the tonal stability and sonic power to adequately present the bass wind role in a robust orchestra. Through the efforts of its developer and patent-holder Adolphe Sax, the French tuba made converts among players and composers, effectively creating its own niche in music history. Musical tastes change however, and the French tuba has been largely supplanted by tubists using instruments twice its size. Since French composers composed specifically with the distinct timbre of the French tuba in mind, this unique and characteristic musical entity deserves a resurgence in performances of French orchestral repertoire.
Risk factors for piano-related pain among college students and piano teachers: Possible solutions for reducing pain by using the ergonomically modified keyboard.: Playing‐related pain is a common and serious problem among pianists. Information on cause and prevention is extremely limited due to a lack of scientific research. The purpose of this study was to (1) review and describe risk factors for piano‐related pain among college students and piano teachers that were reported in my previous two research studies, (2) justify the use of an ergonomically modified keyboard as a potential solution for reducing playing‐related pain, and (3) test and evaluate the effectiveness of an ergonomically modified keyboard for alleviating pianists' pain. Both study populations reported high prevalence rates for playing‐related pain: 86 % for college students (n = 35), 91 % for piano teachers (n = 47). For both populations, statistical analyses confirmed that pianists with small physical size (hand size) were more prone to pain. This finding helped rationalize the use of an ergonomically modified keyboard (the key width is 1/16 narrower than the standard) for small‐handed pianists as an ergonomic intervention. To test the effectiveness of an ergonomically modified keyboard, 35 college students played identical music on both the reduced-sized keyboard and the standard keyboard. Observations of video‐recorded performances revealed that small-handed pianists can avoid extreme stretching of their hands when playing on the modified keyboard. Statistical analysis of questionnaire data confirmed that the modified keyboard helped small‐handed pianists to play with less pain and tension. These results warrant the serious consideration of adopting ergonomic principals into the world of piano.
Harmony Or Discord: Disordered Eating and Personality Traits of College Music Majors: Personality traits, such as neuroticism, perfectionism, and a narrow self-concept have been identified as risk factors for eating disorders or have been found at higher rates in those with eating disorders (e.g., Brannan & Petrie, 2008; Cash & Deagle, 1997; Cervera et al., 2003). Musicians exhibit many of these personality traits associated with eating disorders (e.g., Kemp, 1981), however eating disorder prevalence has not been studied in musicians. The present study examined the prevalence of eating disorders and pathogenic weight control behaviors among college music majors. This study also compared personality traits (i.e., neuroticism, perfectionism, musician identity) between music majors and nonmajors and examined which personality traits best predicted bulimic symptomatology. Participants were 93 female and 126 male undergraduate students majoring in music and a nonmusician comparison group of 310 women 140 men from the same university. Music majors and nonmajors did not differ from each other with regards to eating disorder prevalence rates. Exercising and fasting/strict dieting were the primary means of weight control amongst all participants. With regards to personality traits, female and male music majors reported higher levels of perfectionism than their nonmajor counterparts and male music majors reported higher levels of neuroticism than male nonmajors. After controlling for BMI, neuroticism and doubts about actions predicted bulimic symptoms in female music majors, whereas concern over mistakes predicted bulimic symptomatology among men majoring in music. Findings suggest that any additional appearance-based pressures from the music environment do not translate into increased levels of eating pathology. Music majors higher levels of perfectionism and neuroticism may help them to succeed within the music and perform at a high level. Lastly, personality dimensions of neuroticism and concern over making mistakes predict disordered eating in all students.
Tommy Smith's Two Sonatas, "Hall of Mirrors" and "Dreaming with Open Eyes": A Performance Guide and Analysis: Tommy Smith is considered by many to be one of the greatest jazz saxophonists not only in Scotland, but world-wide. Celebrated for his virtuosic performance skills, tremendous compositions, and prized albums in the jazz idiom, Smith has also had great success as a composer and performer of the classical genre. Fusing the styles of jazz and classical, he composed and recorded two sonatas, entitled, Sonata No. 1 - Hall of Mirrors and Sonata No 2. - Dreaming with Open Eyes, on his 1998 album, Gymnopédie: The Classical Side of Tommy Smith. Unique pieces, they are not considered standard repertoire in the classical saxophone world, however, they are welcomed, substantial works for either the soprano or tenor saxophone and piano. Composed in a classical style and performed with jazz inflections and improvisation, these sonatas are challenging pieces to learn and execute at a high level. For many classical saxophonists, improvising a cadenza or utilizing standard jazz performance techniques could dissuade them from performing these terrific, distinctive works. This study is intended to aid in the learning and presentation of these two pieces, and includes transcriptions from Tommy Smith's album, errata, and performance analyses for each sonata.
Predictive Modeling for Persuasive Ambient Technology: Computer scientists are increasingly aware of the power of ubiquitous computing systems that can display information in and about the user's environment. One sub category of ubiquitous computing is persuasive ambient information systems that involve an informative display transitioning between the periphery and center of attention. The goal of this ambient technology is to produce a behavior change, implying that a display must be informative, unobtrusive, and persuasive. While a significant body of research exists on ambient technology, previous research has not fully explored the different measures to identify behavior change, evaluation techniques for linking design characteristics to visual effectiveness, nor the use of short-term goals to affect long-term behavior change. This study uses the unique context of noise-induced hearing loss (NIHL) among collegiate musicians to explore these issues through developing the MIHL Reduction Feedback System that collects real-time data, translates it into visuals for music classrooms, provides predictive outcomes for goalsetting persuasion, and provides statistical measures of behavior change.
A Model of Collaborative Creativity: The Arrangements of Nelson Riddle for Frank Sinatra and Ella Fitzgerald: This dissertation explores the themes of collaboration and creativity in the relationship between arranger Nelson Riddle and vocalists Frank Sinatra and Ella Fitzgerald. It examines the balance between structure and freedom as well as the specific musical results that emerge from collaboration between an arranger and vocalists who are considered among the greatest in their fields. An examination of their interactions, musical scores, and performances, reveals that the constraints that are present in a collaborative effort can lead the artists to find a shared process to make a creative, unified product.
Epidemiologic Survey of a Unique Type of Task-Specific Dystonia in Brass Musicians: 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 are applicable to brass musicians, brass pedagogues, music educators, and performing arts health clinicians.
The Evolution of the Improvisational Vocabulary of Marc Johnson: This study examines the evolution of the improvisational vocabulary utilized by bassist Marc Johnson over the course of his career. Through interviews and musical analysis the study contextualizes Johnson’s musical influences, considers how they shaped his development, and examines his role in the legacy of the stylistic lineage established by Scott LaFaro with the Bill Evans Trio. A survey of literature concerning Johnson, Scott LaFaro and Eddie Gomez is included, as well as a discussion of the impact of apprenticeship on Johnson’s career. The study illuminates aspects of Johnson’s current vocabulary and how he has synthesized influences to create a distinctive vocabulary, not derivative of Scott LaFaro or Eddie Gomez, but incorporating elements of their style in the composition of his own voice.
"Mich dürstet" (I Thirst) by Younghi Pagh-Paan and the Jeju 4.3 Incident: Images and Piano Textures: Younghi Pagh-Paan is a female Korean-German composer. Although being a prolific composer, she has only twice composed for piano solo. Pagh-Paan's Mich Drüstet (I Thirst) is a piano solo work and based on the tragedy in Korea, the Jeju 4.3 Incident in 1948. Even though the Jeju 4.3 incident triggered mora than 30,000 casualties, I Thirst is the only music to commemorate the incident, as commissioned by the pianist Kaya Han. This study of I Thirst highlights her musical textures for the piano and elements she employs to express her thoughts about the event; for instance, Korean musical element, 12-tone techniques, and counterpoint. In addition, it addresses the need for the pianist to have background information about Jeju Island and the Incident by matching images with musical sections in order to achieve a deeper interpretation of Pagh-Paan's piano composition.
Adaptation and Validation of the Athletic Identity Measurement Scale for Use with Musicians: 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 instrument for use with musicians. The factor structure and the goodness-of fit-indices were discussed across all the models of MIMS.
Clinical Symptoms and Signs Related to Voice Disorders among Collegiate-Level Singers: A Retrospective Study: The objectives of this research were to (1) characterize the demographics and vocal health history of collegiate-level singers, particularly those with a voice disorder and (2) describe and compare self-reported symptoms of singers across diagnostic categories of vocal fold disorders. Clinical reports of 56 collegiate-level singers (15 male and 41 female) who visited the Voice Diagnostic Clinic at the University of North Texas for voice evaluations between 2010 and 2015 were reviewed. Information was extracted from clinical records including demographic data, vocal health history, self-reported voice-related symptoms, and voice diagnosis confirmed by strobolaryngoscopic examinations and phonatory function testing. Diagnoses of voice disorders were grouped under three categories: normal (i.e., no perceptible pathology), benign lesions and irritation/inflammation. Seven singers were diagnosed as normal, 27 (51.8%) with benign lesions, and 22 (39.3%) with irritation/inflammation. All singers diagnosed as normal were females. Female singers have twice as many benign lesions as irritation/inflammation whereas males presented the opposite pattern. Nodules, polyps, cysts and irritation/inflammation were the most common voice disorders. Singers with allergies and a past history of voice problems demonstrated a higher incidence of voice disorders. The top five self-reported vocal symptoms were worse voice in the morning (50%), pain in throat (46.4%), voice worse with prolonged use (44.6%), vocal fatigue (42.9%), and breathiness (41.1%). Self-reported symptoms are not a reliable screening tool to determine presence or absence of vocal pathology. Voice teachers must be familiar with the singing and speaking voice of each student, so as to perceive early onset of vocal attrition symptoms and encourage the student in seeking medical attention.
Using Web-Based Instruction to Teach Music Theory in the Piano Studio: Defining, Designing, and Implementing an Integrative Approach: This dissertation rationalizes the best use of Web-based instruction (WBI) for teaching music theory to private piano students in the later primary grades. It uses an integrative research methodology for defining, designing, and implementing a curriculum that includes WBI. Research from the fields of music education, educational technology, educational psychology, and interaction design and children receive primary consideration. A synthesis of these sources outlines several research-based principles that instructional designers can use to design a complete blended learning environment for use within the piano studio. In addition to the research-based principles, the precise methods of determining instructional tasks and implementing the program online are described in detail. A full implementation is then deployed, and piano teachers evaluate the extent to which the online program fulfills the research-based principles. This dissertation does not argue for the complete migration of theory instruction from traditional workbook approaches to an entirely Web-based medium but rather outlines the best use of face-to-face instruction, collaboration amongst students, teachers, and parents, and interaction with a Web-based program. This formative research provides a complete model of integrating WBI within the piano studio that can guide instructional designers and music educators.
Confronting the Enemy Within: An In-Depth Study on Psychological Self-Handicapping among Collegiate Musicians: 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.
An Investigation of the Relationships between Memory Strategies, Performance Anxiety, and Memory Lapses among Classical Pianists: Unlike most other musicians, pianists need to play by memory during their recitals, juries, etc. Doing so can greatly influence the intensity and frequency of anxiety due to potential memory slips when performing. The purpose of this study is to examine the relationship between memory strategies, experiences with memory lapses, and performance anxiety among classical pianists. The specific aims of the study are to: (1) characterize demographics, performance practices, and memorization strategies used by college-level pianists; (2) assess experiences of performance anxiety and the influence of performance anxiety on memory lapses; (3) examine the relationships between demographics, performance practices, and memorization strategies; and (4) suggest various memorization strategies that might be useful intervention to overcome memory lapses. To examine participants' awareness and perception, a survey was conducted via invitation of participation from music schools and piano groups on social media, and the useable collected data came from 162 respondents. The results disclosed that pianists' awareness of memory strategies and performance anxiety were significantly correlated. It showed a relationship between knowledge of memory strategies and frequency of performance anxiety within their musical experiences.
The Rise and Fall of Piano Improvisation in Western Classical Music Performance: Why Today's Piano Students Should be Learning to Improvise: Improvisation is an art form which has arguably been present since the existence of music itself. Inventing music on the spot, like spontaneous speech, is a common expression of artistry throughout history and across musical boundaries. While improvisation has maintained its importance in jazz, classical organ music and the music of many eastern cultures, this dissertation will focus on the presence of improvisation as acceptable performance practice within the tradition of western classical music. At several points in history, this musical tradition was encouraged and even expected to be a regular part of a musician's life, and yet in the classical music tradition of the twenty-first century, improvisation is rarely, if ever, heard from the concert stage, nor is it regularly included in the general education of the conservatory student.
Music With and Without Lyrics Increases Motivation, Affect, and Arousal during Moderate-Intensity Cycling: Music is used to distract, energize, and entertain during exercise by producing positive psychological and physiological responses. Specifically, listening to music during exercise enhances performance, increases motivation, improves affect, and optimizes arousal. Researchers have identified several elements of music that may moderate this relationship, including lyrics. However, few studies to date have examined the influence of motivational lyrics on psychological and physiological states during exercise. Thus, the primary purpose was to investigate the effects of lyrics in music on motivation, affect, arousal, and perceived exertion during moderate intensity cycling. Thirty (Mage = 21.0 ± 2.9 years old) college-aged individuals performed three, 8-min acute bouts of moderate-intensity exercise on a cycle ergometer during music with lyrics (ML), music without lyrics (MNL), and no music control (MC) conditions. Measures of motivation, affect, arousal, and perceived exertion were taken before and after a 6-min warm-up, every 2-min during the exercise bout, and following a 2-min cool-down. For ML and MNL conditions, participants reported higher motivation, affect, and arousal during exercise relative to the MC condition. As expected, RPE increased throughout the exercise period, with no condition differences observed. Additionally, there were no differences in responses between the ML and MNL conditions. Collectively, these results suggest that music, regardless of lyrical content, can enhance psychological responses during exercise. The current findings may help address common exercise barriers and inform exercise practitioners on music selection to improve exercise adherence.
Dynamic Measurement of Intraoral Pressure and Sound Pressure With Laryngoscopic Characterization During Oboe Performance: Measurements of intraoral pressure (IOP) and sound pressure level (SPL) were taken of four oboists as they performed two sets of musical exercises: (1) crescendo-decrescendo from pp to ff and back to pp on the pitches D4, G4, C5 and A5, and (2) straight and vibrato performances of the same four pitches at mf. Video images of the vocal tract were also made using flexible fiberoptic nasoendoscopy (FFN). IOP and SPL data were captured in real time by the WinDaq®/Lite software package, with the dB meter located 8-9 inches in directly front of the oboe bell. The study yielded minimum and maximum values from 21.04 to 57.81 mm Hg and from 65.53 to 100.89 dB across all pitches examined. Discussion is included for the following topics: (1) the oboe’s sound envelope, or functional range of IOP and SPL values at different pitch levels, including the nonlinearity in the relationship between IOP and SPL on the oboe, (2) the static activation and kinetic maintenance thresholds for reed vibration, (3) the effect of vibrato on IOP/SPL, (4) the utilization of the vocal tract during execution of dynamic changes and vibrato, and (5) the impact of player experience on control of physical variables.
Piano-related Musculoskeletal Disorders: Posture and Pain: A healthy posture protects the body-supporting functions and prevents injuries by maintaining balance. Literature in performing arts medicine suggests that posture is an important component to prevent piano-playing related injuries. However, no known research studies have quantified, characterized, and compared pianists' sitting postures. The purpose of this study was to explore the relationship between playing postures and perceived pain among pianists. This study applied innovative approach using qualitative and quantitative methods, combined with three-dimensional motion captured technology. To examine risk factors related pianists' postures, three-dimensional motion-capture cameras recorded approximate 40 pianists' postures in various situations; data recordings were combined with a statistical method to investigate pain-posture correlations. Results reveal that the degrees of head-neck or body tilt angles are the tendency of risk factors for piano-playing related pain. Results from this study may have multiple practical implications among which are: (1) a risk factor pain, injury index, or indicator (2) a performance habits profile and (3) practice guide to prevention of piano-playing related musculoskeletal disorders.
Faculty Recital: 2016-02-01 – William Scharnberg, horn: Faculty recital presented at the UNT College of Music Voertman Hall.

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