Charting the Tides of Carolina Beach Music and the Shag

McArthur, Mary Gorman University of Rochester ProQuest Dissertations & T 2024 해외박사(DDOD)

For many, the term "beach music" evokes the vocal harmonies of the Beach Boys; however, Carolina beach music shares little in common with the surf music of California. Products of the segregated landscape of the Carolina coast, beach music and an associated dance called the shag emerged as white teenagers ventured into Black jook joints, transporting "race records" and swing-style dance steps to white beach pavilions. Despite their cultural significance and elevated legal status as official state symbols of South Carolina, both beach music and the shag remain largely unheard of outside the Southeast. There have been no critical histories of beach music and the shag or systematic attempts to analyze their stylistic conventions or social value. Drawing on interviews with members of the beach music and shag community and scholarship on popular music, identity, and cultural exchange, I argue that beach music and the shag serve as crucial sites for the negotiation of cultural identities tied to region, race, generation, and place. In my first two chapters, I trace the history of beach music and the shag from their origins in the 1940s to the present, examining their development in dialogue with the social, cultural, and ecological landscapes of the Carolina coast. In my third chapter, I analyze the extent to which beach music can be appropriately defined as a genre. Using Franco Fabbri's five genre rules as a framework, I analyze beach music and the shag to delineate the genre conventions that underlie the coherence and organization of the scene. In my fourth chapter, I theorize beach music and the shag as the foundation of a regional lifestyle, a communal practice of identity formation that enables participants to actively construct both self and space. Finally, I conclude with an epilogue describing the present concerns and future hopes of the beach music and shag scene. Ultimately, this dissertation contributes the first substantive study of beach music and the shag to the field of musicology, while also offering new perspectives on cultural history, southern heritage, and the processes through which music and movement construct space.

Music and the court of Mary Stewart, 1561-1567

Woodworth, Karen May The University of Chicago 2011 해외박사(DDOD)

In 1561 Mary Stewart, queen of Scotland and dowager queen of France, left the French court and returned to Scotland. For the next six years she presided over a court predominantly based in Edinburgh that sought to function on a similar basis to courts of western Europe. This dissertation examines music associated with Mary's court during this time period. I begin by reconstructing the court's musical establishment. The queen is often described as a musician, and I evaluate the evidence and implications of her musical training. Through a careful study of archival records, I identify the court musicians. I use ambassadorial and other contemporaneous accounts to investigate the musicians' employment conditions and to provide suggestions for repertoire they would have performed. I argue that recovering the use of music in major court celebrations gives evidence of methods used to position Scotland as part of the Continental mainstream. The remainder of the dissertation analyzes the roles music played in communications between the court and the burgh at official and unofficial levels. One chapter examines how the music used in the 1561 entry ceremony staged by Edinburgh reinforced implied messages to the queen. Another chapter considers the use of trumpeters to symbolize the queen's authority. The final chapter explores two ballads associated with the court. "Mary Hamilton" is still sung today, while "The King's Complaint" is forgotten. I reveal how "Mary Hamilton" has manipulated perceptions of Mary, Queen of Scots and her courtiers. I clarify how and why "The King's Complaint" might have been sung. My primary focus of study is how music interacts with people, especially as it circulates within and around the orbit of Mary's reign. Thus I have sought throughout this dissertation to explore the ways that music influenced perceptions of the court and reflected the turmoil in Scotland during this time of intertwining conflict between English and French influence and Catholic versus Calvinistic religious beliefs. Just as the political and religious conflicts cannot be wholly separated, the roles of music as both actor and reflector also overlap. My dissertation contributes to knowledge of music's position in wider events.

An "unobtrusive minister of genius": John Kirkpatrick and the editing of contemporary American music

Massey, Drew Michael Harvard University 2010 해외박사(DDOD)

The American pianist and editor John Kirkpatrick (1905--1991) is primarily remembered today as the musical executor of Charles Ives. In this dissertation, the first full-length study of Kirkpatrick, I argue that his impact goes far beyond Ives, and, moreover, is understood most clearly through his work as an editor. Yet the significance of his contribution to American music remains largely unknown. Kirkpatrick may be partly responsible for his own low profile today---he constantly deflected attention away from himself, and when the music critic Lawrence Gilman called Kirkpatrick "an unobtrusive minister of genius" in a review of Kirkpatrick's historic premier of Ives's Concord Sonata, he captured Kirkpatrick's essential elusiveness. Nevertheless, Kirkpatrick merits study not only for the ways in which he helped shape his particular historical moment, but also for the larger musicological issues that his editions raise. First, the particular historical moment. For those who do remember him, Kirkpatrick is thought of primarily as a pianist. I argue, however, that his main historical significance lies in his career as an editor of music. He was, and still is, mainly associated with the music of Ives. However, this association is not as simple as scholarship to date has portrayed it. Kirkpatrick's work with other, lesser-known composers formed the foundation of his editorial practice, which only later led to the extraordinary editorial license he enjoyed during his tenure as the executive editor of the Charles Ives Society (a position he held from 1973 to 1985). While Kirkpatrick had shown an interest in Ives's music since his early twenties, a comparative look at Kirkpatrick's editorial projects with composers ranging from the well-known (such as Carl Ruggles, Aaron Copland, Roy Harris, and Virgil Thomson) to the more obscure (Robert Palmer and Hunter Johnson, to name just two), shows that he did not begin to align himself seriously---and almost exclusively---with Ives until the mid-1950s. Methodologically, this study centers on two key concepts. First, since Kirkpatrick's editions constitute the bulk of his scholarly output, I argue that editions can constitute historiographic evidence. Kirkpatrick's editions were, in a real sense, music histories. Second, I conclude the dissertation by sketching out several broad implications suggested by studying the work of editors; I consider, moreover, the degree to which collaboration---a subject examined in studies of twentieth-century improvisation, indeterminate composition, and commercial record production, but much less frequently engaged with regards to editing---can provide a fresh orientation for the writing of music history.

The effects of involvement in chamber music on the intonation and attitude of 6th and 7th grade string orchestra players

Stabley, Nola Campbell Michigan State University 2000 해외박사(DDOD)

One 7<super>th</super> grade and two 6<super>th</super> grade orchestra classes participated in a 39-week study which examined the effects of chamber music involvement on the students' intonation skills and attitudes towards music. One 6<super>th</super> grade class received a large ensemble curriculum experience only, while the other 6<super>th</super> grade class received a combined large and small ensemble curricular experience. The entire 7<super> th</super> grade orchestra class received a large ensemble curricular experience, with approximately one-half of the class members receiving a small ensemble experience as well during class time. The small ensemble time was spent on their own, with little teacher involvement. The large ensemble groups only served as the control groups, while the chamber music and large ensemble groups served as the treatment groups. An attitude survey and intonation test were administered at the end of the treatment. During the first two weeks of the study all students were given Gordon's <italic> Music Aptitude Profile</italic> (1995) to determine that the music aptitudes of the groups were not significantly different. During the last two weeks of the study all students were tested for intonation skills using the Carmody <italic> Intonation Test</italic> (1988), and attitudes toward music of all students were measured using the Zorn <italic>Music Attitude Inventory</italic> (1969). Students in the experimental groups had significantly higher (<italic> p</italic> = .003) <italic>Intonation Test</italic> scores than those in the control groups, indicating that involvement in chamber music in a student's musical education made a positive difference in intonation skills. Also, the composite attitude survey scores showed that the experimental group students had a more positive attitude toward music than those students in the control groups (<italic>p</italic> = .245), though for 7<super>th</super> graders the attitude scores of those in chamber music were significantly more positive (<italic>p</italic> = .004). These results indicate that involvement in chamber music in a student's musical education may make a difference in positive attitudes toward music.

Formalist analysis in the context of postmodern aesthetics: The music of John Adams as a case study

Pellegrino, Catherine Ann Yale University 1999 해외박사(DDOD)

This dissertation examines the validity of formalist analysis with regard to postmodern music. Recent compositional trends including experimental music and early minimalism have challenged the relevance of formalist analytical techniques and the assumed aesthetic that underlies them. Steve Reich's insistence that there are no structural “secrets” below the surface of his music suggests that formalist analysis is useless for minimalist music. The present study seeks to define the limits of the applicability of formalist analytical techniques to postmodern music. John Adams's music from 1977 to 1989 is used as a case study for this examination because his music from this period is influenced by early minimalism, but also displays postmodern tendencies. The analyses of Adams's music demonstrate both the utility and the limitations of formalist categories and analytical methods to his music. The first chapter shows that Adams's music differs from early minimalist music in ways that indicate a lack of rigor and asceticism, characteristics of minimalism that are more modernist than postmodern. The analytical portion of the dissertation is concerned primarily with closure, a topic that is rich with formalist implications. Chapter 2 lays the groundwork for the examination of closure by studying textural stratification. Within stratified textures, formalist analytical categories such as pitch collections and motivic transformation are shown to be valid in isolated areas but not globally throughout Adams's works. Chapter 3 uses stratified analyses to show that Adams's music challenges traditional ideals of closure; his works are often not closed in terms of form or tonal materials. Chapter 4 defines Adams's compositional aesthetic in terms of nationalism, accessibility, and disunity. Disunity and non-closure are characteristic traits of postmodernism, and the chapter includes a discussion of Adams's relationship to modernist and postmodernist aesthetics. The dissertation concludes with an assessment of the relevance and validity of formalist analytical techniques to postmodern music. The analyses of Adams's music reveal the limitations of analysis, as well as its explanatory potential. For a more complete view of postmodern music, interpretive criticism is necessary in addition to analysis.

The Boundaries of Meter and the Subjective Experience of Time in Post-Tonal, Unmetered Music

Knowles, Kristina Leigh Northwestern University ProQuest Dissertations & T 2016 해외박사(DDOD)

Rhythm and meter are vital and perceptually visceral components of twentieth-century music, yet scholarship that addresses the use and perception of these elements within this repertoire is limited. This dissertation explores questions of rhythm, meter, and perception in predominantly unmetered post-tonal music, with an emphasis on the works of George Crumb and Morton Feldman. Using an interdisciplinary lens spanning music theory, music cognition, psychology, and philosophy, this research aims to expand conceptions of meter by highlighting the rhythmic and metric complexities present within unmetered, post-tonal compositions. These concepts are then connected to the psychological literature on time perception to uncover the way time is perceived and enacted within these musical works. Absent the regularity provided by a consistent meter and expectations generated by tonal syntax, localized fluctuations in musical structures can create shifts in the way listeners attend to the music, as potential for periodicity prompts attempts at entrainment. By combining views of meter as processive and as a habit of listening, it becomes possible to address a variety of musical structures ranging from quasi-metrical gestures to the emergence and subsequent dissolution of fully formed metrical moments within a predominantly unmetered environment. The changes in attending sparked by such structures can, in turn, affect the subjective experience of time. Four modes of attending to meter are proposed, which describe changes in a listener's processive and "in-time" experience of the music as it unfolds. These four modes of attending are then connected to the psychological literature on time perception to describe how fluctuations in rhythmic and metric structures can create variance in the experience of temporality within a composition. An in-depth examination of the perception and rhythmic role of silences within music, along with an empirical study investigating the effect of silences on the perception of time in unmetered, post-tonal compositions, allows for further nuance in describing and analyzing this repertoire. A concluding set of analyses tests the theoretical framework and demonstrates how exploring the subjective experience of time in conjunction with an examination of rhythm and meter within non-metered twentieth-century compositions allows for a richer understanding of the "in-time" experience of this music.

How to count chords: A primer in hierarchical, functional tonal analysis for music psychology

Johnson, Krista Elaine State University of New York at Buffalo 2013 해외박사(DDOD)

Music psychology has made enormous strides in helping musicians to understand the cognitive processes that underlie thinking in and about music. Unfortunately, when psychologists talk about tonal harmony, they often use methodologies that are outdated, inelegant, and misrepresentative. For example, a frequently cited study by Helen Budge purports to tabulate the frequencies of occurrence of different chords in tonal music. Budge's tabulations are based on a theory of harmony that is essentially a 19th--century--based Stufentheorie--style chord classification; perhaps more problematically, her tabulation acknowledges chords solely on the surface of the music, without taking into account their hierarchical behavior. Music psychology has made enormous strides in helping musicians to understand the cognitive processes that underlie thinking in and about music. Unfortunately, when psychologists talk about tonal harmony, they often use methodologies that are outdated, inelegant, and misrepresentative. For example, a frequently cited study by Helen Budge purports to tabulate the frequencies of occurrence of different chords in tonal music. Budge's tabulations are based on a theory of harmony that is essentially a 19t h-century-based Stufentheorie-style chord classification; perhaps more problematically, her tabulation acknowledges chords solely on the surface of the music, without taking into account their hierarchical behavior. This dissertation proposes a strategy for chordal tabulation, along the lines that Budge presents, that will be useful to psychologists of music, making two significant suggestions in the traditional harmonic approach of her study. 1. Stufentheorie classifies chords according to roots and inversions, but music theorists have learned from the function--theory of Hugo Riemann, and others, that this kind of classification is inefficient and often misleading. Here, chords are classified according to their functions (Tonic, Dominant, and Dominant Preparation) and to the scale degrees in their bass voices. This approach produces a much cleaner and more elegant way of thinking about harmony---with a much more manageable set of progressional possibilities, which might suggest stochastic developments beyond a mere tabulation of chords. 2. Music theorists have learned from the work of Heinrich Schenker that to speak of harmony without hierarchy is hardly to speak of harmony at all. Hence, a system is developed for representing chordal harmony on several different hierarchical levels, large-- and small--scale, simultaneously. Following the exploration of a quasi--musical notation for representing these levels, a strategy for counting chords on multiple levels is developed. Several short tonal passages (and one entire selection, Song Without Words, by Mendelssohn) are analyzed within this function--bass, hierarchical system, and used for the collection of sample data, to illustrate how a large--scale tabulation project of this sort might be pursued. Some tentative results are drawn from these passages, and contrasted with the familiar tabulations of Budge.

A qualitative study of music teachers' beliefs about the teaching of composition

Schiff, Marcelle S Boston University 2015 해외박사(DDOD)

While research has touted the educational benefits of music composition in the classroom, studies have also revealed the numerous difficulties teachers encounter in its inclusion. From lack of time and materials to lack of training and confidence, teachers have struggled to incorporate composition in their lessons. At the same time, a body of research also has suggested that what teachers believe about a subject can have significant bearing on what they teach and how they teach it. This multi-case study looked at three teachers to investigate what they believed about music composition, where those beliefs originated and how those beliefs may be expressed in their classrooms and use of composition. The results revealed the significance of early music influences with family and church music directors, a strong connection to identity through music, and the importance of the sharing and peer teaching of music. There was a distinct bias for European forms and standard notation that eclipsed other ways of knowing, understanding, and expressing music. Other than jazz, forms of improvisation were often viewed as childish or primitive. The teachers most likely to find success in the use of composition in the classroom were flexible, and able to align their beliefs about music education, the efficacy of their students and themselves, with their beliefs about composition and what it can offer.

A neuropsychological investigation of music, emotion, and autobiographical memory

Belfi, Amy Meredith The University of Iowa 2015 해외박사(DDOD)

Music often evokes strong emotions, such as excitement, joy, and nostalgia. These emotions can be highly pleasurable and accompanied by increased physiological arousal. Pleasure-inducing music activates a network of brain regions including the medial prefrontal cortex (mPFC), striatum, and amygdala. In Experiment 1, I explore the neural structures critical for music-evoked pleasure. I hypothesize that individuals with damage to brain regions involved in emotional responses to music (e.g., mPFC, striatum, amygdala) will show a decrease in their pleasurable responses to music after brain injury. Patients from the Iowa Neurological Patient Registry completed questionnaires that assessed current emotional responses to music and changes in emotional responses to music after brain injury. The results provided partial support for the hypothesis, and the most striking loss of musical pleasure (referred to as "music anhedonia") occurred in a patient with damage to the striatum. However, musical pleasure appears to be relatively resistant to brain damage, as music anhedonia was only observed in a few individuals with varying regions of brain damage. Along with strong emotions, music often triggers distant memories. However, the mechanism underlying music-evoked autobiographical memories (MEAMs) has not yet been investigated. Here, I predict that emotion is a central aspect underlying MEAMs. In Experiment 2a, I tested the hypothesis that MEAMs are more emotional and vivid than autobiographical memories evoked by pictures of famous faces. Neurologically normal, healthy adults viewed pictures of famous faces and listened to music while electrodermal activity was recorded. After each stimulus, participants described any memories that were evoked. Supporting my prediction, I found that MEAMs were significantly more vivid than face-evoked memories. In addition, music that evoked memories was accompanied by increased skin conductance responses compared to music that did not evoke memories. In Experiment 2b, I used a neuropsychological approach to test the prediction that neural regions underlying music-evoked emotions are also critical for MEAMs. I tested the hypothesis that individuals with damage to brain regions important for music-evoked emotions (mPFC, amygdala, and striatum) would have impaired MEAMs. Individuals with damage to these regions, brain-damaged comparison subjects (with damage to other regions) and neurologically normal comparison subjects completed the same task as in Experiment 2a. The results indicated partial support for the hypothesis, showing that individuals with mPFC, but not striatal, damage had slightly decreased MEAM vividness. Additionally, individuals with damage to the striatum and mPFC showed a disconnect between emotional ratings and physiological responsiveness. These findings provide important implications for the use of music in therapeutic settings. Since musical reward is predominantly preserved in individuals with brain damage, music can be used to improve mood and affect in clinical populations. In addition, these findings support the use of music as a memory aid in patients with dementia, since music-evoked memories are shown to be more vivid than memories evoked by other cues. Together, these experiments provide partial support for the hypothesis that neural regions important for emotion are also critical for MEAMs, indicating that emotion may be an important aspect underlying music-evoked autobiographical memories.

Instrumental Music Educators' Lived Experiences of Music-Induced Hearing Loss: A Phenomenological Study

Steward, Dan G The University of Wisconsin - Madison 2016 해외박사(DDOD)

Music-induced hearing loss is an irreversible condition with disabling consequences for musicians and music educators. Discussions about the phenomenon of music-induced hearing loss are surprisingly absent from music education research, revealing an implicit culture of silence surrounding music-related injuries particularly in regard to instrumental music educators. The dearth of extant research on this topic raises questions regarding the stigma of impairment and disability, the implicit expectation of normativity, and the existence of ableism within music education. This study challenges the medical model of disability, used predominantly throughout the extant research on hearing impairment within music education, by employing multiple perspectives within humanities-based disability studies. This study seeks to answer the central research question: how does music-induced hearing loss affect the experience of being an instrumental music educator? This study presents survey and interview findings from 23 instrumental music educators from the elementary, middle, and secondary levels of public education in the state of Wisconsin. The interviews were analyzed using the research methodology of transcendental phenomenology (Moustakas, 1994). The findings of this study suggest that: (a) music-induced hearing loss is underrepresented in teacher education and music programs; (b) workplace accommodations, assistance, and compensation for hearing health-related medical expenses for music educators is lacking; (c) music educators often feel resigned to the possibility of developing a hearing impairment as an expected consequence of teaching instrumental music; (d) music educators choose not to use hearing protection while teaching because it negatively affects musical perception, classroom management, and verbal communication; and (e) the expectations of ablebodiedness in music education reinforces the stigma of hearing impairments among musicians and music educators. Keywords: music-induced hearing loss, sound exposure, hearing protection, instrumental music educators, impairment, disability, stigma, transcendental phenomenology.