Browsing by Author "Marks, Jonathan"
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Item Acoustical analysis of choral voice matching and placement as it relates to group blend and tone(2006-05) Basinger, Lynn; Killian, Janice; Elrod, Pamela; Marks, Jonathan; Fischer, Peter; Bilkey, AndreaThe purpose of this study is to exam the feasibility of using acoustical voice analysis techniques as research tools in the investigation of voice matching as it relates to choral blend and tone. Spectral analysis has been applied extensively to the study of the solo singing voice, but few studies have used these technologies in the study of groups of singers in a choral setting. Five female volunteers from the top auditioned choir at a major southwestern university were recorded singing the first phrase of "My Country 'Tis of Thee" individually. These singers (n=5) were then recorded in a variety of groupings of two, three and four singers based on Weston Noble’s voice matching techniques (Noble, 2005). Recordings from a live voice matching session of the entire women's section of this choir conducted by their regular director were also included in the master data set, thus allowing comparison of controlled voice matching and in-situ voice matching recordings. Following procedures established by Killian & Basinger, a panel of five experts was asked to respond via a 7 point Likert scale as to their judgment of the quality of choral blend to a random sampling of 50 examples from the master data set. The experts were professional choral conductors and graduate choral music educations majors. Their responses were used to rank the samples as to quality of blend. Subsequently, all samples were analyzed using several readily available, low-cost spectral analysis software programs. Data available from each program is compared and evaluated for its relevance. The user-friendliness, strengths, and weaknesses of each program are also addressed. Data include spectral analysis graphic displays, formant analysis, power vs. frequency plots, vowel matching comparisons, and pitch plots. Results of spectral analysis of each ranked sample are compared and potential indicators of choral blend are identified. An important outcome of this exploratory research are suggestions for further study and practical application of spectral analysis as a tool to further understanding in the field of choral blend and tone.Item Architecture, audience configuration, and proximity in the performance of Shakespeare: A professional problem(2021-12) Anderson Bickford, Andrea Jane; Gelber, Bill; Marks, Jonathan; Chansky, Dorothy; Humphreys, Kristi; Hovet, TedAs Western culture becomes increasingly saturated with mediatized entertainment and art works, live theatre struggles to remain viable. Common approaches to staging theatrical productions give primacy to text, while the performance space is treated as a secondary (or tertiary) element that must be contended with in order to achieve the desired concept. Arguably, no texts are held in more reverence than those of Shakespeare. This dissertation explores productions of works of Shakespeare where space was given primacy alongside the text, allowing space to inform performance. Research was done with the goal of incorporating certain aspects of these productions into a staging of The Tempest in October of 2020. Shakespeare’s Globe in London provided insight into the impact of original architecture on the performance of Shakespeare’s texts, as did variations in set design within that architecture. Of special interest were the 2016 production of The Tempest directed by Phyllida Lloyd and produced by the Donmar Warehouse in London, and the New York installation of Punchdrunk’s immersive experience, Sleep No More. The COVID-19 pandemic brought new importance to these elements in the socially distanced and masked production of The Tempest. This production was staged throughout the museum and grounds of The Baker Arboretum and Downing Museum in Bowling Green, KY. COVID-19 restrictions necessitated that the production was also live-streamed, introducing the issue of mediatized performance and virtual spaces. The use of space as a tool to create meaningful proximity for in-person audiences, as well as the possible incorporations of mediatization to increase accessibility, and the challenges to presenting a work during a pandemic, are discussed in the final chapter.Item Arts participation and academic achievement(2005-12) Morgan, Jimmie S.; Lan, William; Price, Margaret A.; Marks, Jonathan; Dolter, GeraldArts education is a controversial topic in the realm of education reform: the need for it, the value of it, the teaching of it, which students receive it and at what point in their education are all areas of interest about arts education. New theoretical concepts about cognition and learning have spurred new research into creativity/divergent thinking/imagination which in turn has led to attempts to reform arts education. Ongoing research indicates that arts education may be far more important than previously considered. In order to promote changes in the perception of the value of authentic arts education in current educational practice, evidence that students who participate in authentic arts education can do as well or better on accountability measures of the core curriculum for reading, writing, mathematics and elementary science is needed. This evidence can also point out one effective method of developing creativity: arts education. If, as has been proposed, the survival of the human species has always depended on creative innovations and solutions to physical and social complexities, then encouraging the development and training of creativity through the process of education is perhaps the most important goal of the process. This study was conducted in a private school. The academic achievement of thirty-four participants in a theatre arts program were compared with thirty-three students who did not participate in the theatre program. The statistical analysis of the study consisted of two parts, the descriptive statistics and inferential statistics. The study provided at least partial support for the enhancing effect of theatre education on student academic performance. Students who participated in the program had better academic performance in mathematics and general academic performance defined as the Total Grade Equivalent Score and the Total Normal Curve Equivalent scores produced by the Terra Nova standardized test than those who do not participate in the theatre education program.Item Avoiding Founder’s Syndrome in arts organizations: Studies of successful succession transitions in three established regional theatres(2010-12) Justice, Debra; Donahue, Linda L.; Christoffel, Frederick B.; Marks, Jonathan; Stoune, Michael; Check, EdFounder's Syndrome may occur when an organization operates according to the personality of the founder, rather than its mission. Since arts organizations are often initiated and dominated by a single artist/founder, the potential for an art-related business to succumb to Founder’s Syndrome is high; however, several large arts organizations have not only avoided Founder’s Syndrome, they have advanced the dreams of the founder beyond original concepts. Analyzing some success stories by comparing their processes with more recently established theories can provide insights for other arts organizations during leadership transitions. The nature of this study is to show evidence that theatre organizations need not succumb to Founder’s Syndrome. I analyzed three successful regional theatres from inception through today; The Barter Theatre of Abingdon, Virginia; the Dallas Theater Center in Dallas, Texas; and the American Conservatory Theater in San Francisco, California. Each of their founders, Robert Porterfield, Paul Baker, and William Ball, developed and implemented the concepts that defined their organizations. Today, the theatres are heralded as premier institutions amongst regional theatres. The companies were able to maneuver successfully through the tensions and difficulties that often mark leadership transitions. How this was accomplished, without the aid of today’s management theorists, is the focus of this dissertation.Item Bringing together theory and practice: The director as teacher in academic theatre(2009-05) Kelley, Sean Michael; Marks, Jonathan; Gelber, BillThis thesis is about bringing theatre theory and practice together through the director’s role as a teacher in academic theatre. Directing texts and programs were researched to provide the past and present views of the director as a teacher for academic theatre. The need for the director to perform as a teacher is established as well as using the production as a teaching tool. Numerous teaching opportunities are explored as well as methods for training the director as a teacher.Item Community theatres: Whether and how to plan a playwriting festival(2012-12) Morelli, Michael V.; Chansky, Dorothy; Gelber, Bill; Marks, Jonathan; Tate, Carolyn E.; Stoune, MichaelThis dissertation explores the relationship between playwriting festivals in community theatres and organizational self-awareness. Formal scholarship on playwriting festivals in community theatres is virtually nonexistent. There exist books written about creating and operating a community theatre and there exist books and articles about playwriting and specific festivals, but there appears to be no formal research concerning why a community theatre might want to produce a playwriting festival and how a community theatre would develop a playwriting festival in the context of its unique mission and operational style. Determining why a playwriting festival would be important to a theatre is a function of organizational self-awareness, defined as, the ability of the group, through its membership, to evaluate its goals and values and to implement them through procedures that fit its operational style. Organizational self-awareness is used throughout the dissertation as a touchstone for organizations, and particularly community theatres, when considering or evaluating a playwriting festival and is the focus of the first chapter. The second and third chapters are case studies of the 2007 Hill Country Playwriting Festival, The Spokane Civic Theatre, Denver Center Theatre, and the Texas Tech Department of Theatre and Dance playwriting festivals that the organizations consider or have considered successful. Finally, using examples from the case studies, the fourth chapter examines the similarities (or differences) between all four festivals. I suggest ways in which a theatre contemplating a playwriting festival might envision and stage the event to define success at the outset and to make the festival relevant to the organization and members.Item Cross-cultural casting: Case studies on the academic stage(2012-08) Bodie, Nadia C.; Bush, James B.; Marks, Jonathan; Gelber, Bill; Stone, Michael; Check, EdThis document addresses the issue of cross-cultural casting on the university theatre stage, exploring the multiple challenges it poses while gauging its impact on the performer and the spectator. Cross-cultural casting serves to increase opportunities for certain groups of actors who are typically under-represented when casting for major stage productions. This document investigates the impact of cross-cultural casting on the actor process in rehearsal and performance. It advocates pedagogical approaches directors can use when preparing or thinking about employing cross-cultural casts at the university theatre level. The document is divided into five chapters that outline the actor process through casting, rehearsals, collaborations, gauging actor and audience perception, and guidelines that can be used to advance cross-cultural casting practices in academia. It is a process-oriented work used to examine three different university-based cross-cultural productions as case studies. It proposes that the employment of cross-cultural casts in academia can be a successfully innovative process, and can be used to alter the perception of students, theatre practitioners, communities, and the future of the professional stage.Item Daughters of Troy/The Unspoken Scream: Theatre and the Normalization of Wartime Rape(2017-12-13) Slate, Benjamin; Chansky, Dorothy; Gelber, Bill; Marks, Jonathan; Elliot, Janis; Orfila, JorgelinaThe defining element of Brownmiller’s feminist rape theory is her assertion that rape concerns "violence, not sex.” The central motivating factor of rape is domination for the purpose of maintaining control over women. My dissertation addresses the question of how Susan Brownmiller's feminist rape theory can be used to demonstrate both spoken and unspoken assumptions concerning male power and dominance, women as sexual property, and the cultural normalization and acceptance of wartime rape in plays such as The Trojan Women by Euripides, which deal covertly (rape lies outside the dramatized events but shapes character and action) and plays such as The Love of the Nightingale by Timberlake Wertenbaker, which deal overtly (rape is directly depicted or essential to the primary story) with rape during wartime. Using feminist rape theory I examine six plays in which rape during wartime shapes the drama. In addition, the dissertation includes a practicum component: a production of The Women of Troy that I directed, deploying feminist rape theory to guide the performance text and mise-en-scène. I trace the evolution of the translation, production, and reception of The Trojan Women regarding the piece as an anti-war play to a new understanding of the play as one in which rape is recognized and foregrounded as a key component of war. My project focuses on what was already there but “invisible” in order to shine a harsh light upon the unspoken nature of rape in the context of war. I argue that feminist rape theory provides a lens for understanding the history of sexual violence against women. This argument is framed as the inability to see or acknowledge cultural rape scripts that are hidden in plain sight. This collective “rape amnesia” is a culturally institutionalized ideology that has deeply embedded rape scripts into law, gender identity, and relations between the sexes, and it directly contributes to psychological and societal causative factors of rape. I argue that rape is normalized when rape myths are accepted as part of a collective cultural consciousness. Further, behavioral rape scripts are acted upon because of a shared mythology when there is a societal reinforcement or justification for those actions. I further argue that by identifying underlying rape myths and by exposing rape scripts it may be possible to begin the process of deconstructing and de-legitimizing them within soceity.Item Defining the jukebox musical through a historical approach: From the beggar’s opera to nice work if you can get it(2013-05) Adamson, Charles D.; Gelber, Bill; Donahue, Linda L.; Dolter, Gerald; Stoune, Michael; Marks, JonathanMusical theatre as a form of scholarly study has only recently begun to gain prominence as a legitimate form worthy of examination in academia. As this field gains ground, it is important to delineate its various forms. This study provides definitions for the jukebox, movical (movie musical), musical revue, revival, and concert musical productions while differentiating them for each other. How can my formal definition of the “jukebox musical” be applied to these particular musical theatre pieces as a method of expanding and extending the current ambiguous definition into an embodied theatrical praxis through a rigorous historicized application? Currently these terms are used interchangeably by critics, scholars, academics and enthusiasts; this may cause confusion and inaccurate accounts of the particular musical production being discussed or analyzed. Through the distinctive definitions provided within this dissertation, further scholarly examination, debate, and discussion will provoke more constructive discourse. The jukebox musical should not be dismissed for its popularity or its association with commercialism, as it is part of the musical theatre lexicon and should continue to be studied as the phenomenon it is in contemporary theatre culture.Item Directing attention in melodic dictation(Texas Tech University, 2007-05) Paney, Andrew Sean; Brumfield, Susan; Hazlett, Allan; Killian, Janice; Marks, Jonathan; Santa, MatthewMusic students are generally required to take classes in aural skills. Many begin university theory classes with little or no aural skills training. Instructors are charged with the task of challenging well-prepared students while providing remediation for others. Researchers have isolated four phases involved in taking dictation: hearing, memory, understanding, and notation. Would directing students through those phases help them score better on a dictation assessment? Subjects were music students in their second, third, or fourth level of aural skills training at the time of the experiment. Two matched groups were formed based on subjects’ scores on a dictation of a recorded melody. Subjects in the control group took a second dictation individually. Subjects in the treatment group also took a second individual dictation, but they received instructions before and after each hearing. These instructions directed their attention to basic musical aspects of the recording and asked them to respond to questions regarding those aspects. Dictations were evaluated based on rhythm, pitch, and overall scores. The top and bottom 25% (based on their matching scores) were also compared. In every comparison the control group scored higher than the treatment group. Comparisons of the whole group in rhythm, pitch, and overall scores showed a significant difference in scores favoring the control group. Results suggest that receiving direction during a dictation was not helpful to music students. This may be a result of a disruption of students' established routines. It may also indicate a lack of mastery of the component basic musicianship skills requisite for successful mastery of dictation.Item Directing Lillian Hellman's The Children's Hour for today's society and its contemporary relevance: A professional problem dissertation(2014-08) Ellsworth, Shari; Bush, James B.; Gelber, Bill; Steele, Brian D.; Marks, Jonathan; Stoune, MichaelAlthough the play The Children’s Hour was first written and produced in 1934, I find the content to be highly relevant to today’s society. The professional problem is to show how this play from the 1930s can still strongly affect our audiences today, without altering the script. Bullying is the major element within this play that is my focus, a topic that has often been overlooked in many productions simply because it might not have been in the public’s consciousness from the 1930s through the 1980s. I directed a production that is relevant to today’s audience by focusing on bullying and manipulating without negating lesbianism. From multiple readings and in-depth study of this play, I have discovered that the details of events and behaviors emphasize bullying within the text. Although bullying is not the traditional primary focus of the play, it still holds a powerful message and is very much in the forefront of the public’s consciousness today. The element of homosexuality is deeply embedded into this play; yet it should not overpower the harsh reality of bullying that drives the plot. It is bullying that initiates the idea of homosexuality and causes the susceptible conditions that bring lesbianism into a more serious light. The key to this production is to focus on Mary’s great lie about her teachers, how it was developed through smaller lies, and how it affected the events that follow. Ms. Hellman inserted a great deal of physical and verbal abuse that is much more relevant today than it could have ever been observed in its time. I have discovered through my research that the impact this play had on audiences in the 1930s was not exactly the expectation of the playwright. The audience reacted more toward the homosexual content rather than the tragedy of the lie. The issue on which Lillian Hellman has stated, is about how a child’s lie sets off a series of events that change the lives of the two main characters. I believe this is more likely the intention that can be brought out and emphasized for the contemporary audience. I set the play in modern times but I did not want the focus to be specific to a particular year. I have incorporated some modern technology to connect more with today’s younger generation and to enhance the relevance. I presented this production in the manner in which it was written as it truly reflects issues in today’s society without being dated or old-fashioned.Item Directing one flea spare(2005-12) Novak, Michael M.; Gelber, Bill; Marks, JonathanThis document is an exploration in the use, and application, of Marxist theory and Johnstonian status in the directing of One Flea Spare.Item Education and outreach for angels in America, part one: millennium Approaches (A Professional Problem)(Texas Tech University, 2005-05) Westkaemper, Lisa K.; Donahue, Linda L.; Stoune, Michael; Marks, Jonathan; Hall, Elizabeth; Gelber, BillThe 2002 mission statement of the Department of Theatre and Dance asserts that the department fosters the arts of theatre and dance through creative endeavor, research, educating, training students, and cultivating an audience. Departmental faculty members chose Angels in America, Part One: Millennium Approaches and approved the inclusion of it in the 2002-03 season because of the merits of the script and its ability to fulfill the parameters of the mission statement. The faculty realized that some previous productions of this script created controversy. In North Carolina in 1996, members of the community tried to stop the Charlotte Repertory Theatre production by demanding enforcement of the city's indecent exposure law. The crisis surrounding the Charlotte production included legal court battles, bomb threats, extreme audience management techniques, and eventual cancellation of county funding to the arts. In 1999, the President of Kilgore College defended his Drama Department's right to produce this play, despite vehement opposition from the community. In the past, there have been incidents in Lubbock that indicate a cause for concern regarding potential community opposition to a production of this play. The major focus of this dissertation is the development and implementation of the plan for Education and Outreach, which was designed to establish greater understanding in the Lubbock community (on and off campus) prior to and during the Spring, 2003 University Theatre production of Angels in America, Part One: Millennium Approaches. In order to create the Education and Outreach Plan, I was the primary member of the team formed to coordinate community interaction. I documented the aspects of this production that necessitated the formation of the Education and Outreach plan, in addition to documenting the interaction between the University Theatre community, the Texas Tech University community, and the Lubbock community that occurred in regards to this production. Chapter II provides an overview of two previous productions of Angels in America; one in Charlotte, North Carolina and a second in Kilgore, Texas. The reflections and summary section contains information on the artist/audience relationship, censorship in the arts, and academic freeedom issues in higher education.Item Female superintendents’ perception of emotion and its impact on ethical decisions: a phenomenological study(2013-05) Moulton, Ka; Klinker, JoAnn F.; Valle, Fernando; McMillan, Sally; Marks, JonathanThe purpose of this qualitative, phenomenological study was to understand the impact of emotion on the ethical decision-making of female superintendents. According to Cuban (2001) educational leaders encounter an abundance of complexities including many difficult, potentially explosive situations in which they must make ethical decisions. The study of superintendent perception on the emotional impact on ethical decision-making is incomplete without the consideration of female superintendents. This study added to the literature informing of the role of superintendent with specific attention to the female superintendent. This study utilized observations, review of archival data, and semi-structured interviews, with a purposeful sample of ten female superintendents in mid-sized Texas school districts. Moustakas (1994) provided an outline and a model of the phenomenological methodology that the researcher followed. Using a phenomenological approach provided for understanding several individuals’ common experiences of a phenomenon that can culminate in developing practices, policies and greater understanding about the features of the phenomenon. There were three emergent themes supporting the evidence of emotion as an enveloping foundation in ethical decision-making by these female superintendents. These were: control by the female superintendent, communication as a requisite skill, and emotion tied to personnel decisions. This study adds to the body of knowledge regarding the ways in which emotion impacts decision-making. The results of this study may be applicable to female superintendent training and practice, as well as superintendent and board relations.Item Firefly: An original composition for symphonic wind ensemble(2005-05) Ross, Elaine M.; Fischer, Peter; Stoune, Michael; Marks, Jonathan; Lewis, Gary; Santa, Matthew; Donahue, Linda L.This dissertation is an original composition for symphonic wind ensemble with an accompanying analysis document. Firefly is an eighteen minute, programmatic composition intended to provide a work accessible to both the performers and the audience. It is presented in two movements entitled "As Darkness Glows" and "Blue Whirlwind" and is scored for traditional wind ensemble including: piccolo, two flutes, two oboes, Eb clarinet, three Bb clarinets, bass clarinet, two bassoons, two alto saxophones, tenor saxophone, baritone saxophone, three Bb trumpets, four horns, two tenor trombones, bass trombone, euphonious, tuba, string bass, piano, timpani, and multiple percussion. The work explores elements of minimalism; whole-tone and octatonic sonorities; jazz elements such as flat thirds, sixths, and sevenths; and rhythmic complexities that include polyrhythm; and contrapuntal devices such as canonic imitation. The analysis of the work includes a discussion of formal structure, thematic development, vertical sonorities, rhythm in relation to meter, and orchestration. Firefly was premiered February 25th, 2005 by the Meadows Wind Ensemble, conducted by Dr. Jack Delaney, at Southern Methodist University in Dallas, Texas.Item Fleeting Asterisms: Original composition with analysis(2010-05) Cadra, Stefan; Fischer, Peter; Fehr, Dennis; Marks, Jonathan; McKoin, Sarah L.; Wass, KevinThis dissertation consists of an original work for wind ensemble, _Fleeting Asterisms_, and an analysis focusing on three musical aspects of the piece: formal content, harmonic content, and rhythmic content. While the piece is clearly sectional, the absence of traditional formal indicators, such as keys or themes, results in a somewhat ambiguous formal structure. Harmonically, the piece is based on manipulations of small collections of pitches, and several non-tertian verticalities. Though limited in number and scope, these small harmonic units are superimposed and juxtaposed, then mapped onto simple rhythmic motives to produce a wide variety of unique combinatory statements. The analysis of the rhythmic content of the work explores the way this musical information is organized into metrical strata, interacting either simultaneously or in series. The analysis also puts forth a method for dealing with bundles of metrical strata that are manipulated independently of one another. These bundles, or metrical continua, present special notational challenges explored within the analysis.Item Forecasting fusion at low frequencies: The bass players of "Weather Report"(2010-05) Frandsen, Mark Steven; Santa, Matthew; Smith, Christopher; Shinn, Alan D.; Marks, Jonathan; Tate, Carolyn E.Not available.Item From retrospect to Millie's War: Writing a configurative play(2006-05) Wintour, Elizabeth G.; Bert, Norman A.; Check, Ed; Stoune, Michael; Marks, Jonathan; Person, LorraineMillie's War is a configurative play written as an experiment in form, an exercise exploring the possibilities of a more suitable structure for the content of an earlier written play. In 1990, I wrote Retrospect, a play about a woman who discovers the answer to a mystery in her past: the death of her father in World War II. The story becomes a murder mystery, but in the end, Retrospect answers all the protagonist's questions about the death of her father. Retrospect is a linear play with horizontal movement. It tells a complete story. Traumatic memory rarely works in this way. Since the original play, Retrospect, failed to handle the issues of war, loss, and suffering in a manner that satisfied me, I wrote a new play. The motivation for the new play was to take the internal traumatic experience of a young girl who lost her father in war, and see if I could represent dramatically how the mind goes through trauma. With Millie's War, I was interested to see if, by changing the shape of the play, I could better express the traumatic experience. With Millie’s War, I explore what happens when logical, causal structure is transformed into a structure shaped by image, chance, juxtaposition, and movement. A successful Millie’s War shall mirror the pre-narrative stage of traumatic experience dramatically through a configurative structure. The play shall thus embody the chaos of a traumatized mind: it shall be repetitious and illogical as it replays snatches of memory in a circular fashion. Rather than presenting a story, meaning and significance shall come through the power of its symbolic associations, like a dream. Additionally, in the Millie’s War script, I feel an audience response should be measured in a Brechtian sense rather than an Aristotelian sense. In other words, an audience, instead of empathizing with Millie, should be enlightened to the experience of trauma caused by war. I provide a dramaturgical analysis of Millie's War to place it within the context of current playwriting practice. I explore elements of configurative form and their relationship to Samuel Beckett’s Eh Joe, Bill T. Jones’s Last Supper at Uncle Tom’s Cabin/The Promised Land, Caryl Churchill’s Top Girls, Robert Wilson’s Einstein on the Beach, Suzan-Lori Parks’s Imperceptible Mutabilities of the Third Kingdom, Joseph Chaikin with Jean-Claude van Itallie’s The Serpent, and Joseph Chaikin with Susan Yankowitz’s Terminal. Additionally, I chronicle my writing process from the inspiration of the first play, Retrospect, through the writing and production processes of the new play, Millie's War. Finally, I evaluate how well the new script held up as a tool for communicating my vision of the play, and I explore possible solutions for revisions.Item Harmonic attraction and functional discharge(2005-05) Bulls, William G.; Santa, Matthew; Deahl, Lora; Casadonte, Dominick J., Jr.; Marks, Jonathan; Hobbs, Wayne C.Daniel Harrison’s Harmonic Function in Chromatic Music, a Renewed Dualist Theory and an Account of Its Precedents (1994) offers a revised theory of harmonic function in which the interaction of individual scale degrees communicate functional relationships based on their memberships within the tonic, dominant, and subdominant triads, respectively. According to the theory, functional discharge, which Harrison describes as the sense of tonal energy moving from one functional state to another, is the product of individual voice leadings rather than of root progressions. While Harrison provides logical and convincing evidence based on speculative theory to support his views, since the publication of Harrison’s book, further theoretical research has surfaced concerning tonal attraction between musical entities. Fred Lerdahl’s Tonal Pitch Space (2001) develops a quantitative model of how listeners perceive the relative strength of different chord progressions that is congruent with research by others in psychoacoustics. The indisputable web of connections between the psychology of how we hear music and the development of function theory begs the question of how Harrison’s revised function theory and Lerdahl’s theory of tonal attraction relate to one another. Through their own distinct methodologies, they each readdress the original question of how tonal connections are made and perceived. This dissertation investigates the connection between the psychology of how we hear music and function theory through comparisons of melodic and harmonic attractions in progressions that communicate a change in function.Item I served time at the Brown County jail: Performing the past and forming the future in a small town museum(2017-05) Ewen, Nicholas A.; Gelber, Bill; Marks, Jonathan; Nolen, Ronald Dean; Steele, Brian D.; Stoune, MichaelThis dissertation explores the development of historical and non-historical performances inside the old Brown County Jail in Brownwood, Texas. The professional problem being addressed is how to create performance events that stimulate interest in the cultural history of Brown County and in the Brown County Museum of History. The document delves into a definition of historical reenactment in order to orient it as a heuristic tool rather than a teaching tool. The process of creating both historical and non-historical performances is discussed, including the initial planning phases, funding, research, script & character writing, performances, and community responses to the performances.