Department of Music

The 20th century has been called the century of percussion instruments thanks to the innovations made by performers and educators specializing in marimba and vibraphone performance. At one time, playing with four mallets, two in each hand, was considered a novelty
undeserving of serious study. The work of musicians like Clair Musser, Leigh Stevens, and Gary Burton demonstrated the functionality and versatility of four mallets in performance practice. While there exists a great deal of literature describing the history, mechanics, and applications of four mallet grips, none have spent time comparing them in how they are learned and utilized. This document considers the following four-mallet grips taught in school music programs in the United States: Musser grip, Stevens grip, cross grip, and Burton grip. Here, the history and mechanics of these grips are described and compared. Conclusions are then drawn addressing how students and educators may select a four-mallet grip to learn with consideration given to the anatomical characteristics of the learner, the demands the chosen music makes on the performer, and the instrument’s setting (e.g., solo, chamber ensemble, large ensemble, marching band, etc.).

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

Many of Japan’s aesthetic, philosophical and cultural institutions were originated in China and India. This nexus created the basis for national unification by and through the use of the kata (trnsl: form or shape). Equally important is the component that integrates artistry into the kata, and eventually, into the kata of Shotokan karate. This particular occurrence compliments the historically important idea known as kokoro (mind-body-spirit), a Zen term but often synonymous with artistry and the artistic mindset. Kokoro can be seen as the product of cumulative intersections in philosophical discourse, framing Japanese beliefs in all things that led to a complex, yet unified expression of art, as well as a foundation for the inner constitution of each individual practitioner in the martial arts. More importantly, it involves a methodology known as Zen/Budo, referring to the separate but integrated spiritual practices of Zen, as it relates to traditional Zen philosophies. The second part of the conjoined term is Budo, the abbreviated version of Bushido (the “way” of the warrior) that guides the participant to a personal refinement of character and a deeper understanding of self. The combined representation of Zen and Budo summarize a highly regarded protocol for self-assessment and self-development. Thus, the afore-mentioned postulates are presented as the basis of this work.

As the oldest recording industry in the world, the United States has set industry
standards regarding record labels, publishing, live entertainment and music services.
Since the beginning of the 20th century, American music has become a staple in
worldwide pop culture, spreading to all four corners of the world. Indeed, the U.S. music
industry has held the number one position in the ranking of the world’s top 10 largest
music markets since its first record label, Columbia Records, was founded in 1887.
However, a relatively new genre of music is rapidly taking over the world’s pop music
scene: South Korean pop music, otherwise known as K-pop. This thesis analyzes the
similarities and differences between the two diverse music industries – with an emphasis
on pop music – by first delving into the copyright and recording aspects of the business,
followed by identifying key differences in each industry’s standards and aesthetics, and
finally examining media consumption and marketing implications in the two countries.