2024-03-28T11:38:02Zhttps://kuscholarworks.ku.edu/oai/requestoai:kuscholarworks.ku.edu:1808/267382018-09-19T08:01:26Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Musical thought and practice in the Hutterite community
Martens, Larry
University of Kansas
1960
Thesis
http://hdl.handle.net/1808/26738
https://kuscholarworks.ku.edu/bitstream/1808/26738/1/martens_1960_3431112.pdf
2e72ff2b6ecc4378d76bffba8406ad63
https://kuscholarworks.ku.edu/bitstream/1808/26738/2/martens_1960_3431112.pdf.txt
3e77c1473dbb46db66a8868f61dca91d
This work is in the public domain and is available for users to copy,
use, and redistribute in part or in whole. No known restrictions apply to the
work.
oai:kuscholarworks.ku.edu:1808/253962018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
CLINICAL DECISIONS OF MUSIC THERAPISTS IN THE TREATMENT OF INDIVIDUALS WITH EATING DISORDERS
Joseph, Megan
Colwell, Cynthia
The purpose of this study was to determine common treatment goals and subsequent music-based interventions used by music therapists who work/worked with patients with eating disorders and to begin gathering information on the intentional adaptation of the elements of music commonly used to increase success of these treatment outcomes. Further, the intent of this survey was to provide a synthesis and overview of current clinical practice and wisdom useful to students and clinical music therapists interested in working with this population or those interested in conducting intervention-based research to determine the impact of music-based interventions on the needs of individuals with eating disorders. Emails were obtained from the American Music Therapy Association (AMTA) for music therapists working in private practice, general hospitals, psychiatric hospitals, mental health facilities, and eating disorder recovery centers. Results of the survey found that majority of participants did not work full time with people with eating disorders and indicated that 1-5% of their caseload was dedicated to people with eating disorders. The top two goal areas and associated interventions were emotional expression using improvisational instrument play and songwriting interventions and decreasing anxiety using relaxation/imagery interventions. The top chosen musical elements to adapt were lyrics and rhythm adapted in the context of improving verbal and non-verbal expression. Further findings and implications are discussed.
University of Kansas
2017-05-31
Thesis
en
http://hdl.handle.net/1808/25396
https://kuscholarworks.ku.edu/bitstream/1808/25396/1/Joseph_ku_0099M_15256_DATA_1.pdf
3c98bb95cd2ae0360a16ea7fbe30f46f
https://kuscholarworks.ku.edu/bitstream/1808/25396/2/Joseph_ku_0099M_15256_DATA_1.pdf.txt
a86e113634f50af6decf0efce2c488b3
Copyright held by the author.
Music
Mental health
Psychology
Clinical Decisions
Eating Disorders
elements of music
Music Therapy
oai:kuscholarworks.ku.edu:1808/184082018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Liberation of the Senses: An Exploration of Sound-color Synesthesia in the Music of Alexander Scriabin and Olivier Messiaen
Flynn, Evan Norcross
Haaheim, Bryan
Ascribing color to sound has long been a part of the music compositional lexicon. Performers, composers, and scholars have long relied upon descriptive vocabulary usually reserved for the visual arts. Those who regularly use colors as aspects of critical terminology do so to convey a desired effect, but how do we explain the various accounts of people with synesthesia who literally see, hear, feel, taste, or smell colors when they listen to music? For synesthetes, a stimulus experienced in one of the five senses triggers a response in another sense. Although numerous types of synesthesia exist, I will focus primarily on sound-color synesthesia and the various forms of written, audio, and visual art it has inspired. Synesthesia is not reserved for those persons who experience such psychological perceptions; many people without synesthesia are interested in the phenomenon. This thesis will define the main characteristics of synesthesia and compare the various modes of analysis scholars have presented on the synesthesia-inspired music of Olivier Messiaen (1908-1992) and Alexander Scriabin (1872-1914). Special attention will be given to the comparison of Scriabin's Prometheus (1911), a piece calling for the projection of colored light to accompany the music as a visual representation of the composer's subjective color palette, with selections from Messiaen's oeuvre featuring performance instructions described in terms of color. These analyses provide avenues for the comparison of Messiaen and Scriabin's color and tonal vocabularies, and form the basis of a new approach to analyzing their music using color.
University of Kansas
2014-12-31
Thesis
en
http://hdl.handle.net/1808/18408
https://kuscholarworks.ku.edu/bitstream/1808/18408/2/Flynn_ku_0099M_13795_DATA_1.pdf.txt
b7ba55f3ff930e8cc46611922d558c47
https://kuscholarworks.ku.edu/bitstream/1808/18408/1/Flynn_ku_0099M_13795_DATA_1.pdf
39838b7005bbbd6bf1497973b1c663dc
Copyright held by the author.
Music
Messiaen
Prometheus
Scriabin
Symbolist
Synesthesia
Visual music
oai:kuscholarworks.ku.edu:1808/236482017-12-08T21:45:29Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Petrus Joannellus and the motets in Volume V of his Novus Thesaurus Musicus, 1568
Crawford, David E.
University of Kansas
1964
Thesis
http://hdl.handle.net/1808/23648
https://kuscholarworks.ku.edu/bitstream/1808/23648/1/crawford_1964_3425535.pdf
214b827c33e17d872fb1865763580184
https://kuscholarworks.ku.edu/bitstream/1808/23648/2/crawford_1964_3425535.pdf.txt
d05ce05ca1a73f4ce66af6550fb6d1c7
This work is in the public domain and is available for users to copy,
use, and redistribute in part or in whole. No known restrictions apply to the
work.
oai:kuscholarworks.ku.edu:1808/261452018-11-08T18:49:34Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Bringing Hands Together Through Music: Dick and Georgia Bassett and the Association for Music in International Schools
Weingarten, Kevin M.
Johnson, Christopher
The Association for Music in International Schools (AMIS) is an international music education organization that currently serves 93 international schools in 53 countries on five continents. AMIS supports the students, teachers, and music programs of its member schools through honor ensemble festivals, conferences, and workshops held at various locales across the world each year, with 21 events taking place throughout the 2017-2018 school year. Though the scope of the organization is global today, its roots can be traced back to the creation of a stand-alone Honor Band and Choir Festival at the American School of London (ASL) in 1975 that provided an honor ensemble experience for the top music students at international schools across the United Kingdom. This honor band and choir owed its existence to the two founders of the organization, Dick and Georgia Bassett. The main goal of this research was to highlight the efforts of two remarkable, yet largely unknown, music educators who were integral to the advancement of western art music in international schools around the world. The research questions guiding this ethnographical account of the Bassetts’ and AMIS were: (1) How did the Bassetts come about creating and growing the AMIS organization and, (2) how has that organization impacted music education world-wide for the last 42 years? The narrative was constructed through analysis of Mrs. Bassett’s personal memoirs; extensive interviews with the Bassetts and current AMIS Executive Director, Keith Montgomery; informal interviews with AMIS teachers and festival conductors; AMIS Executive Council documents, including founding documents, board meeting minutes, and festival repertoire lists; and the discussions of AMIS teachers on the AMIS Music Educators’ Facebook Page. Mr. Bassett, an accomplished clarinetist, and Mrs. Bassett, a vocalist and violinist, met at Oberlin Conservatory, where they were studying to become music educators. The Bassetts’ participation in honor ensembles in their formative years and in the “Oberlin in Salzburg” program - a year-long study abroad experience for Oberlin music majors at the Universität Mozarteum Salzburg – provided the inspiration to look for opportunities for teaching overseas. “We were just sure we wanted to be different; to do something different” (Bassett G., Interview with author). Throughout their career, the Bassetts held teaching positions at the American Community School of Athens, Greece, the Community School in Tehran, Iraq, and ultimately in ASL in London, England, where the honor festivals began. Over the next twenty years, the festival grew in size and geographic scope, and other festivals were added to the calendar, as well. Officially founded in 1996, AMIS has continued to expand ever since to the global organization it is today. In 2014, the Bassetts officially retired from AMIS, but they still maintain active ties to the organization as consultants. AMIS creates musical experiences in international schools that would otherwise be unavailable to them: a professional network for teachers, unique learning opportunities for music students, and the promotion of music and music education in international schools around the globe. Because of the Bassetts, AMIS “brings hands together through music” (ibid.).
University of Kansas
2017-12-31
Thesis
en
http://hdl.handle.net/1808/26145
https://kuscholarworks.ku.edu/bitstream/1808/26145/1/Weingarten_ku_0099M_15666_DATA_1.pdf
ee903f1c28102b07f089dddceb336739
https://kuscholarworks.ku.edu/bitstream/1808/26145/4/26145.pdf
1db201b147bdc286a313423e0c6b6f87
https://kuscholarworks.ku.edu/bitstream/1808/26145/2/Weingarten_ku_0099M_15666_DATA_1.pdf.txt
0c0fab4d8fcee0fca8e1e576252e1e01
Copyright held by the author.
Music education
international education
international schools
music
music education
music education organizations
oai:kuscholarworks.ku.edu:1808/275812020-10-08T16:44:46Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effects of Circular Singer Gestures on Acoustic and Perceptual Measures of Middle School and High School Choral Singing
Coffman, Ashley Kathleen
Grady, Melissa L
The purpose of this study was to assess the effect of three singer conditions (low circular arm gesture, high circular arm gesture, no arm movement) performed by nine middle and high school choirs while singing. Recordings were analyzed on acoustic (long-term average spectra [LTAS]) and perceptual (singer and expert listener preferences) measures. Among primary findings: (a) results of a repeated measures ANOVA of LTAS data indicated a significant interaction effect; (b) entire spectrum grand mean and range differences between gestures comparisons indicate twelve pairings of more than 1 dB difference (Just Noticeable Difference); (c) more than half of the singer participants noticed differences in overall choral sound while using the high circular arm gesture; (d) participants in high school choirs noticed differences in individual vocal sound (80%) and overall choral sound (78%) when singing with the low circular arm gesture; (e) singer preference responses indicate 5 choirs preferred the high circular arm gesture, 3 choirs preferred singing without arm movement, and 1 choir reported a preference for the low circular arm gesture; (f) 63% of singer participants reported liking the addition of gestures while singing; (g) expert listeners ranked tone quality while performing with no arm movement highest for 5 choirs and while performing the low circular gesture highest for 3 choirs; and (h) 4 choirs received the same ranking from the expert listeners: (1) no arm movement, (2) high circular gesture, and (3) low circular gesture. Results were discussed in terms of comparisons of acoustic and perceptual measures, limitations of the study, and suggestions for further research.
University of Kansas
2018-05-31
Thesis
en
http://hdl.handle.net/1808/27581
https://kuscholarworks.ku.edu/bitstream/1808/27581/1/Coffman_ku_0099M_16066_DATA_1.pdf
337770fe06737cd0fb33cf16f7535bbe
https://kuscholarworks.ku.edu/bitstream/1808/27581/2/Coffman_ku_0099M_16066_DATA_1.pdf.txt
f9ce94fa68e647abd4098fa50cb675a8
Copyright held by the author.
Music education
Acoustics
Acoustic and Perceptual Measures
Circular Singer Gesture
High School Choir
Middle School Choir
Singer Gesture and Choral Singing
oai:kuscholarworks.ku.edu:1808/55392020-07-27T15:06:00Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Role of the Horn in Band Music
Starrett, Megan Jane
Freeman, Charles
In the American wind band, the role of the horn has transformed parallel to the development of professional bands, military bands, and collegiate wind ensembles. An incomplete definition of the horn's role is discussed in various writings from 1912 to1988. With a brief history of the Sousa and Goldman Bands, collegiate wind ensembles, and commissions of United States military bands, current definitions of the horn's many roles in band music are determined. Horn parts in the works of Sousa, Holst, Vaughan Williams, Grainger, Gould, Persichetti, Hanson, Reed, Jenkins, Williams, McBeth, Husa, Hindemith, Knox, Smith, Schuller, Nixon, and Barnes, are considered for their scoring, function, technique, and virtuosity. These examples constitute a representative sample of horn parts depicting the evolution of the horn's role from rhythmic punctuation to featured melodic line. The horn's range and various techniques are discussed as well.
University of Kansas
2009-06-16
Thesis
EN
http://hdl.handle.net/1808/5539
https://kuscholarworks.ku.edu/bitstream/1808/5539/1/Starrett_ku_0099M_10440_DATA_1.pdf
d866b3b5e307bfb0ecbe0754ebb82ad9
https://kuscholarworks.ku.edu/bitstream/1808/5539/2/Starrett_ku_0099M_10440_DATA_1.pdf.txt
73ba1558e2f48dac19376c154148bbe2
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Band
Horn
oai:kuscholarworks.ku.edu:1808/55292020-07-27T13:59:15Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The effect of music therapy on mood, perceived exertion, and exercise adherence of patients participating in a rehabilitative upper extremity exercise program
Cho, Jeongmin
Colwell, Cynthia
The purpose of this study was to investigate the effects of music therapy on perceived exertion, mood and exercise adherence of patients participating in a group upper extremity exercise program. Twenty two patients ranging in age from 22 to 86 participated in a occupational therapy upper extremity exercise (OT-UEE) program and a music therapy upper extremity exercise (MT-UEE) program for two consecutive days. Rating of Perceived Exertion (RPE) and Feeling Scale (FS) were used for participants to rate their perceived exertion levels and mood change respectively. Each session was videotaped for data collection. Analysis of data revealed that the use of music during exercises significantly reduced perceived exertion (p=0.0011) and enhanced mood (p=0.0401), although patients' exercise adherence between the two groups was not significantly different. The physiological and psychological benefits of music on rehab patients which were shown through examination of patients' perceived exertion and mood changes suggest potential benefits for exercise performances.
University of Kansas
2009-06-11
Thesis
EN
http://hdl.handle.net/1808/5529
https://kuscholarworks.ku.edu/bitstream/1808/5529/1/Cho_ku_0099M_10419_DATA_1.pdf
f50b90531f70f30a3d6f13b390bc598f
https://kuscholarworks.ku.edu/bitstream/1808/5529/2/Cho_ku_0099M_10419_DATA_1.pdf.txt
a657aeb62e45408f719c62bdf1fae4ea
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Health sciences
Rehabilitation and therapy
Mood change
Music therapy
Occupational therapy
Perceived exertion
Rehabilitation
Upper extremity exercise
oai:kuscholarworks.ku.edu:1808/123442020-10-15T14:00:55Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Selected Non-Indianist Works of Charles Sanford Skilton: The Witch's Daughter - A Cantata for Soprano and Baritone Soli, Chorus and Orchestra (1918) and Electra - Music of the Electra of Sophocles, Composed for Women's Chorus and Orchestra (1920)
Garren, Evelyn Adele
Laird, Paul
Charles Sanford Skilton (1868-1941) is widely remembered as an exponent of the Indianist Movement in musical composition, which was important from about 1880 to 1920. Little investigation has been completed on his works outside of his Indianist interest, leaving many gaps in our knowledge of his music. While compiling materials for this thesis, it was observed that Skilton, now nearly forgotten as a serious art music composer, was well received as a composer, theorist, and pedagogue during his life. Much of his extant works are comparable to Indianist composers such as Arthur Farwell and Charles Wakefield Cadman. Skilton was known for more than just his Indianist works; his legacy as an American music pioneer is quite worthy of acknowledgement. This thesis examines Skilton's life, his compositions, public reception, and notable performances with specific focus on two selected works outside of his Indianist interest, The Witch's Daughter - A Cantata for Soprano and Baritone Soli, Chorus and Orchestra (1918), and Electra - Music of the Electra of Sophocles, composed for Women's Chorus and Orchestra (1920). These works together shed light on attributes of Skilton's compositional style and his relation to composers of the same period.
University of Kansas
2013-05-31
Thesis
en
http://hdl.handle.net/1808/12344
https://kuscholarworks.ku.edu/bitstream/1808/12344/1/Garren_ku_0099M_12601_DATA_1.pdf
b52f2efc188141955ac7cbc021b59fc1
https://kuscholarworks.ku.edu/bitstream/1808/12344/2/Garren_ku_0099M_12601_DATA_1.pdf.txt
f1846a30fe3a360ea2da7a8739b9be71
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Indianist
Skilton
oai:kuscholarworks.ku.edu:1808/184832020-06-24T19:51:24Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
The modern organ
Krueger, Karl A.
University of Kansas
1915
Thesis
http://hdl.handle.net/1808/18483
https://kuscholarworks.ku.edu/bitstream/1808/18483/1/krueger_1915_618540.pdf
1ffe99b584ad025d94a7d2557028d831
https://kuscholarworks.ku.edu/bitstream/1808/18483/2/krueger_1915_618540.pdf.txt
c5c221486672d232de5a46cd611775f9
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
oai:kuscholarworks.ku.edu:1808/264602018-06-25T14:59:44Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
THE PERCEPTION OF MUSIC THERAPY BY DIRECT CARE STAFF OF OLDER ADULTS WITH INTELLECTUAL DISABILITIES: A PHENOMENOLOGICAL APPROACH
Wells, Kori Ellen
Dvorak, Abbey
The purpose of this phenomenological study was to explore the experiences and perceptions of direct care staff of older adults with intellectual disabilities who participate in music therapy services. Participants (N=5) were direct care staff (DCS) over age 18, either currently working or formerly worked as DCS at Cottonwood Retirement, and observed a minimum of one music therapy session with their client(s). Participants shared their experiences in individual 60-minute semi-structured interviews. The interviews were recorded, transcribed, and analyzed using Interpretive Phenomenological Analysis (IPA). Six themes emerged: (a) DCS find music therapy effective in changing social, physical, emotional, and cognitive functioning, (b) DCS find personal enjoyment through connecting with consumers in music therapy experiences, (c) DCS are experienced and knowledgeable about consumers and encourage student music therapists (SMTs) to ask for help, (d) DCS apply and reinforce experiences practiced in music therapy to consumer activities outside of sessions, (e) DCS encourage SMTs to focus on physical, emotional, and social functioning, instead of cognitive functioning, of older adults with ID, and (f) DCS encourage SMTs to consider consumers’ individual characteristics and preferences in order to increase therapist flexibility and intuition.
University of Kansas
2017-08-31
Thesis
en
http://hdl.handle.net/1808/26460
https://kuscholarworks.ku.edu/bitstream/1808/26460/1/Wells_ku_0099M_15534_DATA_1.pdf
54ee53c31c9fe834cfe207f6add8fe96
https://kuscholarworks.ku.edu/bitstream/1808/26460/2/Wells_ku_0099M_15534_DATA_1.pdf.txt
43c483dd919a684bbff511d53081bf0d
Copyright held by the author.
Music
Direct Care Staff
Intellectual Disability
Music Therapy
Phenomenology
Qualitative
oai:kuscholarworks.ku.edu:1808/148742018-01-31T20:08:05Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of Music Therapy on Executive Function Skills in Male, Incarcerated Adults in a Correctional Facility
Ellis, Elisha
Colwell, Cynthia
The purpose of the present study was to examine the effect of participation in a music therapy group on the executive function skills of male, incarcerated adults in a county correctional facility. Participants (N=16) were recruited from the medium-security pod in a local jail in a medium-sized Midwestern city. Eight participants (n=8) were randomly assigned to the treatment group, music therapy, and eight participants (n=8) were randomly assigned to the control group, talk-based therapy. Each group participated in four sessions over the course of two weeks. The Behavior Rating Inventory of Executive Functions for Adults (BRIEF-A) was administered once prior to the beginning of sessions and once following the conclusion of the two-week treatment period to determine if participation in music therapy significantly improved executive function skills. An analysis of covariance (ANCOVA) was run to determine the effect of two different treatment interventions on post-intervention executive function scores after controlling for pre-intervention executive function scores. Results indicated no statistically significant improvement in executive function scores post-intervention in either group. However, post-intervention raw scores improved for 100% of music therapy participants and 40% for talk-based group participants. Music therapy yielded a higher retention rate over the treatment span than the talk-based group. This study supports the need for further investigation regarding the benefits of music therapy interventions to enhance various aspects of executive function in the inmate population. Keywords music therapy, corrections, mental health, executive function, inmates, BRIEF-A, ANCOVA
University of Kansas
2014-05-31
Thesis
en
http://hdl.handle.net/1808/14874
https://kuscholarworks.ku.edu/bitstream/1808/14874/1/Ellis_ku_0099M_13279_DATA_1.pdf
b7fc4928cf7ebf549aa65ecb718f5534
https://kuscholarworks.ku.edu/bitstream/1808/14874/2/Ellis_ku_0099M_13279_DATA_1.pdf.txt
1e6366eaff1100e52e270bd399d3651d
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Mental health
Criminology
Brief-a
Corrections
Executive function
Inmates
Music therapy
oai:kuscholarworks.ku.edu:1808/308942020-11-20T09:01:02Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Accompaniment of Gregorian Chant
Burgstahler, Patricia L.
Although Gregorian Chant is sacred monody that dates from an age in which instrumental accompaniment was not employed for liturgical music, today, particularly in the services of the Roman Catholic Church, the common practice is to use some type of organ accompaniment to the chant sung by the choir or congregation. The present thesis proposes to trace briefly the history of chant and accompaniments to chant melodies, to review the three current leading rhythmic theories, and to arrange a new set of accompaniments for a number of the melodies of the Kyriale and certain selected Mass Propers, taking special cognizance of the more recent studies on medieval harmony1 and on rhythmic interpretation.
University of Kansas
1959-05-31
Thesis
http://hdl.handle.net/1808/30894
https://kuscholarworks.ku.edu/bitstream/1808/30894/1/burgstahler_1959_3429708.pdf
37f580754f7397efcb5a9f70a518b4c9
https://kuscholarworks.ku.edu/bitstream/1808/30894/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
https://kuscholarworks.ku.edu/bitstream/1808/30894/3/burgstahler_1959_3429708.pdf.txt
f5d4403d984b3b111c5eb33594ddb2ea
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
oai:kuscholarworks.ku.edu:1808/293192019-08-27T18:10:28Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Perception of Administrative Support and How it Relates to Professional Growth and Job Satisfaction of Elementary Music Teachers
Stoltenberg, Katherine Therese
Hedden, Debra
The purpose of this study was to examine the perception of administrative support, at the school and district levels, in order to identify how it related to professional growth and job satisfaction of elementary music teachers. Participants (N= 3) were practicing elementary general music teachers employed full-time in public schools, one each from urban, suburban and rural school districts within a Midwestern state. Each participant was interviewed twice, with three weeks between each interview. The interview questions related to administrative support and its impact on job satisfaction and professional growth. The researcher transcribed and coded the data and the themes of interpersonal skills, autonomy and visibility emerged. The findings indicated that the areas of job satisfaction and professional growth were impacted by interpersonal skills and autonomy, while visibility only seemed to affect job satisfaction. It also appeared that job satisfaction and professional growth were closely linked and impacted by administrative support. Recommendations and implications for future research are then discussed with respect to these results.
University of Kansas
2019-05-31
Thesis
en
http://hdl.handle.net/1808/29319
https://kuscholarworks.ku.edu/bitstream/1808/29319/2/Stoltenberg_ku_0099M_16454_DATA_1.pdf.txt
2c4ff937fd63ed750000cf7d19eda69b
https://kuscholarworks.ku.edu/bitstream/1808/29319/1/Stoltenberg_ku_0099M_16454_DATA_1.pdf
35da4d2feb7f34173547b5991a3fc6c6
Copyright held by the author.
Music education
Administration
Job Satisfaction
Music Education
Professional Growth
Support
oai:kuscholarworks.ku.edu:1808/148712018-01-31T20:08:05Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Paul Taffanel and the Construction of the French Flute School
Glick, Dorothy Ellen
Levin, Alicia
Beginning with Paul Taffanel and the introduction of the silver Boehm system flute in the mid-nineteenth century, the French Flute School refers to the use of vibrato, emotional approach to musical line, technique, and tone of French flutists. After Taffanel won the premier prix at the Paris Conservatoire in 1860, his playing was quickly accepted as a model of what all flutists should emulate, and he has since been acknowledged by scholars and performers as the father of the French Flute School. This thesis explores the construction and definition of the French Flute School. Although it is a term frequently uttered by musicians, and its foundation in the playing of Taffanel widely accepted, the history has never been wholly documented. In chapter one, I investigate how the structure of the Conservatoire education, noteworthy flute professors and the technical advances on the instrument built the foundation for the French Flute School and contributed to its genesis and global distribution. Understanding the foundation of the modern French school builds the scaffolding for research into Taffanel's life and legacy. The second chapter investigates how Taffanel came to be constructed as the defining figurehead of the French Flute School by examining his education and career. Establishing who Taffanel was and what specific aspects of his life and career contributed to his attained level of admiration and influence creates an opening in which his legacy can be explored and understood. Not only did his personal career promote his "flute ideals," but his students spread the French Flute School across the globe. Chapter three addresses the specific aspects of the French Flute School's diffusion and the manner in which Taffanel's legacy was handed down.
University of Kansas
2014-05-31
Thesis
en
http://hdl.handle.net/1808/14871
https://kuscholarworks.ku.edu/bitstream/1808/14871/2/Glick_ku_0099M_13450_DATA_1.pdf.txt
03a48a5651a34dbe45f75d0cabb8c337
https://kuscholarworks.ku.edu/bitstream/1808/14871/1/Glick_ku_0099M_13450_DATA_1.pdf
8e3e9b22dacc9a22036d62748a83e1e9
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Flute
French
School
Taffanel
oai:kuscholarworks.ku.edu:1808/55302020-07-27T13:49:12Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
FACTORS INFLUENCING THE IMPLEMENTATION OF TECHNOLOGY IN THE MUSIC CLASSROOM
Agnew, Shawn M.
Johnson, Christopher M
The purpose of this study was to examine what factors influence the implementation of technology in the music classroom. Thirty-one Kansas Music Teachers (n=31) completed a web-based survey about technology in the music classroom regarding Technology Implementation, Technology Availability, Teacher Technology Self-Efficacy, Teacher Attitudes Towards the Use of Technology, and Technology Professional Development. This study found Availability of Technology and Technology Professional Development were significant in the prediction of Technology Implementation in the music classroom. Although Technology Self-Efficacy and Attitudes Towards Technology in the Classroom were not found to be significant in the prediction of technology implementation, subject responses pertaining to these factors were unexpectedly consistent, with most subjects reporting high levels of Technology Self-Efficacy and highly positive Attitudes Towards Technology in the Classroom.
University of Kansas
2009-06-26
Thesis
EN
http://hdl.handle.net/1808/5530
https://kuscholarworks.ku.edu/bitstream/1808/5530/1/Agnew_ku_0099M_10459_DATA_1.pdf
1f5f4e9fbe4f2d53dc6baadbf29aebc7
https://kuscholarworks.ku.edu/bitstream/1808/5530/2/Agnew_ku_0099M_10459_DATA_1.pdf.txt
b8339a9642b2cf7360061fa63aa7f104
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Professional development
Self-efficacy
Technology
oai:kuscholarworks.ku.edu:1808/219452018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Artists' Trilogy
Rigby, Travis F.
Stölzel, Ingrid
While Artists’ Trilogy was written as one large work with three movements, each movement is intended to stand on its own as well. Ensembles should feel free to program any single movement, a pair of movements, or the entire trilogy. The instrumentation is that of a large wind ensemble, with the intention that only one player will play each part. Artists’ Trilogy is a suite in which each movement represents one or more types of artist. Each movement unfolds in a way that is reminiscent of that particular artist’s approach to creation. The Storyteller, after a brief introduction, begins quite promptly with the melodic theme much like a storyteller would be quick to introduce a main character. As the movement progresses, we hear the theme in a number of varied statements, each representing an aspect of the character’s development. By the end of the movement, much like at the end of a story, the character (theme) has been transformed by the plot. Formally speaking, the movement is in an ABA form, which fits a “there and back again” model and introduces a sense of conflict and resolution. Inspired by visual artists, The Painter relies on instrumental colors as a means of expression. The melodic fragments introduced by the flute, English horn, and alto saxophone are presented in relief against the static harmonies. Together, they enhance the color provided by the orchestration. The trilogy ends with a bang as the entertainer takes the stage. The Entertainer focuses not on one single artist, but on the broader category of entertainment: the title character is perhaps an actor, a dancer, a filmmaker, or a comedian. These artists are generally more easily appreciated by general audiences as they utilize both visual and aural elements. The movement is full of excitement, surprises, and a lot of catchy melodic and rhythmic ideas.
University of Kansas
2016-08-31
Thesis
en
http://hdl.handle.net/1808/21945
https://kuscholarworks.ku.edu/bitstream/1808/21945/1/Rigby_ku_0099M_14700_DATA_1.pdf
21706a1f3c16ce6baacf2519f106a7f7
https://kuscholarworks.ku.edu/bitstream/1808/21945/2/Rigby_ku_0099M_14700_DATA_1.pdf.txt
d2ec905c2102f256edb6dc47552dc100
Copyright held by the author.
Music
composition
music
suite
wind ensemble
oai:kuscholarworks.ku.edu:1808/194282018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
EXAMINATION OF THE PATTERNS OF BAND RATINGS AT THE IOWA HIGH SCHOOL MUSIC ASSOCIATION STATE LARGE GROUP FESTIVAL
Terrell, Daniel
Johnson, Christopher M
The purpose of this study was to examine the patterns of ratings received by concert bands at the Iowa High School Music Association (IHSMA) State Large Group Festival from 2006 through 2014. Specifically, trends related to classification (school size), geography (district assignment), and literature selections were examined. Data used to examine patterns in classification and district were collected from the Iowa High School Music Association. The district assignments designated by the Iowa Bandmasters Association were adopted. It was found that school classification was an indicator of differences in ratings received at the festival. Post hoc comparisons indicated that ratings for Class 1A are significantly lower than Class 2A which are significantly lower than Class 3A and Class 4A. District assignment was also an indicator of differences in ratings. Post hoc comparisons indicated that only the Southwest district had significantly different (lower) ratings than the other five districts. Data used to observe patterns regarding literature selections were collected from band directors at schools where the festival was hosted over the nine-year span of the study. Despite incomplete records of performance literature, certain discernible trends were noted. Compositions with a difficulty level of “Grade 4”, newer pieces, and works by Frank Ticheli tended to receive higher ratings at the festival.
University of Kansas
2015-08-31
Thesis
en
http://hdl.handle.net/1808/19428
https://kuscholarworks.ku.edu/bitstream/1808/19428/1/Terrell_ku_0099M_14191_DATA_1.pdf
697ebc40b1c9ebfdb797c5016101b325
https://kuscholarworks.ku.edu/bitstream/1808/19428/3/Terrell_ku_0099M_14191_DATA_1.pdf.txt
f70573aa0f64e7d68f0f316861325bd9
Copyright held by the author.
Music education
Music
Band
Festival
Iowa
Ratings
oai:kuscholarworks.ku.edu:1808/261472018-04-19T20:04:53Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
AN EXPLORATION OF ENROLLMENT AND RETENTION TRENDS OF BEGINNING BAND AND ORCHESTRA STUDENTS IN THE FIRST YEAR OF INSTRUCTION
Glaser, Emily Anne
Johnson, Christopher M
The purpose of this study was to explore student attitudes towards enrollment and retention in first-year beginning band and orchestra classrooms. A secondary purpose of this study was to investigate if different instrumental ensembles or various school settings demonstrated unique student attitudes regarding enrollment and retention rates in beginning band or orchestra classes. Enrollment and retention rates of participating ensembles were reported to supplement qualitative results. Seven categories of themes influencing enrollment and retention in beginning band and orchestra classes emerged through a constant comparative, grounded theory approach of analysis: (a) family, (b) fun, (c) music, (d) musical history, (e) opportunities, (f) social, and (g) teacher. Results indicated that students enrolled in their first year of beginning band or orchestra because of the encouragement or influence of a parent or trusted adult. All students that elected to continue their enrollment in band or orchestra after the first year of instruction did under perceived support from their parents and/or instrumental music teacher. Ensemble- and location-specific results were found, but were interpreted as circumstantial. Further research is necessary to explore the unique enrollment trends of these groupings. Results were discussed in terms of their value to band and orchestra teachers, their relationship to existing literature, limitations, and suggestions for further research.
University of Kansas
2017-12-31
Thesis
en
http://hdl.handle.net/1808/26147
https://kuscholarworks.ku.edu/bitstream/1808/26147/2/Glaser_ku_0099M_15669_DATA_1.pdf.txt
36263dfd18d65040d48698dea578d9ff
https://kuscholarworks.ku.edu/bitstream/1808/26147/1/Glaser_ku_0099M_15669_DATA_1.pdf
5f490b96ddcbb8e683ff410b7eb4b706
https://kuscholarworks.ku.edu/bitstream/1808/26147/4/26147.pdf
7a809f20b293815f2c27419f8fd437b4
Copyright held by the author.
Music education
attitudes
band
enrollment
instrumental music
orchestra
retention
oai:kuscholarworks.ku.edu:1808/178042020-06-24T19:40:32Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
The development of the modern tendency in oratorio
Coffelt, Gola William
University of Kansas
1922.
Thesis
http://hdl.handle.net/1808/17804
https://kuscholarworks.ku.edu/bitstream/1808/17804/1/coffelt_1922_3424423.pdf
1ce5905d6fc90f82888fbcea2eab97e6
https://kuscholarworks.ku.edu/bitstream/1808/17804/2/coffelt_1922_3424423.pdf.txt
0b05d1cc4c5f56ec39a897f9fcecdc7f
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
oai:kuscholarworks.ku.edu:1808/85142020-08-27T14:21:35Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
The Development of Lohengrin from Euryanthe
Emley, Pearl
University of Kansas
1913
Thesis
en_US
http://hdl.handle.net/1808/8514
https://kuscholarworks.ku.edu/bitstream/1808/8514/1/ETD_1913_Emley_P_mediumc.pdf
cb7b720c0da6fb054c31695b484094cb
https://kuscholarworks.ku.edu/bitstream/1808/8514/2/license.txt
0e70d004ec6f1208096f178c316b6c2e
https://kuscholarworks.ku.edu/bitstream/1808/8514/3/ETD_1913_Emley_P_mediumc.pdf.txt
4678c2fae7c1242584b29df1a2b4fae0
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
oai:kuscholarworks.ku.edu:1808/192032020-06-24T19:10:02Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Some aspects of musica ficta in selected works of Johannes Rühling’s Tabulaturbuch auff Orgeln und Instrument, 1583
Patton, Glenn E.
University of Kansas
1969
Thesis
http://hdl.handle.net/1808/19203
https://kuscholarworks.ku.edu/bitstream/1808/19203/1/patton_1969_3606753.pdf
d5e821ca7796826fd575b8253d5db4bb
https://kuscholarworks.ku.edu/bitstream/1808/19203/4/patton_1969_3606753.pdf.txt
cd7c7a6e2dadd6108136a8706bf96bf1
https://kuscholarworks.ku.edu/bitstream/1808/19203/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Musica ficta
Rühling, Johannes
oai:kuscholarworks.ku.edu:1808/252362018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
All Tied Up: The Effect of Wearing a Necktie on Acoustic and Perceptual Measures of Male Choral and Solo Singing
Edwards, Evan R.
Daugherty, James F.
The purpose of this study was to assess acoustically (long-term average spectra and multi-dimensional voice profile) and perceptually (participant perceived phonatory ease and expert listening panel) the effect of wearing a necktie on male singing in choral (Experiment 1) and solo (Experiment 2) settings. No study to date has assessed the potential effects of wearing neckties in both choral and solo vocal settings. Among primary results: (a) statistically significant differences in spectral energy between performances with and without a necktie in both the choral (2-4 kHz) and solo (0-10 kHz) settings, (b) increases in mean jitter and shimmer percentage measurements of solo singers with necktie, (c) significant reduction in perceived phonatory ease when singing while wearing a necktie in choral and solo settings, and (d) listener preferences for singing without a necktie in solo and homophonic choral settings. Results were discussed in terms of limitations of the study, suggestions for future research, and implications for voice pedagogy. Keywords: necktie, choral singing, solo singing, long-term average spectra, multi-dimensional voice profile, perceived phonatory ease, expert listening panel
University of Kansas
2017-05-31
Thesis
en
http://hdl.handle.net/1808/25236
https://kuscholarworks.ku.edu/bitstream/1808/25236/2/Edwards_ku_0099M_15349_DATA_1.pdf.txt
72269ba46a9732b5cdc9de427dc4901c
https://kuscholarworks.ku.edu/bitstream/1808/25236/1/Edwards_ku_0099M_15349_DATA_1.pdf
ae639f39a971e7dbfaa64124285ccdd5
Copyright held by the author.
Music
Music education
Performing arts
choral singing
expert listening panel
long-term average spectra
necktie
perceived phonatory ease
solo singing
oai:kuscholarworks.ku.edu:1808/252382018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Music Therapists and Work: Experiences of Occupational Oppression in the Profession of Music Therapy
Bybee, Molly R.
Hanson-Abromeit, Deanna
Occupational oppression is a system of invisible barriers created by those in power that reduces the professional’s ability to perform work at the highest level. Barriers result from a combination of beliefs related to the value or worth of set occupations and their members. Occupational oppression is based on the assumption that certain professions are inherently superior or inferior. Barriers result from a combination of beliefs related to the value or worth of set occupations and their members. Oppressive experiences have been described within music therapy literature on burnout. However, the phenomenon of occupational oppression has not been explored within the profession of music therapy. The purpose of this mixed-method study was to establish and describe the phenomenon of occupational oppression within the profession of music therapy. Experiences of oppression were described using Young’s five categories of oppression – marginalization, cultural imperialism, exploitation, violence, and powerlessness (1990). Participants, 634 currently practicing board-certified music therapists, completed an online survey that was comprised of multiple choice, Likert-scale, and short-answer questions. Results support the existence of occupational oppression within the profession of music therapy. A majority of participants identified as having experienced oppression within their workplaces (56%) and identified the profession as being oppressed (76.6%). All of Young’s five categories of oppression (1990) were reported within participants’ responses. Forms of cultural imperialism were described most frequently, followed by marginalization, exploitation, powerlessness, and violence. Descriptions of experienced oppression occurred both in respondents who did and did not identify as having experienced oppression, suggesting that music therapists may have difficulty labeling oppressive experiences. Acknowledging occupational oppression within the profession of music therapy may be a critical first step towards developing solutions to improve workplace experiences for music therapists.
University of Kansas
2017-05-31
Thesis
en
http://hdl.handle.net/1808/25238
https://kuscholarworks.ku.edu/bitstream/1808/25238/1/Bybee_ku_0099M_15225_DATA_1.pdf
3b54008456de50d9055e710c4cef6b14
https://kuscholarworks.ku.edu/bitstream/1808/25238/2/Bybee_ku_0099M_15225_DATA_1.pdf.txt
d9726660d379025776865ccebb2d3cfe
Copyright held by the author.
Music
Health care management
Creative Arts Therapy
Music Therapy
Occupational Oppression
Oppression
oai:kuscholarworks.ku.edu:1808/194362018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Defining music therapy: integrating the Chinese perspective and the United States-influenced model of music therapy
Li, Bing
Register, Dena
This present study stems from my interest in the definition of music therapy in China, resulting from both my seven years of training in the United States and my personal Chinese background. While initially investigating the development of music therapy in China, a clear dissonance emerged between the Chinese perspective and the actual model of practice, which is influenced by practice in the United States. The core of this conflict is the philosophical argument of how exactly music therapy is defined. This fundamental disagreement may negatively impact further development of our profession. Thus, in an effort to make suggestions about solving this problem and resolving the discord between these perspectives, the purpose of this paper is to 1) analyze the existing definitions of music therapy in China to determine common principles, and 2) to subsequently suggest a model integrating the Five-element theory in traditional Chinese medicine (TCM) and the preexisting definitions of music therapy in China. Through investigation and discussion, five essential elements in music therapy are identified, including the therapist, the client, the music, the intervention outcome, and Evidence-Based Practice (EBP). Specific suggestions are made based on these elements in an attempt to combine strengths from both the TCM philosophy and the U.S.-influenced Chinese model, which will potentially promote the continued development of music therapy in China.
University of Kansas
2015-05-31
Thesis
en
http://hdl.handle.net/1808/19436
https://kuscholarworks.ku.edu/bitstream/1808/19436/3/Li_ku_0099M_14082_DATA_1.pdf.txt
d6cfe167610da806edf69ffd632894ff
https://kuscholarworks.ku.edu/bitstream/1808/19436/1/Li_ku_0099M_14082_DATA_1.pdf
9d14eddbc025c011dfa12d816c2f3242
Copyright held by the author.
Music
Music education
Chinese
Cultural Perspectives
Definition
Music Therapy
oai:kuscholarworks.ku.edu:1808/219232018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Music Therapy Internship Directors' Perspectives on the Importance of Emotional Intelligence
Fitch, Katie
Colwell, Cynthia
Emotional Intelligence is one’s ability to perceive and use emotional information in oneself and in others, and to make decisions based on this information. It is made up of emotional competencies, which encompass perceptions and expressions of the self, relational interactions, decision-making, as well as coping and regulation skills. To date, little information is available concerning the observation and assessment of the emotional competencies in music therapy students as they navigate the internship application process. This study investigated the extent to which a student’s Emotional Intelligence impacts National Roster Internship Directors’ decision-making processes for determining a student’s suitability to their internships. Specifically, it examined the importance of Emotional Intelligence in determining student suitability, the methods used during the internship application process to assess the emotional competencies, and the importance of Emotional Intelligence as compared with other skills typically assessed. Fifty-four National Roster Internship Directors completed an online survey. Responses were collapsed and examined using descriptive statistics. Internship Directors indicated that Emotional Intelligence is an important factor in selecting their interns. All respondents indicated that the emotional competency, Empathy, was either ‘important’ or ‘very important’ (on a Likert-type scale ranging from ‘very unimportant’ to ‘very important’) in determining a student’s suitability. The development of consistent language regarding Emotional Intelligence may provide cohesion between Internship Directors and Academic Program Directors and better prepare students to thrive in the music therapy profession.
University of Kansas
2015-12-31
Thesis
en
http://hdl.handle.net/1808/21923
https://kuscholarworks.ku.edu/bitstream/1808/21923/1/Fitch_ku_0099M_14383_DATA_1.pdf
72675fc7fe4202df46fd56bc427d9075
https://kuscholarworks.ku.edu/bitstream/1808/21923/2/Fitch_ku_0099M_14383_DATA_1.pdf.txt
c0ed78e0fd25755fc474fdf10c118b16
Copyright held by the author.
Music education
Music
Personality psychology
Emotional Intelligence
Music Therapy
oai:kuscholarworks.ku.edu:1808/123412020-10-14T14:31:21Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia
Lafex, Arthur Edward
Levin, Alicia
Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes's music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes's ballets can be considered. The thesis then examines Delibes's iconic ballet, Coppélia, for the music's support of narrative and of dance. Chapter 2 begins with an examination of its narrative music, that is, its music for pantomime and narrative episodes, studying Delibes's use of recurring themes and other devices. The study finds the use of rhythmic, melodic, and orchestral resources serves to support characterization. These are used to build themes that are recognizable and memorable to represent characters and events. Other parallels with Giselle are drawn at this time. Continuing on to music for set dances, Chapter 3 begins with an inquiry into literature written by dancers and music theoreticians to discover the links between human motion and music. Three factors emerge: the existence of a predictable regularity of pulse at several levels, the enchainment of musical motives and phrases that reflect and facilitate the dancer's own enchainment of dance steps, and an overarching factor such as melodiousness that the dancer can use to bring out the musicality of the performance. The chapter continues with a review of the dance music in Coppélia, finding in it the same basic structure as other music in the ballet, using themes with a national flavor in many instances. Chapter 4 continues with a sketch of ballet's revival in the period after Delibes and into the twentieth century. The document concludes with a review of three modern performances of Coppélia. Two of these are reconstructions of an earlier version, while the third is a recreation using a different scenario derived from the earlier version. The review demonstrates that the qualities of Delibes's music supporting narrative and dance continue to be effective when used by choreographer in his staging of the ballet.
University of Kansas
2013-05-31
Thesis
en
http://hdl.handle.net/1808/12341
https://kuscholarworks.ku.edu/bitstream/1808/12341/1/Lafex_ku_0099M_12779_DATA_1.pdf
1be0031dabc1b0f291031fbffe75c645
https://kuscholarworks.ku.edu/bitstream/1808/12341/2/Lafex_ku_0099M_12779_DATA_1.pdf.txt
d8a7e1ed3316d365db3aa6a0ccd976f1
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Dance
Performing arts
Ballet
Narrative
Nuitter
Paris
Romantic
oai:kuscholarworks.ku.edu:1808/259962018-04-17T17:49:56Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Practices in Visual Media
Chart, Brock Andrew
Gailey, Dan
Practices in Visual Media At approximately 13 minutes in length Practices in Visual Media aims to explore composition with a wide variety of instrumentation, genre, and style inspired by different platforms of visual media. The idea of the piece was to recreate real-world scenarios that a commercial composer might encounter professionally. Each movement is based on a different form of visual media that I’ve rescored with original music: a movie trailer, cartoon theme song, TV commercial, and the soundtrack from a video game. I’ve also learned from personal experience that commercial composers are expected to have professional sounding products from the earliest stages of production. Audio production has become an integral part of the commercial composer’s skill set. When writing Practices in Visual Media, I transcribed and attempted to recreate several works from today’s leading film composers to learn more about the audio production techniques they used and tried to apply them to my own compositions. Another challenge this project presented is writing music to a scene without dialogue or other audio effects. In a real-world scenario composers are usually given a copy of the film in “picture lock” or the final edited down version that includes dialogue and some audio effects. The composer then scores the music to the “picture lock” version of the film. After the music has been recorded and mastered, the tracks are ready to be mixed with the dialogue and other audio effects. The final product of this process is one audio file that includes the music, dialogue and sound effects all together. Without access to the studios original audio files, which are almost impossible to acquire, there is no way to mute the music while keeping the dialogue and audio effects. Because of this, I was more careful in my writing and provided ample space with light orchestration when scoring under dialogue. IT Movie Trailer: The IT movie trailer was the most difficult movement to write because of the amount of editing involved. Movie trailers often cut to different scenes or camera shots frequently and sometimes in high action sequences they can change several times in just a few seconds. The original trailer music used by Warner Brothers divided the trailer into several distinct sections with different music for each. I approached the trailer in a similar fashion and cut the trailer into three sections. The main theme for the movement is based in D minor and is played by a celesta. Since the antagonist in the film is a clown and most of the story is based around children, I wanted the theme to sound like a “wind-up” music box. Music boxes make me think of innocence and memories of my childhood; the feelings from the music box mixed with the dark, ominous undertones from synthesizers layered together create a perfect setting for King’s classic novel. Rick and Morty Opening Theme: This cartoon is about a brilliant, alcoholic scientist named Rick and his less talented nephew, Morty, as they have adventures together through space, time, and other dimensions. To compliment the show’s themes of science and technology, I chose to use synthesizers for all of the instrumentation and sound effects in this movement to create a more electronic timbre. I admire the classic sci-fi soundtracks like Star Wars and 2001: A Space Odyssey and have noticed that they have a similar harmonic language. Most of the harmonic movement is based around thirds, which can create “other-worldly” sounds and feelings of unpredictability. I used similar harmonic motion in my movement. The main theme is in A minor, but throughout the piece I also use colors from A melodic minor. The piece starts in A minor which then moves to the tritone Eb, then to the mediant C#, and the submediants of A melodic minor, F and F#. The melody mostly outlines the harmonic movement while providing some tonal tension with suspensions on downbeats, and rhythmic tension with syncopation against the driving, repetitive percussion. Coca-Cola Commercial: In this movement I used the actor’s actions in the commercial to create my own story and lyrics for a short pop song; a typical teenage love story on a beach fueled with Coca-Cola. In my free time I listen to pop music and am particularly drawn to Motown and soul music. I used those artists as inspiration for this movement. I started this movement by writing the chorus or the “hook” first and building the verses around that. Creating a catchy chorus is difficult, but I’ve found that a melody that’s easy to sing, a rhythm that feels good to dance to, and lyrics that are easy to remember are great rules to follow. The tune is straightforward and mostly follows I – IV for the verse and on the chorus the harmony descends by whole steps and half steps from vi - V7/V ending with a IV - V - I in F. Lord of the Rings – Return of the King: Being a Lord of the Rings fanatic, I wanted to honor this movement closer to Howard Shore’s original score in terms of orchestration, timbre, and themes. Shore uses a full orchestra with a mixture of tonal and modal themes to act as leitmotivs for LOTR. In this scene the enemy army has the city surrounded and hopelessly outnumbered, but the warriors of Rohan are about to save the day. I use the strings to create tension and uneasiness in the opening as Gandalf is about to be struck down. Strings start to play the Rohan theme slowly as the Nazgul turns his head when he hears the war horns. At this point the piece still has dark undertones as the audience only sees camera shots of the enemies and warriors in shadow on the horizon. Horns then join Rohan’s theme giving the piece a warmer timbre as the camera changes shots to show the allied Rohan flag and army. The music comes to a standstill with horns in unison when the camera focuses on the Rohan King looking over the battlefield. War drums begin pounding as the camera cuts to the enemy surrounding the city and powerful brass in perfect fourths adds to the drama as the camera shifts to the worried faces of the protagonists. Brass and percussion continue to build the tension to a climax when the trumpets stack dissonant intervals against a low A pedal. The Rohan King rides away to shout battle orders and the percussion takes center stage again with added snare drum. Strings add a rhythmic motif over the percussion and the brass enters with a strong, triumphant D major chord as the camera pans out over the allied Rohan army. The repetitive percussion and strings provide momentum and unease as the final battle orders are given and enemy spears are lowered. Now orchestrated out for the brass, Rohan’s theme thunders over the percussion and strings as the Rohan King rides gallantly down the line inspiring his soldiers before the charge. Although I have used MIDI instruments in my recording ideally the piece would be performed with real musicians. No Man’s Sky: No Man’s Sky is a video game that was released in 2016 for PS4, Xbox 1, and PC. The game is different from others in the sci-fi genre because most of the gameplay focuses on exploration instead of the shooting found in more violent sci-fi games. The game uses an algorhythm that randomly generates planets that players can visit and explore. Each planet has drastically different environments with unique ecosystems full of plant and animal life based on the climate and makeup of the planet. Composing for video games is different than other forms of visual media because game developers usually ask for the music to be a mixture of through-composed music and “looped” music. Looping is an audio production technique where an audio file will continuously play itself over, and over again. This technique is used in video games because the music needs to adapt and flow seamlessly based on what the player is doing in the game. In No Man’s Sky each planet would have a bank of different loops of varying sizes; some will have only sound effects and more ambient textures while others will be more musical. Game developers can program the game to randomize the loops in each bank, and set up parameters to ensure no repetitions of the same loop. With this movement I challenged myself to create both a through-composed piece, and a loop for No Man’s Sky. For the opening I looked to classic sci-fi films like Star Wars or 2001: A Space Odyssey specifically in terms of orchestration with strings, brass and percussion as well as their rich harmonic language. Since No Man’s Sky is largely focused on exploration, I wanted the music to be shaped around curiosity, space, and imagination. The main theme is based in C Lydian but the piece doesn’t stay in the same key center for long. As for orchestration, the strings provide a warm texture with open fifths and extend out the seventh chord while the brass provide the melody, counterpoint, and support. The loop itself is minimal and exaggerates space, which I think adds to the feeling of isolation and exploring alone on a planet. I used a mixture of digital, and acoustic instrumentation with several audio effects, synthesizers, and sound effects to create my soundscapes. The loop begins with ambient sci-fi sound effects and provides an open atmosphere for the player to look around for the first time. An acoustic piano loaded with audio effects lays the groundwork for the tonality of the loop and the melody that has an improvisational tone which features perfect fifths and syncopation. Synthesizers then join in under the piano to provide more bass support and additional ambience. Starting in m. 33 the tail end of the piano melody is repeated over and over. With the reverb and the delay from the piano effects, the repetitive piano motif provides an interesting texture for a new melody to shine. Other synthesizers join in to change the overall groove of the loop and provide a more stable rhythmic pulse. In m. 41 synthesizers introduce the new melody and key center of F Lydian. A few bars later another synthesizer provides playful counterpoint over the melody and repeats. This repetition continues for a few cycles until the layers begin to drop out one by one thinning the texture down to the ambient sci-fi sounds from the beginning. The ambient sci-fi sounds clear out the aural palate before starting the loop again in 05:36:00 of the video. Writing Practices in Visual Media has been a challenging, but rewarding experience. It was a project rooted in professional development and to prepare myself for future, real-world scenarios. Since starting on the project I’ve talked with several filmmakers for feedback, criticism, and to find out exactly what a director thinks about when choosing music. I’ve gotten some excellent feedback from them and I was fortunate enough to be asked to write the music for a director in L.A., who’s making new short comedy for the Screen Actor’s Guild in September 2017 called Sunshine. I plan to continue rescoring more scenes from films and other visual media on my own time for personal development and my portfolio.
University of Kansas
2017-12-31
Thesis
en
http://hdl.handle.net/1808/25996
https://kuscholarworks.ku.edu/bitstream/1808/25996/4/25996.pdf
51969c2770658c380048c80273a2f9e4
https://kuscholarworks.ku.edu/bitstream/1808/25996/1/Chart_ku_0099M_15588_DATA_1.pdf
c0958b8b40530b33957e8e33dc53b8ba
https://kuscholarworks.ku.edu/bitstream/1808/25996/2/Chart_ku_0099M_15588_DATA_1.pdf.txt
67f757085feb91fd8d39316ddce7e7ef
Copyright held by the author.
Musical composition
Composition
Film
Film Music
Movie
Movie Score
Music
oai:kuscholarworks.ku.edu:1808/216032018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Teacher Time Use in an Elementary General Music Classroom
Martin, Tenessa G.
Hedden, Debra
The workload of a teacher is often demanding, and according to a variety of studies, often causes teachers high levels of stress and early burnout. To better understand the composition of that workload, a descriptive case study was undertaken to investigate specific time use. Therefore, the purpose of this study was to learn how an elementary music teacher spent her time during the workday in teaching and non-teaching activities. The participant, purposefully selected on her schedule variety and willingness to participate, taught music in an elementary school in a Midwest suburban school district. Her teaching load included kindergarten through sixth grade (roughly ages 5-12) and seven blocks of class times per day with each grade being represented for forty-five minutes each, demonstrating a typical teaching assignment. The study was conducted using a three-pronged approach and focused on one music teacher in one elementary school. The data were collected from a self-reported time diary, direct observations, and an interview. Data were analyzed for the participant’s time diary and the observer’s diary for: (a) instructional time and non-instructional time and (b) particular activities related to each category; and for the interview, for narrative explanations of time usage. Results indicated that the participant was required to be present at work for seven hours and fifteen minutes each day. Of that time, the participant was required to teach class for five hours and fifteen minutes. Over the four-day investigation period, which included a self-reported time diary and direct observations from the researcher, the participant exceeded her requirement by a total of seven hours and thirty minutes, essentially working the equivalent of an additional day. Over the four-day investigation period, the results indicate the participant spent 1,270 minutes or 57.99% on instructional activities which centered on singing and playing instruments; and 905 minutes or 41.32% on non-instructional activities, particularly on set-up/cleanup time and personal business. The results also showed the participant was consistent in her time usage. From the interview, data demonstrated that time was a challenge and inadequate to complete necessary tasks. The findings in this study suggest that adequate preparation time is important to actual classroom teaching.
University of Kansas
2015-12-31
Thesis
en
http://hdl.handle.net/1808/21603
https://kuscholarworks.ku.edu/bitstream/1808/21603/2/Martin_ku_0099M_14286_DATA_1.pdf.txt
e7d0789251e3805914449716600e6cb9
https://kuscholarworks.ku.edu/bitstream/1808/21603/4/21603.pdf
dc62bd730f6c290502a027505fb591a0
https://kuscholarworks.ku.edu/bitstream/1808/21603/1/Martin_ku_0099M_14286_DATA_1.pdf
64c06fdaed7723b12ce1493ae302c9b0
Copyright held by the author.
Music education
Teacher education
General Music
Organization
Planning
Teacher Workload
Time Use
oai:kuscholarworks.ku.edu:1808/265842018-06-27T08:01:42Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Midwestern Music Camp 1936-1962
Moss, Marion Thomas
University of Kansas
1992
Thesis
http://hdl.handle.net/1808/26584
https://kuscholarworks.ku.edu/bitstream/1808/26584/1/moss_1992_1494258.pdf
4c2595f797a7e4029caee8383dbfa810
https://kuscholarworks.ku.edu/bitstream/1808/26584/2/1494258.pdf
85079c79d5dbe826200c9518feb082e5
https://kuscholarworks.ku.edu/bitstream/1808/26584/3/moss_1992_1494258.pdf.txt
4688b74eaad2977165cb4f83c83f8612
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
oai:kuscholarworks.ku.edu:1808/55912020-07-27T15:16:28Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Relationships among high school choir teachers' self described teaching practices and sight-singing scores from a district/all-state audition event
White, Adam Griffith
Daugherty, James F.
The purpose of this study was to assess possible relationships among (a) sight-singing scores of secondary choral music students (N=396) from the Northeast region of a Midwestern state at a district/all-state audition event and (b) self-reported sight-singing instructional methods employed by their teachers (N=44), both across the school year and in period of time prior to the district/all-state audition. Teacher participants completed a survey regarding the following: (a) teacher demographic data, (b) school demographic data, and (c) teaching practice. Survey data were compared to sight-singing scores using a Pearson Correlation. Weak positive relationships were discovered between student scores and (a) teacher understanding of the audition process (r= .33) and (b) daily sight-singing instruction (r= .29). No significant relationships were found among student sight-singing scores and reported sight-singing instructional methods. Results were discussed in terms of positive and negative correlations, limitations of the study, and suggestions for further research.
University of Kansas
2009-07-13
Thesis
EN
http://hdl.handle.net/1808/5591
https://kuscholarworks.ku.edu/bitstream/1808/5591/1/White_ku_0099M_10475_DATA_1.pdf
7e2a09bbdb05ab9c62a51190131e00ff
https://kuscholarworks.ku.edu/bitstream/1808/5591/2/White_ku_0099M_10475_DATA_1.pdf.txt
4b79a5553e3974340130c989cb0dd8e3
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Music
Audition
Kansas
Sight singing
oai:kuscholarworks.ku.edu:1808/216092018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
NOISE AND VOCAL DOSES ACQUIRED BY AN ELEMENTARY SCHOOL MUSIC TEACHER ACROSS NINE DAYS: A DESCRIPTIVE CASE STUDY
Berroth, Jennifer L.
Daugherty, James F
The purpose of this descriptive case study was to assess the status of vocal (KayPentax APM) and noise (Etymotic ER200D dosimeter) dosages acquired by an elementary school music teacher (N=1) during waking hours across (a) a full teaching week (5 days) and (b) 2 weekends (4 days), one prior to and one and after the teaching week. Various studies to date have examined vocal dosages acquired by music teachers. Other studies have analyzed noise dosages acquired by music teachers. No study, however, has yet examined vocal and noise dosages acquired simultaneously by the same music teacher. Primary findings indicated: (a) mean vocal distance doses and noise doses acquired during teaching hours exceeded doses acquired during non-teaching hours; (b) the most elevated Dd and noise dosage levels occurred during choir rehearsals and sixth grade general music classes; (c) the participant exceeded recommended NIOSH noise doses on 4 of the 5 teaching days. (d) comparison of noise dose percentage and vocal dose percentage during teaching hours indicated, overall, that voice dose percentage appeared to align directionally with noise dose percentage; (e) however, there were some class periods where vocal dose percentage exceeded noise dose percentage. These results were discussed in terms of proactive voice and hearing care for elementary school music teachers, possible relationships between acquired vocal and noise doses, limitations of the study, and suggestions for future research.
University of Kansas
2016-05-31
Thesis
en
http://hdl.handle.net/1808/21609
https://kuscholarworks.ku.edu/bitstream/1808/21609/1/Berroth_ku_0099M_14691_DATA_1.pdf
c8d3151d09c9730bbb1f0b513269be0b
https://kuscholarworks.ku.edu/bitstream/1808/21609/2/Berroth_ku_0099M_14691_DATA_1.pdf.txt
5068f2c64245239eb178fd9a4e4417d5
https://kuscholarworks.ku.edu/bitstream/1808/21609/4/21609.pdf
5a4992b10b237b1ae078eb848ba4c3c9
Copyright held by the author.
Health education
Teacher education
Music education
descriptive case study
elementary music teachers
hearing care
noise dose
vocal dose
voice care
oai:kuscholarworks.ku.edu:1808/219412018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of Music Therapy on Joint Attention Skills in Children with Autism Spectrum Disorder
Davis, Megan
Colwell, Cynthia
ABSTRACT The purpose of this study was to explore further whether children with Autism Spectrum Disorder displayed more joint attention behaviors—interacting and requesting joint attention—during music therapy, cooperative play, or independent play conditions. Joint attention is defined as the shifting of attention between an object or event and an individual. The effects of different types of music therapy interventions on these joint attention behaviors were also examined. Participants (n = 4) engaged in 3 session types: 1) cooperative music therapy, 2) cooperative play, and 3) independent play. Using a 15-second observe, 5-second record time sampling method, intervals were coded for the presence or absence of interacting and requesting behaviors. Data were graphed and a visual analysis of the data revealed that a higher percentage of interacting behaviors occurred during music conditions than both cooperative and independent play conditions across participants. Data for requesting behaviors was inconsistent across participants, and therefore the results were inconclusive. Graphic analysis of the effects of music therapy intervention types on joint attention behaviors revealed that when the participant and researcher played the same instrument more interactions occurred, whereas when the researcher and participant played different instruments more requesting behaviors occurred.
University of Kansas
2016-08-31
Thesis
en
http://hdl.handle.net/1808/21941
https://kuscholarworks.ku.edu/bitstream/1808/21941/2/Davis_ku_0099M_14825_DATA_1.pdf.txt
0e0cdfacba253d877bf1013e7d9d0609
https://kuscholarworks.ku.edu/bitstream/1808/21941/1/Davis_ku_0099M_14825_DATA_1.pdf
495295893177ed018d15ec3304da1097
Copyright held by the author.
Music
Psychology
Autism Spectrum Disorder
Behavioral
Joint Attention
Music Therapy
oai:kuscholarworks.ku.edu:1808/219312018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The influence of music-assisted coping strategies on dyspnea, anxiety, and self-efficacy for patients in home care occupational therapy: A feasibility study
Skarbakka, Lisa
Register, Dena
Abstract Review of Literature: Current dyspnea research shows a need for more investigation of non-pharmacologic interventions that promote self-efficacy, address multiple dimensions of dyspnea, and help disrupt dyspnea-anxiety cycles. Clinical studies and emerging information on the neurophysiological effects of music show evidence and potential mechanisms for music to enhance dyspnea self-management strategies. Methods: The researchers recruited participants receiving home care occupational therapy for dyspnea management. Participants received an audio compact disc with verbal cues for guided relaxation and breathing techniques, with or without supportive music based on random assignment. Participants were asked to complete Modified Borg Dyspnea Scales for dyspnea intensity and unpleasantness (MBDS-I and MBDS-U) and a Subjective Units of Distress Scale (SUDS) before and after each practice period, as well as a Self-Efficacy for Managing Chronic Disease 6-Item Scale (SECD6) at the beginning and end of the treatment period. Results: Three participants initiated the study, and data was collected for one participant with COPD (n=1). The pre-treatment SECD6 reflected moderate self-efficacy, and a post-treatment SECD6 was not collected. The MBDS-I, MBDS-U, and SUDS showed consistent decreases between pre- and post-intervention (mean decrease of 1.4 points in dyspnea intensity, 1.9 points in dyspnea unpleasantness, and 3 points in subjective distress). Discussion: Though the data showed decreases in dyspnea and anxiety, the sample size was too small to interpret the results. The study revealed potential improvements for future research. Keywords: dyspnea, occupational therapy, coping strategies, self-management, music intervention, breathing, relaxation
University of Kansas
2016-05-31
Thesis
en
http://hdl.handle.net/1808/21931
https://kuscholarworks.ku.edu/bitstream/1808/21931/1/Skarbakka_ku_0099M_14439_DATA_1.pdf
bb6b8bf45ac5133b1244201d1fcb79cc
https://kuscholarworks.ku.edu/bitstream/1808/21931/2/Skarbakka_ku_0099M_14439_DATA_1.pdf.txt
3d5264f746018c3b81774653771f9d0c
Copyright held by the author.
Health sciences
Music
Occupational therapy
coping strategies
dyspnea
music intervention
occupational therapy
relaxation
self-management
oai:kuscholarworks.ku.edu:1808/130092020-10-19T14:24:36Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Current Status of Incorporating Composition into Music Education Classrooms in Kansas
Antonetti, Jennifer Joyce
Johnson, Christopher M
Bergee, Martin J
Incorporating the National Standards for Music Education includes a component of composing, specifically Standard 4. The purpose of this study was to examine the frequency and/or infrequency of incorporating the composing standard into music classrooms, specifically in those classrooms that include large ensembles such as band, orchestra, and choir, as well as general music and to determine the reasons for which a music educator would or would not include composing into his or her own classroom. Subjects included music educators (N = 173) from various public school districts in Kansas representing various sub-disciplines of music education including band and orchestra. Results indicated that 80.2% of music teachers in Kansas include composition in their music classrooms at least one time per year. However, 19.8% of music educators report that they never use music composition in their music classrooms. Leading reasons for not including composition in the music classrooms included lack of time and lack of resources.
University of Kansas
2013-12-31
Thesis
en
http://hdl.handle.net/1808/13009
https://kuscholarworks.ku.edu/bitstream/1808/13009/2/Antonetti_ku_0099M_13041_DATA_1.pdf.txt
a51391313ff1e1f657536c06c61aa381
https://kuscholarworks.ku.edu/bitstream/1808/13009/1/Antonetti_ku_0099M_13041_DATA_1.pdf
a17090fbc0475fe9d24cbe47bdc8e8b7
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Music
Fine arts
Composition
Education
Kansas
oai:kuscholarworks.ku.edu:1808/301922021-03-05T16:54:48Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Music and War: Imperial Propaganda and German Patriotism in Wartime Secular Vocal Works of Mozart, Beethoven, and Weber
Johanning, Wolfgang Franz Wilhelm
Nedbal, Martin
Music has always been influenced by politics. Political ideas become especially prominent in musical compositions during periods of turmoil, particularly in times of war. Around 1800, Central Europe suffered from extensive warfare, most importantly the Austro-Turkish War (1788–91) and the prolonged wars between Austria and revolutionary and imperial France (1792–1815), and these conflicts also produced large amounts of political music. These wars are sometimes viewed as the incentive for the emergence of modern political music and important political ideologies, especially nationalism. Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Carl Maria von Weber created secular vocal works that reflect political events and ideologies of the time. The first chapter investigates how the Austrian Emperor Joseph II is depicted in Mozart’s vocal works “Ich möchte wohl der Kaiser sein” (“I would like to be the Emperor”), K. 539, and “Lied beim Auszug in das Feld” (“Song at the Departure for the Field”), K. 552. The second chapter analyzes Beethoven’s cantata Der glorreiche Augenblick (“The glorious Moment”), written for the Congress of Vienna in 1814, that incorporates ideas regarding the concept of unity, the figure of Emperor Francis, and God. The third chapter explores how Carl Maria von Weber’s cantata Kampf und Sieg (“Battle and Victory”) differs from Mozart’s and Beethoven’s works by incorporating pro-German elements. The fourth chapter shows how the pro-German patriotism in Weber’s work was perceived after its premiere and in the time before the unification of Germany in 1871.
University of Kansas
2019-12-31
Thesis
en
http://hdl.handle.net/1808/30192
https://kuscholarworks.ku.edu/bitstream/1808/30192/2/Johanning_ku_0099M_16915_DATA_1.pdf.txt
39119ffb0b9030a58265aaa28dc8d9ce
https://kuscholarworks.ku.edu/bitstream/1808/30192/1/Johanning_ku_0099M_16915_DATA_1.pdf
d2671d53198a9c4be7d89fa43d92f9a4
Copyright held by the author.
Music history
Beethoven
Kampf und Sieg
Mozart
Music
Wartime
Weber
oai:kuscholarworks.ku.edu:1808/241502018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Traditional Learning, Cooperative Learning, and Recorder
Stewart, Lindsey Michelle
Hedden, Debra
Abstract The purpose of this study was to determine whether cooperative learning strategies or traditional direct instruction would more positively affect the performance achievement of fourth- and fifth-grade recorder students. It was hypothesized that students participating in cooperative learning activities might perform differently in the areas of pitch accuracy, rhythm accuracy, and tone production than students who participated in traditional instruction. Many studies have indicated that cooperative learning positively affects achievement in the general education classroom because it addresses factors that impact student learning such as motivation, participation, practice, and self-efficacy. Because achievement in music, like achievement in the general classroom, was affected by these factors, it was possible that cooperative learning combined with direct instruction might suggest different results in the area of recorder performance than direct instruction alone. This study was initiated in a public school in Kansas and included 61 students (N=61). There were two fourth-grade classes and two fifth-grade classes, with one class in each grade randomly assigned to the control (n=30 ) or experimental group (n= 31). Students met for six class periods of 45 minutes each over a three-week period of time. The control group participated in direct instruction followed by Kagan Cooperative Learning activities, and the experimental group participated in direct instruction followed by teacher-led, whole group practice. Identical written and performance pre- and post-tests were administered to individuals before and after the study was conducted. An analysis of co-variance determined statistical differences between control and experimental groups in the areas of overall score, pitch accuracy, and tone production, but not in the area of rhythmic accuracy.
University of Kansas
2016-12-31
Thesis
en
http://hdl.handle.net/1808/24150
https://kuscholarworks.ku.edu/bitstream/1808/24150/1/Stewart_ku_0099M_15001_DATA_1.pdf
32748adbeb43e51bafaf7c8d40d31849
https://kuscholarworks.ku.edu/bitstream/1808/24150/2/Stewart_ku_0099M_15001_DATA_1.pdf.txt
e13fb43bdd8dce43d4bedbc6bf37d85f
Copyright held by the author.
Music education
cooperative
elementary
Kagan
recorder
oai:kuscholarworks.ku.edu:1808/53592020-07-23T15:24:53Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of Conductor Head and Shoulder Movement and Preparatory Gesture Direction on Upper Body Movement of Individual Singers
Manternach, Jeremy Norbert
Daugherty, James F.
This study examined participants" head and shoulder movements during 2 breath inhalation moments as they sang a familiar melody while viewing a videotaped conductor under 5 conductor preparatory gesture conditions. Results indicated apparent differences in participant head and shoulder movement with varied preparatory gestures. Specifically, participant head movement significantly increased with conductor upward head movement and participant shoulder movement significantly increased with conductor upward shoulder movement. Participant shoulder movement also increased during a downward moving gesture as compared to an upward moving gesture. In addition, less experienced participants appeared to move their heads less, but their shoulders more than experienced participants across all gesture conditions. Finally, participant head and shoulder measurements also differed between the initial breath and the internal breath taken in the melody. These results were discussed in terms of conductor gestural behaviors in choral rehearsals, limitations of the study, and suggestions for further research.
University of Kansas
2009-06-02
Thesis
EN
http://hdl.handle.net/1808/5359
https://kuscholarworks.ku.edu/bitstream/1808/5359/1/Manternach_ku_0099M_10244_DATA_1.pdf
76568397bbbfcdfbb4656013da7bc1ef
https://kuscholarworks.ku.edu/bitstream/1808/5359/2/Manternach_ku_0099M_10244_DATA_1.pdf.txt
ed68ac5927dea0ad3a1aeca5af3a5560
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Music
Education
Teacher training
Choir
Choral
Conducting
Directing
Gesture
Pedagogy
oai:kuscholarworks.ku.edu:1808/80292020-06-25T19:52:13Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A Historical Overview and Analysis of the Use of Hungarian Folk Music in Zoltán Kodály's Háry János Suite, Dances of Marosszék, and Dances of Galánta
Ong, Corinne Kay
Laird, Paul
At the beginning of the twentieth century, many composers looked towards the music of their own heritage as source material for their original compositions. In Hungary, one composer who dedicated a significant portion of his life to the research, study, and transcription of folk music is Zoltán Kodály. Three of his orchestral works dating from 1926 to 1933 make imaginative use of various Hungarian folk melodies within orchestral textures that also include the traditional idioms of concert music. These three works are the Háry János Suite, Dances of Marosszék, and Dances of Galánta. These three pieces are closely examined for their adherence to the customs of Hungarian folk music, influence of Western practices within the work, and how Kodály combines the two elements to form original ideas. A brief history of Hungary is also included, as is the evolution of the Hungarian folk music style. Important folk instruments, and noteworthy cultural influences, particularly the traditions of the Roma culture, that directly impact the genre are also examined.
University of Kansas
2011-06-13
Thesis
en
http://hdl.handle.net/1808/8029
https://kuscholarworks.ku.edu/bitstream/1808/8029/1/Ong_ku_0099M_11633_DATA_1.pdf
30d4fd5cc9ab0d3a5afc2cd0829b1891
https://kuscholarworks.ku.edu/bitstream/1808/8029/2/Ong_ku_0099M_11633_DATA_1.pdf.txt
386a76e718ff47fa3a272dee92d24dcc
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Galanta
Janos, Hary
Hungary
Kodaly
Marosszek
oai:kuscholarworks.ku.edu:1808/219462018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of Providing Band Students with a Simplified Score on their Performance Quality and Perceptions of their Experience
Hutchison, Steven Joel
Johnson, Christopher M
The purpose of this study was to evaluate the effect of providing band students with a simplified score on their performance quality and perceptions of their experience. Subjects were students (N = 38) enrolled in two intact high school band ensembles at two different K-12 parochial schools in the Midwest. Subjects learned and performed two pieces of band literature; one with traditional single-line parts and one with an experimental simplified score. Pretest and posttest recordings were made of band performances with each score type and then rated by professional music educators (N = 33). In addition, students filled out a reflective survey about their experience learning and performing the piece with each score type. Rehearsals were also video recorded to observe student and instructor behaviors in relation to the score type used. Results of video analysis and coding did reveal a few significant differences; however, these could possibly be attributed to instructor individuality. Survey results indicated there was no effect of score type on the positivity of a student’s perception of the learning experience. However, results did show students liked the new simplified score. The results of the simplified score’s effect on performance quality varied between schools and no significant effect of score type was found. However, further analysis suggested there may be more learning potential with the simplified score.
University of Kansas
2016-08-31
Thesis
en
http://hdl.handle.net/1808/21946
https://kuscholarworks.ku.edu/bitstream/1808/21946/1/Hutchison_ku_0099M_14822_DATA_1.pdf
5321c2e12a65fb66c0321cd983551768
https://kuscholarworks.ku.edu/bitstream/1808/21946/2/Hutchison_ku_0099M_14822_DATA_1.pdf.txt
7f7508cf687f32171946b227549c316b
Copyright held by the author.
Music education
Music
Band
Constructivism
Gestalt
Instrumental
Parts
Score
oai:kuscholarworks.ku.edu:1808/107622020-09-24T14:17:43Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Scenes From Gabrilim
Boswell, Ian
Haaheim, Kip
Scenes from Gabrilim is an orchestral tone poem inspired by my friend Emily Cohen's novel, working title Gabrilim. The story is set in a fantasy world with strong ancient-Hebraic influences. It follows the courses of several main characters as they grow, interact, experience different cultures and ultimately reform their society. In Scenes from Gabrilim, I have associated certain melodies, chord progressions, and leitmotifs with characters, places, and events in the story. In Cohen's novel, Gabrilim's culture is made-up, but inspired by ancient Hebrew society. I have reflected this in the music by absorbing the musical style of Jewish cantoring and ancient Hebrew chant and then making up my own melodies inspired by that style. Each of the main characters has a recurring theme that draws from this ancient musical heritage while also reflecting the character's personality and the fantasy aspect of the novel.
University of Kansas
2012-12-31
Thesis
en
http://hdl.handle.net/1808/10762
https://kuscholarworks.ku.edu/bitstream/1808/10762/1/Boswell_ku_0099M_12551_DATA_1.pdf
868e414900c22d8f3094d64814a795fc
https://kuscholarworks.ku.edu/bitstream/1808/10762/2/Boswell_ku_0099M_12551_DATA_1.pdf.txt
e5eddb03d466230d4a12b3b94a5b7373
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Boswell
Cohen
Gabrilim
Program music
Symphonic poem
oai:kuscholarworks.ku.edu:1808/197362017-12-08T21:34:35Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
Modern Music
Preyer, Mary
University of Kansas
1920
Thesis
http://hdl.handle.net/1808/19736
https://kuscholarworks.ku.edu/bitstream/1808/19736/3/preyer_1920_3424505.pdf.txt
2a21c87baa55b22cfa3586e1e973a186
https://kuscholarworks.ku.edu/bitstream/1808/19736/1/preyer_1920_3424505.pdf
f69ef507242869d81daad5e5f0cc4ed6
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
oai:kuscholarworks.ku.edu:1808/98502018-01-31T20:08:10Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Relationship Between Rehearsal Structure and Contest Ratings for High School Bands
Love, Justin Willis
Johnson, Christopher M
The purpose of this study was to determine if the rating received by the band at a state music contest can be predicted by examining the amount of rehearsal time high school band directors allocate to various rehearsal components. Secondly, the study sought to determine if the inclusion of specific warm-up activities can predict a band's contest rating. Lastly, the level of importance band directors place upon certain warm-up activities was compared to the frequency with which they include those warm-ups in regular rehearsals. For this study 47 high school band directors in Kansas completed the Rehearsal Structure Questionnaire (RSQ) via an internet based survey program. Survey responses were compared to the respondents' 2011 Kansas State High School Activities Association State Large Group Music Festival ratings. Stepwise multiple regression analysis identified three models that contributed to the variance in contest ratings. Years of experience and the inclusion of breathing exercises predicted higher contest ratings, while the number of courses taught and amount of time spent on non-musical tasks predicted lower contest ratings. Demographic attributes of the participant sample do not match the general population of band directors in Kansas. This combined with the relatively low sample size makes results difficult to generalize to all high school band settings. The findings, however, do show that rehearsal structure and choice of rehearsal activities do play a small role in ratings at music festivals. Further investigation into the effectiveness of rehearsal structure and various warm-up activities is warranted.
University of Kansas
2012-05-31
Thesis
en
http://hdl.handle.net/1808/9850
https://kuscholarworks.ku.edu/bitstream/1808/9850/2/Love_ku_0099M_12003_DATA_1.pdf.txt
e7d85cc0acc7f86976b349750de0807a
https://kuscholarworks.ku.edu/bitstream/1808/9850/1/Love_ku_0099M_12003_DATA_1.pdf
045da00954fca6f5103a4c6a99bdf0a9
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Performing arts education
Music
Band
Contest
High school
Ratings
oai:kuscholarworks.ku.edu:1808/275822020-10-12T14:25:35Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
An Investigation into Environmental Sound Levels and Vocal Behaviors of Female Secondary School Choir Teachers: A Collective Case Study
Teters, Caitlin
Grady, Melissa
The purpose of this study was to investigate voice use and vocal behaviors of female middle and high school choral music teachers (N = 3) across three standard school days by measurement of duration of specific vocal activities, average classroom sound levels during specified activities, and self-perceived voice use and classroom sound level for the full day containing middle school choirs, beginning/intermediate high school choirs, and advanced high school choirs. Among primary findings: (a) female secondary choral teachers spent the majority of voice use in the classroom speaking alone, speaking while students are speaking, and singing while students sing with piano accompaniment; (b) female secondary choral teachers spoke more while students were speaking during advanced high school choir rehearsals than middle school or beginning/intermediate high school choirs; (c) female secondary choral teachers sang while students were singing and the piano was playing more often when teaching middle school choir than high school choirs; (d) the highest classroom sound level occurred when teachers were singing along with students singing with piano accompaniment; (e) the use of the piano in the secondary choral classroom was largely responsible for high sound levels; (f) female secondary choral teachers underestimated amount of time spent speaking alone; and (g) female secondary choral teachers overestimated total voice use during instructional time. Results are discussed in the context of previous research, implications for present and future music educators, and recommendations for future research.
University of Kansas
2018-05-31
Thesis
en
http://hdl.handle.net/1808/27582
https://kuscholarworks.ku.edu/bitstream/1808/27582/2/Teters_ku_0099M_16034_DATA_1.pdf.txt
d4b29599abe1cfd3fa0c9149c433730a
https://kuscholarworks.ku.edu/bitstream/1808/27582/1/Teters_ku_0099M_16034_DATA_1.pdf
6df327b6ec9e859c439a2c6f39385d43
Copyright held by the author.
Music education
Teacher education
Music
female music teacher
music teacher voice
Teacher voice
vocal behaviors
vocal health
voice use
oai:kuscholarworks.ku.edu:1808/194392018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Impact of Violin Playing Techniques Specifically Designed to Simulate the Human Voice on Anxiety Reduction of College Students
Chan, Tsz Hei Fatima
Colwell, Cynthia M
The purpose of this study was to determine the impact of the violin played with techniques specifically designed to simulate the human voice on anxiety reduction of college students prior to stressful events. This study attempted to answer the following questions: (a) Does listening to violin music that simulates the human singing voice decrease anxiety levels in healthy individuals? (b) Does violin music that simulates a singer’s breath have a different effect on individuals’ self-reported anxiety levels than violin music that does not simulate a singer’s breath? Forty healthy undergraduate and graduate students participated in the study. Participants were assigned to the experimental or control group; assignments were predetermined based on the research schedules yet remained unknown to the participants. A one-way repeated-measures Analysis of Variance (ANOVA) was computed to analyze the between-participants factor (i.e., experimental and control conditions) and the within-participants factor (i.e., time of measurement). Results indicated a statistically significant main effect for Time, while the main effect for ‘Group’ and the interaction effect were not statistically significant. Although this research study was limited by small sample size, personal coping skills, and past experience associates with the violin timbre, the ability of violin music to effectively reduce anxiety is undeniable regardless of whether or not it simulated the human singing voice. The better we understand the therapeutic potential and benefits of this fascinating instrument, the more convincing it will be for music therapists to use the violin clinically. Therefore, future studies in this topic area are encouraged.
University of Kansas
2015-05-31
Thesis
en
http://hdl.handle.net/1808/19439
https://kuscholarworks.ku.edu/bitstream/1808/19439/3/Chan_ku_0099M_13942_DATA_1.pdf.txt
02b6acb462713b7b617b47e9a2c3b610
https://kuscholarworks.ku.edu/bitstream/1808/19439/1/Chan_ku_0099M_13942_DATA_1.pdf
cde426941f0fce5fcd0c55943d74bab7
Copyright held by the author.
Music
Anxiety
Human Voice
Music Therapy
Playing Techniques
Therapeutic Function
Violin
oai:kuscholarworks.ku.edu:1808/194902018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of a Transition Song on the Length of Transitions Among Children with Autism Spectrum Disorder
Graber Juhnke, Alyssa
Colwell, Cynthia
The purpose of this study was to determine the effect of a transition song on the length of transitions of children with Autism Spectrum Disorder (ASD), specifically for transitions of a longer distance from one part of a building to another. Transitions are commonly identified as a problem for children with ASD. Participants in this study (N = 3) were recruited from an educational center for children with special needs in a large Midwestern city, and ranged in age from 4 to 8 years old at the time of the study. A single subject reversal (ABAB) design was used, with the researcher meeting each child individually during a daily transition. During the baseline phases, the researcher measured the length of the transition without the transition song. During the intervention phases, the researcher timed the transition while singing the transition song. Graphic analysis was used to analyze the data. For all three participants, the transition song resulted in a shorter average transition time than when the transition song was not used. Limitations and implications for further research are discussed.
University of Kansas
2015-05-31
Thesis
en
http://hdl.handle.net/1808/19490
https://kuscholarworks.ku.edu/bitstream/1808/19490/1/GraberJuhnke_ku_0099M_13878_DATA_1.pdf
fa7ccce393a8d76f12f2a320c06829cc
https://kuscholarworks.ku.edu/bitstream/1808/19490/3/GraberJuhnke_ku_0099M_13878_DATA_1.pdf.txt
bfaa2611f651d1a6358ed77f01ff3fbd
Copyright held by the author.
Special education
Music
Early childhood education
Autism Spectrum Disorder
Music Therapy
Special Education
Transitions
Transition Songs
Transition Strategies
oai:kuscholarworks.ku.edu:1808/184092018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A Comparison of Three Music Therapy Introduction Dialogues on Acceptance of Music Therapy Services by Cancer Patients
Barck, Leanne Kathleen
Colwell, Cynthia M.
ABSTRACT The purpose of this study was to compare the effectiveness of 3 different music therapy introduction dialogues with cancer patients. Relationships between patient-reported anxiety levels, sex, and age and the acceptance rate of music therapy services were also examined. Patients (n = 59) were offered music therapy using 1 of 3 introduction dialogues, asked to complete an anxiety Visual Analogue Scale (VAS), and provided with music therapy services if accepted. Results showed that introduction dialogue #2 (benefits of music therapy explained, including research) had the greatest effectiveness. Moderate anxiety levels, males, and individuals 61+ years of age also showed greater acceptance rates. A breakdown of different variables influencing patient response, limitations of the study, and future recommendations are also discussed.
University of Kansas
2014-12-31
Thesis
en
http://hdl.handle.net/1808/18409
https://kuscholarworks.ku.edu/bitstream/1808/18409/1/Barck_ku_0099M_13757_DATA_1.pdf
55b16d72fcc3c42a52a9fc6a7d16ed51
https://kuscholarworks.ku.edu/bitstream/1808/18409/2/Barck_ku_0099M_13757_DATA_1.pdf.txt
a759f8c52b50ab05e6da02afcd3f7c83
Copyright held by the author.
Music
Cancer
Introductions
Music Therapist
Music Therapy
Oncology
Patients
oai:kuscholarworks.ku.edu:1808/293572019-06-22T08:00:45Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A constructivist approach to elementary school music learning experiences with reference to the ideas of John Dewey
Cohen, Mary L.
Daugherty, James
The term "constructivism" has become increasingly prominent in the field of education. The purpose of this· investigation was to examine some fundamental concepts associated with constructivism in order to determine how constructivist pedagogy might inform the theory and practice of elementary school music education, with particular focus on the ideas of John Dewey . . To that end, this investigation first explored a brief history of the concepts associated with constructivism. Thereafter, it considered distinct branches of constructivism as well as current applications in contemporary education, including descriptions of four studies that linked music in some manner to constructivism. This study then examined John Dewey's concept of"art as experience" as a theoretical perspective by which music educators might employ a constructivist approach in the elementary music classroom. The author suggested how Dewey's perspective might inform specific learning experiences in elementary music education, and discussed current approaches to music education in a constructivist framework in terms of some specific benefits and challenges. This analysis concluded that Dewey's concept of experience could both nurture and criticize contemporary constructivist thought as it may relate to music education. Specifically, the author suggested that certain premises of music education as aesthetic education, particularly to the extent that they are centered in a philosophy of music per se and tend to negate the interconnectedness of environment and organism, may be fundamentally incompatible with a constructivist pedagogy informed by Dewey's ideas
University of Kansas
2000-08-31
Thesis
http://hdl.handle.net/1808/29357
https://kuscholarworks.ku.edu/bitstream/1808/29357/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
https://kuscholarworks.ku.edu/bitstream/1808/29357/3/cohen_2000_2754290.pdf.txt
deec96e75eb2d120718aa8d96222e6bd
https://kuscholarworks.ku.edu/bitstream/1808/29357/1/cohen_2000_2754290.pdf
a614f919a25532cf99d8e49d0ef68035
©2000 Mary Louise Cohen.
oai:kuscholarworks.ku.edu:1808/259942018-04-17T17:45:17Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
THE EFFECTS OF PRACTICE AND MEMORIZATION TECHNIQUES ON GOAL SPECIFICITY AMONG NOVICE STRING STUDENTS
Rigby, Lauren
Dakon, Jacob M
The purpose of this problem-driven content analysis was to examine differences between self-reported goals of novice high school orchestra students (N = 31) when given directions to either practice or memorize music during a 10-minute rehearsal. Participants were then interviewed about their definition of practice or memorization, what they did during rehearsal, and what they had planned to do during rehearsal. Findings from a Mann-Whitney U indicated no significant difference between median goal specificity among practicers and memorizers; however, results of interview coding revealed that participants who memorized demonstrated distinctly different rehearsal behaviors and goals than those who practiced, indicating unique strengths associated with each instruction. Profiles of what educators can expect to see from memorizers and practicers are included, and other implications for educators regarding deliberate practice are discussed.
University of Kansas
2017-12-31
Thesis
en
http://hdl.handle.net/1808/25994
https://kuscholarworks.ku.edu/bitstream/1808/25994/4/25994.pdf
0de1f99db16022fe4a26b53e4897bb2a
https://kuscholarworks.ku.edu/bitstream/1808/25994/1/Rigby_ku_0099M_15593_DATA_1.pdf
9049710d7bab5a2b1f85a53d3e157ea5
https://kuscholarworks.ku.edu/bitstream/1808/25994/2/Rigby_ku_0099M_15593_DATA_1.pdf.txt
1fb3c1bd78a5928122c03432c8c919f2
Copyright held by the author.
Music education
Deliberate Practice
Goal Specificity
Memorization
Practice
Self-Regulation
oai:kuscholarworks.ku.edu:1808/148822018-01-31T20:08:05Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Exploring Tonal Substitutions in Schubert's Late Sonata Forms
Miller, Brian Andrew
Murphy, Scott
In his sonata-form movements, Schubert's characteristic remote modulations often received negative reactions from contemporary critics; compared to the Beethovenian standard, Schubert's formal designs seemed inefficient, arbitrary, and meandering. While more recent scholarship has shed the negativity of those early appraisals, there remains at times an outwardly imposed sense of mystery surrounding Schubert's music. Among the scholars whose work has contributed to the undoing of that mystification, Richard Cohn has developed a model for triadic harmony based on parsimonious voice leading that accounts for many aspects of nineteenth-century harmonic practice. Here, focusing specifically on Schubert's late works, I expand some of Cohn's techniques to the level of large-scale form, exposing consistent modulatory strategies in Schubert's execution of sonata form that reveal a specific dialogue between Schubert's sonata practice and earlier approaches.
University of Kansas
2014-05-31
Thesis
en
http://hdl.handle.net/1808/14882
https://kuscholarworks.ku.edu/bitstream/1808/14882/1/Miller_ku_0099M_13354_DATA_1.pdf
5c4163901a79a90b524c21690cb5fda3
https://kuscholarworks.ku.edu/bitstream/1808/14882/2/Miller_ku_0099M_13354_DATA_1.pdf.txt
a09cbfa28ab779ff66c9a57153f2f50d
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Schubert, Franz
Sonata form
Tonality
Transformational theory
oai:kuscholarworks.ku.edu:1808/146542017-12-08T21:46:53Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
The Development of the Opera
Anderson, Charlotte
The University of Kansas
1914-01-01
Thesis
http://hdl.handle.net/1808/14654
https://kuscholarworks.ku.edu/bitstream/1808/14654/1/Anderson_The_Development_Of_The_Opera.pdf
adde0438d33470638aeba8a759ac403f
https://kuscholarworks.ku.edu/bitstream/1808/14654/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
https://kuscholarworks.ku.edu/bitstream/1808/14654/3/Anderson_The_Development_Of_The_Opera.pdf.txt
6448c93303dc92b0252c8a9a55f92af0
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
oai:kuscholarworks.ku.edu:1808/253932018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A Phenomenological Examination of Imposter Phenomenon in Music Therapy Students
Sims, Julia Diane
Hanson-Abromeit, Deanna
The current study investigated the prevalence, or lack thereof, of imposter phenomenon in music therapy students. Imposter phenomenon (IP) is an internal experience that describes feelings of fraudulence an individual may encounter, regardless of their achievements. A sample of music therapy students (n = 7) at a large, Midwestern AMTA-approved university were recruited to participate in one-time focus groups. An interpretive phenomenological analysis was performed on the transcripts, resulting in the development of three recurrent themes of discussion regarding IP: (a) uncertainty in transitions, (b) challenges of the music therapy profession, and (c) awareness and impact of IP constructs and patterns. These findings provide insight into the prevalence of IP in this population, and inform professors, supervisors, and other key stakeholders about the needs may of developing music therapy students. In addition, these findings aid in further solidifying and modifying the guiding theoretical framework of this study.
University of Kansas
2017-05-31
Thesis
en
http://hdl.handle.net/1808/25393
https://kuscholarworks.ku.edu/bitstream/1808/25393/1/Sims_ku_0099M_15343_DATA_1.pdf
ff5e565d631028b81a95448289a3577f
https://kuscholarworks.ku.edu/bitstream/1808/25393/2/Sims_ku_0099M_15343_DATA_1.pdf.txt
6abfc992636bc0dcd6ea0397c06421aa
Copyright held by the author.
Psychology
Music
imposter
interpretive
music
phenomenon
students
therapy
oai:kuscholarworks.ku.edu:1808/168362018-01-31T20:08:16Zcom_1808_267com_1808_8837com_1808_1260col_1808_13988col_1808_14144col_1808_1951
EFFECT OF ORFF-BASED MUSIC INTERVENTIONS ON STATE ANXIETY OF MUSIC THERAPY STUDENTS
Detmer, Michael
Colwell, Cynthia
The purpose of this study was to evaluate the effectiveness of Orff-based music therapy as a potential music intervention used to decrease state anxiety of music therapy students. For these students, high levels of state anxiety can be detrimental to the quality of clinical treatment, and ultimately their career goals. Thirty-two music therapy college students volunteered for the study and were randomly assigned to one of two experimental conditions. Participants individually took part in either a three-minute breathing intervention or improvisation music intervention and completed the state portion of the State Trait Anxiety Inventory (STAI) as a pretest and posttest measure. One-way repeated measures analysis of variance was conducted to compare groups and potential differences from pretest to posttest. Results of the ANOVA revealed a statistically significant decrease in anxiety for both conditions with neither emerging as more effective than the other. Implications for professional fields and recommendations for future study are discussed.
University of Kansas
2014-12-31
Thesis
en
http://hdl.handle.net/1808/16836
https://kuscholarworks.ku.edu/bitstream/1808/16836/2/Detmer_ku_0099M_13799_DATA_1.pdf.txt
237ca62db2fc92ba945f50f1ed9997ba
https://kuscholarworks.ku.edu/bitstream/1808/16836/1/Detmer_ku_0099M_13799_DATA_1.pdf
26961629d3d7e12aad49e0e2f0dc80fb
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Alternative medicine
Mental health
Anxiety
Music Therapy
Orff Schulwerk
Performance Anxiety
State Anxiety
oai:kuscholarworks.ku.edu:1808/53552020-07-23T16:06:53Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
An Examination of Music Therapy with Adolescent Populations
Seagren, Stephanie
Colwell, Cynthia
The purpose of this study was to examine the current use of music therapy with adolescent clients. Ninety–seven board certified music therapists working with adolescents between the ages of 11 and 19 completed the on–line survey. Survey results found that most of the participants worked with adolescents with Autism Spectrum Disorders, developmental disabilities, and emotional/behavioral disorders. Results indicated that music therapists are targeting a number of goals with the three most common being social, communication, and behavioral skills. The results highlighted commonly reported objectives, functional outcomes, data collection methods, the types of music used, and commonly used music interventions for these and other goals. The results of this survey may be helpful for music therapy students and young professionals who want to learn more about how music therapists are meeting the needs of their clients.
University of Kansas
2009-05-01
Thesis
EN
http://hdl.handle.net/1808/5355
https://kuscholarworks.ku.edu/bitstream/1808/5355/2/Seagren_ku_0099M_10230_DATA_1.pdf.txt
fbb3099070426ecaaf9ad67a02ed9ee1
https://kuscholarworks.ku.edu/bitstream/1808/5355/1/Seagren_ku_0099M_10230_DATA_1.pdf
25dc1f657c12e2c6e6c49750f2e2b4ea
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Adolescents
Adolescents and music therapy
Music therapy
oai:kuscholarworks.ku.edu:1808/295842019-11-05T23:51:42Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Pre-Service Music Educators' Preferences in School Setting for Student Teaching
Sanders, Flora
Hedden, Debra
The purpose of this study was to explore how influential social and professional factors, as well as preconceived perceptions of students and schools in urban, suburban, and rural settings contributed to pre-service music educators’ preferences in school setting for student teaching placements. The participants (N = 6), with two each from urban, suburban, and rural high school backgrounds, were pre-service music educators in their last two years of study in a music teacher preparation program at a large, Midwestern university. The participants were interviewed twice, two weeks apart, and answered questions regarding their ideal student teaching placement, influential social and professional factors, their perceptions of urban, suburban, and rural schools and students, and their preferred school settings. The researcher transcribed and coded all interviews, with key themes of personal comfort and preferences, facilitation of teaching and learning, and professional growth emerging. The findings indicated that pre-service music educators used the key themes as factors in order to inform them of potential suitability in different school settings for student teaching placements. The pre-service music educators most preferred suburban school settings, possibly due to personal comfort, possible availability of resources and funding, and the perception of these settings as most suitable for a successful student teaching experience. Implications and recommendations for future research were then discussed with consideration of these results.
University of Kansas
2019-05-31
Thesis
en
http://hdl.handle.net/1808/29584
https://kuscholarworks.ku.edu/bitstream/1808/29584/2/Sanders_ku_0099M_16574_DATA_1.pdf.txt
2737225601b40882324fe1ea643ba84b
https://kuscholarworks.ku.edu/bitstream/1808/29584/1/Sanders_ku_0099M_16574_DATA_1.pdf
51b10267b8461eb5abae002c15de525f
Copyright held by the author.
Music education
Teacher education
preferences
pre-service music educators
rural
student teaching
suburban
urban
oai:kuscholarworks.ku.edu:1808/239112018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
AN EXAMINATION OF DIFFERENCES BETWEEN MUSIC THERAPY AND TALK THERAPY ON INTIMACY IN A FAMILY-PATIENT RELATIONSHIP AT THE END-OF-LIFE
Kim, Bo Rin Kim
Dvorak, Abbey L
The purpose of the study was to examine differences between music therapy and talk therapy on intimacy in a family-patient relationship at the end-of-life. To determine differences between music therapy and talk therapy, the researcher measured frequency of ten hospice family caregivers’ intimacy acts, as indicated by (a) verbal intimacy, (b) affective intimacy, and (c) physical intimacy. Results showed no significant differences in verbal intimacy actions of family caregivers towards a dying loved one when comparing music therapy with talk therapy. Significant differences were found in affective intimacy and physical intimacy between the treatments. Music therapy resulted in significantly higher affective intimacy, and physical intimacy measures, when compared to talk therapy. Music therapy may be an effective therapeutic modality for family caregivers of dying patients to increase emotional and physical intimacy in a family-patient relationship at the end-of-life.
University of Kansas
2016-12-31
Thesis
en
http://hdl.handle.net/1808/23911
https://kuscholarworks.ku.edu/bitstream/1808/23911/2/Kim_ku_0099M_14944_DATA_1.pdf.txt
ff68701de5e313e6fd7d3fcdcd03d5d0
https://kuscholarworks.ku.edu/bitstream/1808/23911/1/Kim_ku_0099M_14944_DATA_1.pdf
c30b487b4fa5842932b91a74d1b21547
Copyright held by the author.
Music education
A family-patient relationship
coping strategies
Family caregivers
Hospice
Intimacy
Music therapy
oai:kuscholarworks.ku.edu:1808/295762019-11-05T23:51:42Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Decision Factors Contributing to Music Therapy Students Selecting an Internship in the Hospice Setting
Hoard, Ronette
Colwell, Dr. Cynthia
Abstract The purpose of this study was to investigate the general factors that contribute to the decision-making process when choosing a music therapy internship and ascertain targeted factors that might impact an individual when considering a music therapy internship in a hospice setting. Participants who completed the survey (n=472) included student music therapists pre internship, student music therapists currently at internship or internship arranged, and professional music therapists and music therapy educators. Results indicated the general factors that participants considered when selecting an internship were: geographic location, setting, and population. Targeted factors that caused participants to make a selection for an internship in the hospice setting included: providing services to both the patient and their family, emotional context of working in a hospice setting, and working within a transdisciplinary team model. Through analysis of additional comments participants provided, some viewed hospice as a rewarding experience, while others commented on how they had experience working within the hospice setting and felt called to this setting. Targeted factors that caused participants to not want to consider an internship in the hospice included: working around individuals who are dying, emotional context of working in a hospice setting, and driving to multiple sites to provide therapy services. These participants were also provided an opportunity to make additional comments about their decision-making process and stated that they did not choose hospice because of the emotional strain, or perhaps had a desire to work in a specific setting other than hospice.
University of Kansas
2018-12-31
Thesis
en
http://hdl.handle.net/1808/29576
https://kuscholarworks.ku.edu/bitstream/1808/29576/1/Hoard_ku_0099M_16306_DATA_1.pdf
c17e6a10fd8f60c344c5b1eae9b65c13
https://kuscholarworks.ku.edu/bitstream/1808/29576/2/Hoard_ku_0099M_16306_DATA_1.pdf.txt
689efa3c05660b5f0c52200ce47c85a1
Copyright held by the author.
Music therapy
Health sciences
factors
hospice
internship
music therapy
oai:kuscholarworks.ku.edu:1808/219362018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Survey Results for the Current State of Censorship in Adult Psychiatric Music Therapy Sessions
Joplin, Kendall
Dvorak, Abbey
The purpose of this study was to investigate current censorship practices and beliefs of music therapists working in adult mental health settings. The research questions are: (a) What music, or elements of music, do music therapists censor during music therapy sessions? (b) If music therapists censor, what are their reasons for censoring? The participants for this study were 42 board-certified music therapists who completed an online survey investigating their current censorship practices within sessions. Censorship was broadly defined as music therapists refraining from using, or redirecting clients away from using, certain lyrics, themes, songs, or genres of music during therapist planning and facilitation of sessions. The majority of respondents (78.57%) censor at least one musical element, including themes (69.05%), lyrics (66.67%), and genres (16.67%). Reasons for censorship revolved around issues with treatment, including other group members’ responses, client comfortableness, emotional distress, self-esteem issues, and negative impact on the therapeutic relationship. However, about 25% reported personal beliefs affected censorship, such as their comfort with the content, religious beliefs, and believing the client cannot benefit in any way from hearing the music. Further research needs to be conducted on how lyrics, themes, and genres impact clients, and if these elements facilitated by a music therapist could be used to address and work through some of the issues and concerns presented by the music.
University of Kansas
2016-05-31
Thesis
en
http://hdl.handle.net/1808/21936
https://kuscholarworks.ku.edu/bitstream/1808/21936/1/Joplin_ku_0099M_14617_DATA_1.pdf
304e640983fb97ec7618858679a6a8c7
https://kuscholarworks.ku.edu/bitstream/1808/21936/2/Joplin_ku_0099M_14617_DATA_1.pdf.txt
4972b6afb584762aaac6b5cf4479130d
Copyright held by the author.
Music
Music education
Adult
Censorship
Psychiatric
Survey
Therapy
oai:kuscholarworks.ku.edu:1808/53572020-07-24T12:21:29Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of Music-Assisted Progressive Muscle Relaxation on the Self-Reported Symptoms of Women with Primary Dysmenorrhoea
Memmott, Jenny
Register, Dena
The purpose of this study was to examine the effect of music-assisted progressive muscle relaxation (PMR) on the self-reported symptom scores of women suffering from primary dysmenorrhoea. Twenty-four women with a mean age of 22.7 years participated in the study and were evenly divided in three groups: a control group (n=8), a PMR only group (n=8), and a PMR with music group (n=8). After completing the modified Shortened Premenstrual Assessment Form (SPAF), which was used both as both a determinate of eligibility in the study and as a pretest, participants completed the SPAF for the first three days of their menstrual cycle. Participants in the PMR-only group completed a PMR exercise in their home for the first three days of their period prior to completing the modified SPAF. Participants in the PMR with music group completed a music-assisted PMR exercise in their home for the first three days of their period prior to completing the modified SPAF. Results of the study indicated no significant reduction of symptoms among the PMR with music group in comparison with the other conditions. Further research is warranted, with a suggested larger and more diverse sample, as well as a more structured environment for the completion of the PMR exercises.
University of Kansas
2009-06-02
Thesis
EN
http://hdl.handle.net/1808/5357
https://kuscholarworks.ku.edu/bitstream/1808/5357/2/Memmott_ku_0099M_10242_DATA_1.pdf.txt
e757c379211ca5776878df60626b0221
https://kuscholarworks.ku.edu/bitstream/1808/5357/1/Memmott_ku_0099M_10242_DATA_1.pdf
e0fd72218bbf30a78dd922ccc3f6a9c4
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Music therapy
Primary dysmenorrhoea
Progressive muscle relaxation
Self-reported
oai:kuscholarworks.ku.edu:1808/98512018-01-31T20:08:10Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Omusango gw'Abalere: “The Flute Player’s Affair”
Wabyona, Milton
Haaheim, Bryan K
Abstract Omusango gw'Abalere, a three-movement piece is a composition based on Ugandan folk music from two ethnic cultures-the Baganda (Central) and Acholi (Northern). The piece explores how music was used to address controversy in the traditional Ugandan society. Using tuneful melodies with usually syncopated and at times confusing rhythms, Ugandans were able to communicate messages that were rather controversial for ordinary speech. The first movement is based on a Kiganda tune Omusango gw'Abalere which is a complaint by a royal court musician who feels confused and troubled by a situation in the royal courts and demands to be returned to his birthplace. The second movement Kagutema (also from Buganda), is an acknowledgement to an innovative man who is praised for manufacturing a traditional alcoholic brew from bananas. The people praise him and ask he be given "one more for the road" for his great discovery. This movement is dedicated to Prof. George W. Kakoma, the composer of the Ugandan National anthem. The third movement, Labal ping, focuses on a wife who turned into a spoiler causing difficulties in the extended family relations. There is expression of regrets by her husband, which brings in the bigger family to offer counseling. This story comes from Northern Uganda among the Acholi. One prominent element of Ugandan folk music is rhythm. Accented notes on unusually stressed beats are common. Polyrhythms and syncopated rhythms that, at times, obscure the sense of the downbeat are a major characteristic of Ugandan folk music. One example is the fluid movement of individual players back and forth between 6/8 and 3/4 meters. The "african hemiola" is often times the resultant effect and is frequently evident in my work. This creates a challenge for rhythmic notation since on many occasions more than one meter is audible at a time. This piece is influenced by the several social, economic and political challenges in Uganda today. There is little sense of mutual responsibility for mistakes committed, which has often led to frustration in society.
University of Kansas
2012-05-31
Thesis
en
http://hdl.handle.net/1808/9851
https://kuscholarworks.ku.edu/bitstream/1808/9851/1/Wabyona_ku_0099M_12155_DATA_1.pdf
c0d53375a5cfe23d42cffd60ec93d2b1
https://kuscholarworks.ku.edu/bitstream/1808/9851/2/Wabyona_ku_0099M_12155_DATA_1.pdf.txt
ac5574c0fd54190adf7bad9e95a4310d
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Abalere
Kagutema
Ugandan folk music
Wind band
oai:kuscholarworks.ku.edu:1808/105082020-09-22T13:11:50Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Motivational Factors Contributing to Continued Participation in High School Band Programs
Hamersky, Dianne
Duerksen, George
This study examined the motivational reasons students stay in band. A number of studies address why students drop out of band. Many have found a "lack of interest" among dropouts. Few, however, gathered data on student's motivational factors and their reasons for staying in band. The research questions for this study were: (1) What extrinsic and intrinsic forces help keep the student in band, (2) What areas of band are the most interesting, from the student's perspective, (3) What are the continuing student's general perceptions and feelings toward music, learning, the teacher, and the class, (4) How was the instrument chosen and how does this affect why the student continues to enroll in band, (5) What are the student's perceived sense of worth, individual progress, and capabilities in the music class, (6) How well does the student honestly and objectively expect to do in music, and (7) To what does the student attribute his success. A pilot study of the questionnaire insured that the survey questions and instructions were easily comprehensible. The pilot study involved several high school flute students of this writer. These students completed the questionnaire and offered suggestions and improvements. Main study subjects were high school Midwestern Music Camp participants. Before camp began students and parents read and completed consent forms asking for their signatures to participate in this study. At the dormitory during a floor meeting, the students completed the questionnaire. Subjects did not include their names on the questionnaires; code marks identified individuals for subsequent interviews. Students provided information about themselves and their family on the questionnaire and in the subsequent interview. All information gathered from the subjects was reported with anonymity. The subsequent interview gave an indepth follow-up based on lack of responses on the questionnaire. Through descriptive analysis involving measures of relationships, the results showed significant relationships between chair in band, importance of learning about music, relationship to the director, and staying in band through high school and into college. Grade level was found to be significantly related to enjoying the music played in band, needing credits for graduation, and band as an easy class. There was a significant relationship between taking private lessons and the student's love of music, between chair in band and the importance of travel for staying in band, and the amount of practice and learning about music. There were significant differences on ratings of band being an easy class and how the students chose their instruments, but not on the student's continued enrollment in band. The student's self worth increased with age, but not with practicing, a musical family, grade point average, or chair in band. The students mainly attribute their success to their family, band director, and private teacher. The higher the student is in their section and the more they practice the more likely the student plans to enroll in band in college.
University of Kansas
1992
Thesis
en_US
http://hdl.handle.net/1808/10508
https://kuscholarworks.ku.edu/bitstream/1808/10508/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
https://kuscholarworks.ku.edu/bitstream/1808/10508/3/1992_Hamersky_D.pdf.txt
ac4fb15e7bcb402b5ba358b8ecd935b1
https://kuscholarworks.ku.edu/bitstream/1808/10508/1/1992_Hamersky_D.pdf
dd5c35a5e545c283aba612bbaf9c0396
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Band
Participation
oai:kuscholarworks.ku.edu:1808/195662020-10-19T14:22:42Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
THE EFFECTS OF GUITAR-ACCOMPANIED SINGING INTERVENTION ON SUNDOWNING IN ELDERLY PERSONS WITH DEMENTIA
Nakamura, Noriko
Colwell, Cynthia
The purpose of this study was to examine the effects of a guitar-accompanied singing intervention on agitated behaviors associated with the transition from day to night, referred to as sundowning, in individuals with dementia. Eleven guardians signed the informed consent; however, two eligible participants declined to take part in the study. The data on one participant were used to train the research assistant regarding the data collection method; therefore, her information and data were excluded from this thesis. Out of the remaining 8 participants (N=8), four (n=4) of them received music therapy, and other four (n=4) listened to newspaper reading. The investigator provided both conditions. A single 10-min individual session was offered to each participant approximately between 3:00 p.m. and 5:00 p.m. The investigator provided a guitar-accompanied singing intervention to the music therapy treatment group. She read the inner sections of the Kansas City Star newspaper to the control group. All sessions were video recorded, and a 15-s time sampling method was used to collect data using rubrics derived from the Pittsburg Agitation Scale (PAS) for both groups. The results are discussed as a series of case studies due to the small sample size. All 4 participants in the music therapy condition completed the entire 10-min session whereas 2 out of 4 participants in the newspaper reading condition completed only part of the session due to increased agitation and a participant's decision. Motor agitation was most common, and aberrant vocalization was the next. No aggressiveness was observed during the sessions. This study was preliminary, and the results cannot be generalized; however, noteworthy observations were made. Recommendations for future research implementations are discussed. Keywords: music therapy, music, singing, agitation, dementia, sundowning
University of Kansas
2013-12-31
Thesis
en
http://hdl.handle.net/1808/19566
https://kuscholarworks.ku.edu/bitstream/1808/19566/1/Nakamura_ku_0099M_13115_DATA_1.pdf
ee897fdbcbaebbed22941e6e8d144190
https://kuscholarworks.ku.edu/bitstream/1808/19566/3/Nakamura_ku_0099M_13115_DATA_1.pdf.txt
c5d7b7bfd1e08dc2c2a544d6328e8dc4
Copyright held by the author.
Aging
Behavioral sciences
Mental health
Agitation
Dementia
Music
Music Therapy
Singing
Sundowning
oai:kuscholarworks.ku.edu:1808/194302018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Comparison of Solo Music for the Western Lute and Chinese Pipa
Tang, Ying
Laird, Paul
This thesis is a comparison between the Western lute and Chinese pipa in terms of their history, construction, playing techniques, and examples of their solo repertory. This thesis has six chapters in total. The first chapter is an introduction to the Western lute, including the aspects of its history and playing techniques. The second chapter considers the same aspects of the Chinese pipa. The third, fourth and fifth chapters are descriptions of three solo pieces for these instruments: Luis de Milán’s Fantasia XII del tercero quarto tono as a solo piece for lute, and then the contrasting Ambushed from Ten Sides and Moonlit River in Spring for pipa. The last chapter is a comparison between Milán’s Fantasia XII and the two Chinese works, demonstrating how each is an example of its culture and that there are similarities and differences in the way that the composers of each approached various musical elements.
University of Kansas
2015-08-31
Thesis
en
http://hdl.handle.net/1808/19430
https://kuscholarworks.ku.edu/bitstream/1808/19430/3/Tang_ku_0099M_14160_DATA_1.pdf.txt
b7518be143d6bec9c4ad6e4212d777d1
https://kuscholarworks.ku.edu/bitstream/1808/19430/1/Tang_ku_0099M_14160_DATA_1.pdf
e33f4a06eb62a2bfd7319bd44d9b59a5
Copyright held by the author.
Music
Chinese pipa
Comparison
Lute
Solo music
oai:kuscholarworks.ku.edu:1808/252342018-05-02T19:00:21Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Love and War: Troubadour Songs as Propaganda, Protest, and Politics in the Albigensian Crusade
Wood, Leslee Veora
Schwartz, Roberta F.
From the eleventh through the thirteenth century, the troubadours flourished in the Occitan courts of southern France. As the artistic and political voices of their culture, these men and women were educated, creative, and well-placed to envoice the cultural and political events of their time. In 1208, Pope Innocent III launched the Albigensian Crusade against the pervasive Cathar sect, which had attracted followers from every stratum of Occitan society, including believers from the most important ruling families. For twenty years, the crusade decimated the region and destroyed the socio-political apparatus which had long supported, and been given voice by, the troubadours and trobairises. By the end of the war in 1229, the Occitan nobility were largely disinherited and disempowered, unable to support the kind of courtly estates to which they had been accustomed and in which the art de trobar had flourished. Many troubadours were involved both politically and militarily in the crusade and their lyric reactions include astute political commentaries, vigorous calls-to-arms, invectives against the corruption of the Catholic clergy and the French invaders, and laments for the loss of both individuals and institutions. Their works constitute an important historical narrative and the artistic expression of a culture in crisis. The troubadour songs of this period preserve the final voices of a culture straining against its own destruction, using the standard tropes, artistic conventions, and familiar genres to document the greatest crisis of their time.
University of Kansas
2017-05-31
Thesis
en
http://hdl.handle.net/1808/25234
https://kuscholarworks.ku.edu/bitstream/1808/25234/1/Wood_ku_0099M_15402_DATA_1.pdf
024f31c68d178b0c8b9b2ed110acda3e
https://kuscholarworks.ku.edu/bitstream/1808/25234/2/Wood_ku_0099M_15402_DATA_1.pdf.txt
d5b9b88760af8c44d3579d361f118736
Copyright held by the author.
Music
Medieval literature
Religious history
Albigensian Crusade
Catharism
Langue d'Oc
Medieval France
Medieval Music
Troubadours
oai:kuscholarworks.ku.edu:1808/55402020-07-24T15:18:49Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Stratospheric veil: horn concerto with narrator
Li, Kai Han
Barnes, James
Stratospheric Veil is a horn concerto with additional narrator. It tells the myth of the creation of the Earth. Duration 10'00"
University of Kansas
2009-06-03
Thesis
EN
http://hdl.handle.net/1808/5540
https://kuscholarworks.ku.edu/bitstream/1808/5540/1/Li_ku_0099M_10403_DATA_1.pdf
01820bd5d4dd9dfb2bb45f526dc29852
https://kuscholarworks.ku.edu/bitstream/1808/5540/2/Li_ku_0099M_10403_DATA_1.pdf.txt
041c8e17c1b2d6a30ac5ef41f5946e88
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Concerto
Horn
Horn concerto
Singapore
University of Kansas
oai:kuscholarworks.ku.edu:1808/107642020-09-24T15:01:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effects of Lyric Analysis and Songwriting Music Therapy Techniques on Self-Esteem and Coping Skills Among Homeless Adolescents
Jurgensmeier, Barbara
Colwell, Cynthia
Homelessness is a troubling epidemic affecting a wide range of individuals, including youth and adolescents. The reasons for homelessness as well as manifestations of the condition are perpetuated by a cycle of abuse, delinquency, mental illness, and risky survival behaviors. This study aimed to break this cycle among homeless adolescents in a transitional living facility by promoting self-esteem, coping skills, and empowerment through songwriting and lyric analysis music therapy techniques. A total of six subjects, ages 19-21, participated in an eight-week treatment program. Subjects served as their own control and sessions alternated between music therapy interventions and talk-based interventions each week. Outcome measures included the Rosenberg Self-Esteem Scale (RSES), attendance rates, a qualitative survey, and notes and observations kept by the researcher. Quantitative results indicated a significant increase in RSES scores before and after both the musical and non-musical treatment sessions (p < 0.20). Differences between each treatment, however, were not marginal enough to be statistically significant, suggesting that the efficacy of each treatment was comparable. The music therapy sessions consistently yielded higher attendance rates, implying that more participants were interested in the music-based interventions than the talk-based activities. Qualitative responses were overwhelmingly positive, with participants noting an appreciation to be able to express themselves and relieve stress. Subjects also expressed themes of struggle, perseverance, and empowerment in their group song. Although this study was limited by the transience of the homeless population, small sample size, and lack of multiple quantitative measures, attendance rates, RSES scores, and qualitative responses and observations warrant future music therapy research with this population.
University of Kansas
2012-12-31
Thesis
en
http://hdl.handle.net/1808/10764
https://kuscholarworks.ku.edu/bitstream/1808/10764/1/Jurgensmeier_ku_0099M_12507_DATA_1.pdf
2df3d378547db5cd4807c20a6bca8f1e
https://kuscholarworks.ku.edu/bitstream/1808/10764/2/Jurgensmeier_ku_0099M_12507_DATA_1.pdf.txt
4db64194861ad0febd7933e062a24ac5
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Coping
Homeless
Lyric analysis
Music therapy
Self-esteem
Songwriting
oai:kuscholarworks.ku.edu:1808/177712020-06-24T18:54:24Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Organ culture in Israel and Palestine
Levi, Sabin
This paper consists of the following topics:
1. A short introductory information about organ sources and the development of the organ
in ancient Israel.
2. Information about selected organs built in the relatively modern times, with their
disposition, building history, and stylistic features.
3. Information about the Israeli organ builders with descriptions of some of their
instruments.
4. Information about Israeli organists.
5. Information about the Israeli composers who have written for organ, with a list of their
compositions, and for selected representative composers, a short description of
musical style in their organ works.
6. A short description of current organ-related events in Israel.
7. A list of all known organs in Israel and Palestine.
University of Kansas
2004
Thesis
en
http://hdl.handle.net/1808/17771
https://kuscholarworks.ku.edu/bitstream/1808/17771/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
https://kuscholarworks.ku.edu/bitstream/1808/17771/1/levi_2004_3754464.pdf
3c28a45be5ce1f09441c07d162dc9eba
https://kuscholarworks.ku.edu/bitstream/1808/17771/3/levi_2004_3754464.pdf.txt
386ec4bd8ede9e68010a98872ee290b3
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Organ music
Israel
Middle East--Palestine
oai:kuscholarworks.ku.edu:1808/219322018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
THE IMPACT OF MUSIC- VS. ATHLETICS-BASED SOCIAL SKILLS TRAINING ON ADULT- AND SELF-RATINGS OF SOCIAL COMPETENCE AND ANTISOCIAL BEHAVIOR OF AT-RISK YOUTH
Rawlings, Nicholas
Colwell, Cynthia
The purpose of this study was to evaluate the effectiveness of a music therapy-based social skills training program compared to an athletics-based social skills training program for children with social skills deficits and interfering behavior problems. Eight fifth and sixth grade boys age 10-11 who had displayed social skills deficits or interfering behaviors in the school setting participated in five 1-hour social skills training (SST) sessions once a week for five weeks. The participants rated themselves on measures of Social Competence and Antisocial Behavior at pretest and posttest using the Multisource Assessment of Social Competence Scale (MASCS). The participants’ homeroom teacher and para-educator rated each participant on measures of Social Competence and Antisocial Behavior using the School Social Behavior Scales, Second Edition (SSBS-2). Results were mixed and varied according to the rater. Teacher ratings of multiple dimensions of Antisocial Behavior indicated the Music Group improved significantly more than the Basketball Group and indicated Defiant/Disruptive increased for the Basketball Group. Conversely, para-educator ratings of Social Competence and Antisocial Behavior indicated the Basketball Group improved while a decrease in functioning was observed for the music group although no significant results were obtained. Self-ratings of Social Competence decreased in both groups from pretest to posttest with the Music Group ratings decreasing more than the Basketball Group. Self-ratings of Antisocial Behavior did not reveal any significant differences between or within groups. Future researchers should continue to work with small groups (three to six participants per group) but should repeat each condition with multiple groups in order to increase the sample size overall. Future studies should also consider increasing the number of sessions per week and extending the overall length of participation in an SST program.
University of Kansas
2016-08-31
Thesis
en
http://hdl.handle.net/1808/21932
https://kuscholarworks.ku.edu/bitstream/1808/21932/1/Rawlings_ku_0099M_14830_DATA_1.pdf
7a468bf838beaae0e9fe01dfb9bd103a
https://kuscholarworks.ku.edu/bitstream/1808/21932/2/Rawlings_ku_0099M_14830_DATA_1.pdf.txt
2e7a5a3a0e3a487dd3c038975cb2033e
Copyright held by the author.
Music
Behavioral sciences
Special education
Antisocial Behavior
At risk youth
Music therapy and social skills
Social Competence
Social skills deficits
Social Skills Training
oai:kuscholarworks.ku.edu:1808/107632020-09-24T14:40:53Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Use of Singing and Playing Wind Instruments to Enhance Pulmonary Function and Quality of Life in Children and Adolescents with Cystic Fibrosis
Anderson, Lauren Matheson
Colwell, Cynthia
Although Cystic Fibrosis (CF) is one of the most fatal and devastating lung diseases in the world, treatments to enhance lung capacity and Quality of Life (QOL) are still in their infancy. The purpose of this study was to investigate the effects of music therapy, specifically singing or playing a wind instrument, on pulmonary function and QOL in children and adolescents with CF. Three participants with CF participated in this two week study, which consisted of two, thirty minute sessions a day, for a total of twenty sessions. The sessions for one week of the study included singing, playing the recorder, or playing the kazoo, and the other week included talking, playing board games or playing video games. The Pulmonary Function Test (PFT) results and the Cystic Fibrosis Questionnaire (CFQ) results were used in this descriptive study as outcome variables. These data were collected three times throughout the study: pre-study, mid-study and post-study. For two participants, PFT results showed a higher increase during the music week, than during the non-music week. For the third participant, he did not complete the study, and only participated in the full non-music week and two days of the music week. His PFT results increased more during the non-music week. No significant trends were found when comparing the CFQ results. Suggestions for future research are discussed.
University of Kansas
2012-12-31
Thesis
en
http://hdl.handle.net/1808/10763
https://kuscholarworks.ku.edu/bitstream/1808/10763/2/Anderson_ku_0099M_12543_DATA_1.pdf.txt
5b8c163828118f44fa98fa4bcb892fb1
https://kuscholarworks.ku.edu/bitstream/1808/10763/1/Anderson_ku_0099M_12543_DATA_1.pdf
f2e5a154bd87cbb2c93b617fe28337d4
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Adolescents
Children
Cystic fibrosis
Music therapy
Pulmonary function
Quality of life
oai:kuscholarworks.ku.edu:1808/108732020-09-24T14:11:39Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
FREEDOM AND CONSTRUCTION: NEW CONCEPTS OF FORM IN THE IMPROVISATIONS AND COMPOSITIONS OF KING CRIMSON
Bohling, Christopher
Schwartz, Roberta F
This thesis constructs a coherent system of analysis for the improvised and non-improvised music of the progressive rock band King Crimson, with the intention that the methodologies presented here for discussing collective improvisation should be applied to the music of other rock, jazz, and avant-garde groups. Borrowing methodology from the study of free and postmodern jazz, the thesis develops an analytical system that combines the use of intensity graphs (as developed by John Litweiler and Ingrid Monson) with traditional transcriptions and prose explanations. The intensity graphs are more complex than those created by Monson and Litweiler, as they chart the intensity of multiple instruments that are improvising simultaneously. The thesis compares the results of the intensity-graph analyses of King Crimson's improvisations with more conventional study of their pre-composed material dating from the years 1969-1974. Over the course of these five years, King Crimson's recordings reveal a growing understanding of the relationship between improvisation and composition, a significant emphasis on rhythm as a unifying factor in both composed and improvised music, and the development of several identifiable post-tonal harmonic styles (associated, respectively, with different members of the band). The recordings also expose the contributions of the band's various short-term members, most notably pianist Keith Tippett and percussionist Jamie Muir. The analyses in chapters VI and VII clearly link the harmonic language of King Crimson's compositions and that of their improvisations. They also reveal the presence of a leading instrument in most of the band's improvised pieces; as well as demonstrating that most such pieces can be analyzed as a struggle or negotiation between the players, beginning in apparent discord and ending with agreement upon a particular key and tempo. The final chapter then establishes the broad viability of the analytical method by applying it to the music of Sonic Youth, a more recent group from a considerably different musical tradition than King Crimson.
University of Kansas
2012-12-31
Thesis
en
http://hdl.handle.net/1808/10873
https://kuscholarworks.ku.edu/bitstream/1808/10873/2/Bohling_ku_0099M_12562_DATA_1.pdf.txt
59ce0ea612b66fc74d292ab1ad3aba4d
https://kuscholarworks.ku.edu/bitstream/1808/10873/1/Bohling_ku_0099M_12562_DATA_1.pdf
8d706eb4885330893a4366a60db2172a
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Fine arts
Performing arts
Fripp, Robert
Improvisation
Jazz
King Crimson
Progressive
Rock
oai:kuscholarworks.ku.edu:1808/295942019-11-05T23:51:42Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Far From Home: Suite for Jazz Big Band
Annan, Alex Todd
Gailey, Dan
Far From Home: Suite for Jazz Big Band is a large scale, four movement suite for large jazz ensemble of five saxophones with various woodwind doubles, four trombones, four trumpets with flugelhorn doubles, and rhythm section consisting of bass, guitar, piano, and drums. Each movement is an original composition that can be presented as a standalone piece though collectively the piece is programmatic in nature and tells a story. The goal of this work is to present a story that each listener can take and make their own. While each movement was written with a personal interpretation in mind, the listener should use their own personal experiences to create their story using the music as a guide. The piece has a runtime of approximately 23-25 minutes and features many members of the ensemble either as presenters of the melody or improvised soloists. Far From Home is meant to encapsulate what it is like to be on a journey, a path where one must take a leap of faith into the unknown in order to better themselves. “Home” in the title does not explicitly mean where you live. “Home” is meant to convey where you want to be, where you need to be, where you once were, or where you can be most successful, personally or professionally. Each movement takes an aspect of the journey and puts it into music. For example, the first movement Distance, is a slow and dark intro to the work. The first melody note is a minor ninth above the bass note, giving the music a heavy sense of dissonance. This movement shows the weariness and anxiousness of taking that leap of faith. The movement is in a 3/4 time signature but every fourth measure, a quarter note is added making it a 4/4 measure. This represents the unsteadiness of the start of a journey. All movements of Far From Home have their own melody that is first presented by one or two members of the ensemble then by a larger group of players. While each movement has its own harmonic language, there are similarities between each movement such as open fifths in the lower horns and bass rhythm voices, or similar chord qualities such as Major 7th chords. The melodic content of each movement is meant to be clear and simple with a single challenging aspect to give the listeners a motive that is easy to grasp but is still interesting to listen to. There are also aleatoric or improvised chance music in each movement which represents the unknown aspects of a journey. This suite’s first two movements are centered in minor keys, Bb minor and E minor respectively, with the third movement being based in a major key, G major. The final movement uses harmonic elements of each of the previous movements and has heavy use of modal mixture, moving between Db major and Db minor. Collectively, these pieces tell a story and provide performers with accessible and challenging music and gives listeners a music guide to create their own story.
University of Kansas
2019-05-31
Thesis
en
http://hdl.handle.net/1808/29594
https://kuscholarworks.ku.edu/bitstream/1808/29594/1/Annan_ku_0099M_16542_DATA_1.pdf
64455b5a2086fcf86dd891122d6b43f6
https://kuscholarworks.ku.edu/bitstream/1808/29594/2/Annan_ku_0099M_16542_DATA_1.pdf.txt
8640aff700274f9adec3e0d9f05e87d6
Copyright held by the author.
Music
Big Band
Jazz
Jazz Composition
Suite
oai:kuscholarworks.ku.edu:1808/216072018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A Conceptual Framework for a Music-Based Bonding Intervention for Fathers with Premature Infants in the NICU
Caine, Kara Nicole
Hanson-Abromeit, Deanna
Premature birth has long-term effects on an infant’s development. Admittance to the NICU is stressful for both the infant and the parents. In this environment, parents may have barriers to bonding with their infant, making it more difficult to form a secure infant-caregiver attachment. The quality of attachment between an infant-caregiver can be predictive of future psychopathology or can act as a protective factor. Research is emerging regarding the father’s distinct role and experience of becoming a parent in the NICU, and no published music therapy literature has focused specifically on fathers and their bonding and attachment with their premature infants in the NICU. The purpose of this study is to understand the unique experience of fathers with a premature infant admitted to the NICU in order to generate a conceptual framework, grounded in theory, for how music therapy intervention can increase secure father-infant attachment relationships. An iterative review of literature, and ecological systems theory and causal modeling were used to identify the key constructs relevant to the father’s unique experience in this setting. A theory-based conceptual framework for a music-based bonding intervention for fathers with premature infants in the NICU is illustrated. Implications for further research and clinical practice were also explored.
University of Kansas
2016-05-31
Thesis
en
http://hdl.handle.net/1808/21607
https://kuscholarworks.ku.edu/bitstream/1808/21607/1/Caine_ku_0099M_14657_DATA_1.pdf
db04f6979366b542e8753abe66a7dcb8
https://kuscholarworks.ku.edu/bitstream/1808/21607/2/Caine_ku_0099M_14657_DATA_1.pdf.txt
b56546045a4f99567a33168e1940d902
https://kuscholarworks.ku.edu/bitstream/1808/21607/4/21607.pdf
308a207c08168e08d3ab8e6c8af929a0
Copyright held by the author.
Music
attachment
bonding
conceptual framework
fathers
music therapy
NICU
oai:kuscholarworks.ku.edu:1808/123452020-10-14T14:29:05Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Nicolas Slonimsky's Role in the Musical Modernism of the Early Twentieth Century
Mullinger, Lisa Noelle
Laird, Paul
The musical modernism movement of the early twentieth century began with much resistance, but blossomed into a period of inspired experimentation and development. Nicolas Slonimsky played an active role in the midst of this era. He was a composer, pianist, conductor, and writer. Examining the more personal aspects of his relationships with figures that were hallmark examples of this movement reveals Slonimsky's widespread influence. The most significant relationships that are focused on in this thesis include Charles Ives, Henry Cowell, Edgard Varèse, and Léon Theremin. To these men, Slonimsky offered great support, trusted advice, and recommendations to publishers, and he wrote beneficial articles regarding their music. He collaborated with them on their work, encouraged them, and pushed them to new heights. Nicolas Slonimsky was a champion of many musicians during his lifetime, promoting and supporting them, even at his own expense. Slonimsky made significant contributions to the developments of modern music during its growth in the twentieth century.
University of Kansas
2013-05-31
Thesis
en
http://hdl.handle.net/1808/12345
https://kuscholarworks.ku.edu/bitstream/1808/12345/1/Mullinger_ku_0099M_12713_DATA_1.pdf
daebd0ad9dc104c69a72b48040d53963
https://kuscholarworks.ku.edu/bitstream/1808/12345/2/Mullinger_ku_0099M_12713_DATA_1.pdf.txt
a46057f218e2073ccbea2ae3b9bc343a
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
History
Cowell
Ives
Musical modernism
Slonimsky, Nicolas
Twentieth century
Varese, Edgard
oai:kuscholarworks.ku.edu:1808/183442020-06-24T19:38:57Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
The development of modern French music
Blim, Miles G.
University of Kansas
1920
Thesis
http://hdl.handle.net/1808/18344
https://kuscholarworks.ku.edu/bitstream/1808/18344/1/blim_1920_3424477.pdf
2a14b5ad317c0f7912c82eed27f8b1f7
https://kuscholarworks.ku.edu/bitstream/1808/18344/2/blim_1920_3424477.pdf.txt
b5584b66f4408df71457382f7a8d60c7
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
oai:kuscholarworks.ku.edu:1808/270882018-12-03T21:33:17Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
THE REASONS CITED BY LATINO STUDENTS FOR THEIR DISCONTINUATION IN BAND AFTER THE FIRST YEAR
Wilson, Jacob B.
Dakon, Jacob M
The purpose of this study was to determine the reasons cited by Latino students for their discontinuation in band after the first year of instruction. Participants (N = 10) were middle school students enrolled in the Olathe Public School District in Olathe, Kansas. Using a phenomenological approach, data were collected through two focus group sessions led by the researcher. Focus groups were audio recorded, transcribed, and analyzed using a two-cycle coding process. Findings indicate that students attribute five primary themes to their discontinuation in band after the first year: Personal Cost, Social Cost, Monetary Cost, Denial of Choice, and Teacher Effectiveness. The first three themes, Personal, Social, and Monetary Cost, were examined through the lens of Eccles’s Expectancy-Value Theory Framework (1983). The fourth theme, Denial of Choice, is discussed as it relates to the idea of Autonomy versus Control in education. The fifth theme, Teacher Effectiveness, addresses issues related to classroom management, the student/teacher relationship, and teaching methods. Recommendations are presented to assist educators with their Latino student retention efforts.
University of Kansas
2017-08-31
Thesis
en
http://hdl.handle.net/1808/27088
https://kuscholarworks.ku.edu/bitstream/1808/27088/2/Wilson_ku_0099M_15489_DATA_1.pdf.txt
e1e771c83402166456cfc481d7eddcef
https://kuscholarworks.ku.edu/bitstream/1808/27088/1/Wilson_ku_0099M_15489_DATA_1.pdf
65dee8270b70738aa9af564a040a5d19
Copyright held by the author.
Music education
Attrition
Hispanic
Latino
Music Education
Retention
oai:kuscholarworks.ku.edu:1808/100102018-01-31T20:08:05Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of Interactive Music Therapy on Joint Attention Skills in Preschool Children with Autism Spectrum Disorder
Arezina, Clare Helene
Colwell, Cynthia
The purpose of this study was to investigate the effect of interactive music sessions on joint attention behaviors in preschool children with Autism Spectrum Disorders (ASD). Joint attention, the ability to share attention to a stimulus with another person, is a key deficit in children with ASD. Lack of joint attention behaviors contributes to the limited social and verbal skills that characterize ASD; joint attention behaviors are the primary component of the early screening for ASD advocated by the American Academy of Pediatrics. Participants (N=6; 5 male, 1 female) were between 36 and 64 months old at the time of the study, and were recruited from the child development program at a large Midwestern university. All children were enrolled in classrooms with curricula designed specifically for children with ASD. A multiple treatment (within-subject) design was used, with three treatment conditions: interactive music therapy, non-music interactive play, and independent play. Participants experienced each condition six times for a total of 18 ten-minute sessions over a five-week period. Session order was randomized to control for order effect. Behavioral observation of videotaped sessions was used to determine both interaction (responding to a bid for joint attention) and requesting behavior (initiating joint attention). Visual analysis of data graphs and statistical analysis were used to determine treatment effect. Interaction behaviors were most frequent in the interactive music therapy sessions, with less interaction in non-music interactive play sessions, and much less interaction during independent play. Although the difference between was less significant for the two children with the best interaction skills prior to the study, overall, the between-subject ANOVA revealed a significant difference in interaction among all three conditions (F [2, 105] = 62.028, p < 0.001; Bonferroni p < 0.01 between all conditions). Requesting behavior was highly variable across sessions, regardless of treatment condition, although requesting was generally higher in the interactive conditions than in the independent play sessions. Implications, limitations, and opportunities for further research are discussed.
University of Kansas
2011--5-31
Thesis
en
http://hdl.handle.net/1808/10010
https://kuscholarworks.ku.edu/bitstream/1808/10010/1/Arezina_ku_0099M_11951_DATA_1.pdf
4958871cd2c6af4ca46d96869748cf32
https://kuscholarworks.ku.edu/bitstream/1808/10010/2/Arezina_ku_0099M_11951_DATA_1.pdf.txt
7a970f58f896fba9df92974cb2d7fd13
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Special education
Early childhood education
Behavioral sciences
Autism
Autism spectrum disorder
Joint attention
Music therapy
Preschool
Social communication
oai:kuscholarworks.ku.edu:1808/102432018-01-31T20:08:10Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
GRAPHIC NOTATION AS MEANS OF MUSICAL GESTURE: EXAMINING PERCUSSION WORKS BY JOHN CAGE, MORTON FELDMAN, AND VINKO GLOBOKAR
Hills, Cory Scott
McGee, Deron
This research explores the concept of musical gesture as it relates to graphic notation, in three 20th-century, solo percussion works: Composed Improvisation for snare drum alone by John Cage (1987), The King of Denmark by Morton Feldman (1964), and ¿Corporel by Vinko Globokar (1985). All three of these pieces feature various aspects of graphic notation. Composed Improvisation features a text-based event score, which was realized according to Cage's instructions, then recorded and transcribed. The King of Denmark features a grid-based numeric notation system, where one grid equates to one unit of time. In order to conduct an analysis of this piece, it was necessary to provide an in-depth formal structure of the piece through Feldman's use of density and register. ¿Corporel features a synthesis of text-based and symbolic graphic notation. In addition, this piece features extensive use and notation of physical gestures. These analyses yield interesting results as to the relationship between the graphic notation and musical gesture. Four musical gestures are defined herein: introductory, ascending, descending, and cadential. In addition, two physical gestures are defined: concurrent and independent. When mapped on a micro-level and macro-level plane, a gestural hierarchy emerges from each piece. The hierarchy (introductory, ascending, descending, and cadential, in each piece) shows a strong motivic development centered on form. The research shows that the graphic notation used by the composers in their respective pieces was necessary and purposeful in order to convey a sense of musical gesture to the performer while at the same time maintaining a sense of freedom for the performer.
University of Kansas
2011-12-31
Thesis
en
http://hdl.handle.net/1808/10243
https://kuscholarworks.ku.edu/bitstream/1808/10243/1/Hills_ku_0099M_11790_DATA_1.pdf
1eb44e39120cea971f286f1327b3f85e
https://kuscholarworks.ku.edu/bitstream/1808/10243/2/Hills_ku_0099M_11790_DATA_1.pdf.txt
65c6785089fe5a3bd193d870c3cfe050
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Gesture
Graphic notation
Cage, John
Music theory
Percussion
Semiotics
oai:kuscholarworks.ku.edu:1808/219432018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Buxtehude and the Meantone Organ: Developing an Analytical Approach to Music's Relationship to Temperament
Meszler, Alexander Francis
Murphy, Scott
Inspired by Hans Davidsson’s 2007 recording of the complete works of Dieterich Buxtehude (1637-1707) in quarter-comma meantone temperament, this document attempts to develop an analytical system that can illuminate various relationships between written music and temperament. Eleven of Buxtehude’s praeludia, the scope of this project, are presented in a temporally driven graphic format. Data is extracted, individual and comparative analyses are made, and minor conclusions are drawn.
University of Kansas
2016-08-31
Thesis
en
http://hdl.handle.net/1808/21943
https://kuscholarworks.ku.edu/bitstream/1808/21943/2/Meszler_ku_0099M_14774_DATA_1.pdf.txt
8ed94b62bffd4b8b006de3707fbb35da
https://kuscholarworks.ku.edu/bitstream/1808/21943/1/Meszler_ku_0099M_14774_DATA_1.pdf
860a8a400f83b9ab89adae2823be5506
Copyright held by the author.
Music
Buxtehude
Hans Davidsson
Meantone
Praeludia
Praeludium
Temperament
oai:kuscholarworks.ku.edu:1808/107652020-09-23T14:21:23Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
EFFECT OF TWO PRACTICE SCENARIOS ON SONG MEMORIZATION ACCURACY
Wilson, Bradley Joseph
Daugherty, James F.
This study examined song memorization sequences using memorization accuracy scores. Vocal performers (N=42) were split into two groups. The participants in Group A were first asked to memorize only the text of a song in both non-rhythmic and rhythmic forms, then were asked to memorize only the melody of a song. The participants in Group B were first asked to memorize only the melody of a song, then to memorize only the text of a song in both non-rhythmic and rhythmic forms. Both groups were allowed to hear the whole song performed with words and melody before their memorization tasks and were allowed a short period of time to practice the whole song after their other memorization tasks. Participant scores on a final test of memorization reflected accuracy in text, intervals, and rhythms. Results indicated no significant difference in overall test scores according to memorization sequence. However, graduate students scored significantly higher than undergraduate students, and students with four or more years of piano study scored significantly higher than students with fewer than four years of piano study. Results were discussed in terms of memorization strategies for texted music, performance scoring methodologies, and suggestions for future research.
University of Kansas
2012-12-31
Thesis
en
http://hdl.handle.net/1808/10765
https://kuscholarworks.ku.edu/bitstream/1808/10765/2/Wilson_ku_0099M_12519_DATA_1.pdf.txt
f7d7158da0933a4e74c304a9d14ca7ac
https://kuscholarworks.ku.edu/bitstream/1808/10765/1/Wilson_ku_0099M_12519_DATA_1.pdf
bb5eb7fcfcf34a844c4ea899bf8a33e9
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Performing arts
Fine arts
Memorization
Memorization techniques
Memory
Music memorization
Song memorization
Vocal memorization
oai:kuscholarworks.ku.edu:1808/270982018-12-03T21:33:17Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A Theoretical Framework to Foster Parent-Infant Attachment during NICU Hospitalization through Music Therapy
Polasik, Shelbi
Hanson-Abromeit, Deanna
A premature birth and subsequent admission into the NICU is a uniquely stressful event in a family’s life. This hospitalization has effects on the infant’s developmental trajectory, the parents’ ability to provide cares for their infant, and the formation of secure attachment between the parents and the infant. Due to attachment’s impact on future development of the infant, it is necessary to consider the impact of hospitalization on the ability of the family unit to develop a secure attachment. Research discussing attachment and developmental needs of infants and their families is emerging and, currently, no music therapy literature exists that focuses on music intervention involving developmentally sensitive care and promoting secure attachment between parents and infants in the NICU. The purpose of this study was to create an evidence-based theoretical framework for a music intervention that can promote attachment between parents and an infant in the NICU. A review of literature and combination of the formal theories including transtheoretical model of behavior change, synactive theory of development, hierarchy of needs, and pediatric psychosocial preventative health model inform a moderated causal model that identifies important components of the attachment process between parents and infants in the NICU. A theoretical framework to foster parent-infant attachment during NICU hospitalization through music therapy is illustrated. Implications for clinical practice and future research are also discussed.
University of Kansas
2018-05-31
Thesis
en
http://hdl.handle.net/1808/27098
https://kuscholarworks.ku.edu/bitstream/1808/27098/1/Polasik_ku_0099M_15970_DATA_1.pdf
5ecdc29fc261be2b75752fa97fdf46cd
https://kuscholarworks.ku.edu/bitstream/1808/27098/2/Polasik_ku_0099M_15970_DATA_1.pdf.txt
042e3a5959f470e9ff73b82aaee317ea
Copyright held by the author.
Music therapy
attachment
hospitalization
neonatal intensive care unit
parent-infant attachment
prematurity
oai:kuscholarworks.ku.edu:1808/123492020-10-14T14:33:41Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Harmonic Syntax in the "Serial" Works of Dmitri Shostakovich
Webber, Miriam Brack
Haaheim, Bryan K
Abstract: The works of the last decade of Shostakovich's life are peppered by a peculiar phenomenon; the inclusion of twelve-tone rows. Classification of these works, often labeled (and subsequently unlabeled) as "serial," remains problematic. Elements of Western serialism are present, albeit in highly unconventional forms. To start, Shostakovich does not utilize the familiar canonic operations of serial theory including transposition, inversion and/or retrograde. Alternative techniques instead include the use of multiple rows, juxtaposition of serial and non-serial elements, and the near exclusive use of the row as a linear rather than harmonic resource. No discussion of Shostakovich's serialism would be complete without a survey of Soviet music at the time. Isolated from the West throughout most of the 20th century, Russian composers had limited access to Western "formalist" scores. Given such isolation, it is little wonder that composers developed their own stylistic approaches. These experiments--fueled in part by lack of information and natural curiosity--shaped the development of a Russian school of serialism based on a range of "twelve-toneness." According to such definitions, Shostakovich's music overlaps with the broad category of twelve-tone, allowing for a preliminary examination of his harmonic grammar according to both serial and non-serial stylistic features. Recent research regarding the composer's late harmonic style in turn allows for a more detailed form of codification. Most importantly, Peter Child's article on interval collections in late Shostakovich centers around the reconciliation of serial and non-serial elements in his Symphony No. 15. Stephen Brown, on the other hand, describes a mapping and coordinate system in which harmonic and melodic intervals can be graphed spatially. Brown notes Shostakovich's propensity to use ascending fifths as a primary aspect of harmonic syntax and ascending semitones as a neighbor-note feature of melodic motion. The present inquiry, then, will focus primarily on the historical background and harmonic idiolect of Shostakovich's so-called "serial" works, composed between 1967 and 1974. The analysis will center on pertinent collectional similarities shared by his serial and non-serial approaches to pitch organization.
University of Kansas
2013-05-31
Thesis
en
http://hdl.handle.net/1808/12349
https://kuscholarworks.ku.edu/bitstream/1808/12349/1/Webber_ku_0099M_12827_DATA_1.pdf
61c07dc2e840e573b9b29b61b6477228
https://kuscholarworks.ku.edu/bitstream/1808/12349/2/Webber_ku_0099M_12827_DATA_1.pdf.txt
81ae9f8a2be510ac6675cf4490d7fffc
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Serialism
Shostakovich, Dmitri
Soviet music
oai:kuscholarworks.ku.edu:1808/210362020-06-25T20:48:16Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A new approach to violin teaching
Altimari, William George
University of Kansas
1937
Thesis
http://hdl.handle.net/1808/21036
https://kuscholarworks.ku.edu/bitstream/1808/21036/1/altimari_1937_3426424.pdf
7350ed1dc1904451ce8ecee7fe3db393
https://kuscholarworks.ku.edu/bitstream/1808/21036/2/altimari_1937_3426424.pdf.txt
e92e77d8ee0dfc1ee98aec692251ca60
This work is in the public domain and is available for users to copy,
use, and redistribute in part or in whole. No known restrictions apply to the
work.
oai:kuscholarworks.ku.edu:1808/121952020-10-15T14:02:42Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The effect of two different rooms on acoustical and perceptual measures of SATB choir sound
Hom, Kathryn Schaefer
Daugherty, James F.
The purpose of this study was to explore the effect of two different rooms (choir rehearsal room, performance hall) on acoustical (LTAS, one-third octave bands) and perceptual (singer [N = 11] survey, listener [N = 33] survey, Pitch Analyzer 2.1) measures of soprano, alto, tenor, and bass (SATB) choir sound. Primary findings of this investigation indicated: (a) significant differences in spectral energy comparisons of choir sound between rooms, (b) choristers' perceptions of hearing and monitoring their own voices differed significantly depending on room, (c) most choristers (82%) perceived that the choir performed best within the Performance Hall, (d) perceived pitch of selected sung vowels within recordings differed significantly based on room conditions, (e) 97% of listeners perceived a difference in choir sound between room recordings, and (f) most listeners (91%) indicated preference for the Rehearsal Room recording.
University of Kansas
2013-08-31
Thesis
en
http://hdl.handle.net/1808/12195
https://kuscholarworks.ku.edu/bitstream/1808/12195/1/Hom_ku_0099M_12858_DATA_1.pdf
36423b4993f4ebcac39864525fdcd5d1
https://kuscholarworks.ku.edu/bitstream/1808/12195/2/Hom_ku_0099M_12858_DATA_1.pdf.txt
e345a8636ede4099ef5f69168f9e7228
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Acoustics
Architecture
Choir
Choral
Perception
Rooms
Singing
Venues
oai:kuscholarworks.ku.edu:1808/148832018-01-31T20:08:05Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Content Analysis of Reasons for Song Choices Among Individuals Receiving Hospice Care
Parker, Laurie
Colwell, Cynthia
The purpose of this study was to describe the reasons for song choices of patients and their loved ones in a hospice setting. In all, 21 patients and caregivers participated in semi-structured interviews that were embedded in music therapy sessions at a Midwest hospice. A content analysis applied to participants' interviews revealed four categories and 14 subcategories related to participants' reasons for their song choices. Categories included (a) concrete connections, (b) intangible connections, (c) music, and (d) relationships. Subcategories related to the four main categories were organized as follows: under concrete connections (a) connections with the past, (b) connections with the present, and (c) connections with the future; under intangible connections (a) beliefs, (b) feelings and desires, and (c) images and stories; under music (a) affective responses and beliefs about music/songs, (b) general references to music/songs, (c) instruments, (d) lyrics, (e) structural elements, and (f) style; and under relationships (a) loved ones and (b) self. These categories and subcategories provide a framework that may be useful in expediting assessment processes and clarifying areas where there is a need for musical or verbal validation by the therapist.
University of Kansas
2014-05-31
Thesis
en
http://hdl.handle.net/1808/14883
https://kuscholarworks.ku.edu/bitstream/1808/14883/2/Parker_ku_0099M_13283_DATA_1.pdf.txt
381327ba6978ecc1804d0ff2ddd14dd6
https://kuscholarworks.ku.edu/bitstream/1808/14883/1/Parker_ku_0099M_13283_DATA_1.pdf
29b0a25b1a113b2c31046c31ca005827
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music education
Hospice
Music therapy
Song choice
oai:kuscholarworks.ku.edu:1808/278512020-10-12T15:18:55Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A MENTAL MODEL OF MUSIC FAMILIARITY AND MUSIC PREFERENCE FOR MUSIC THERAPY PRACTICE
Han, Ruozao
Hanson-Abromeit, Deanna
The purpose of this study was to review the researcher’s initial mental model of music familiarity and preference in music therapy and propose a revised mental model for the use of preferred and familiar music based on psychological and neurological constructs of music preference and familiarity. In order to collect exiting theories of related topics, the researcher identified several key words and then conducted searches in database and reference lists. Based on the psychological and neurological constructs of familiarity and preference, the researcher operationally defined familiar music and preferred music in music therapy context, explained the relationship between familiar and preferred music, and presented a revised mental model. Suggestions for music therapy education and research were made based on these findings.
University of Kansas
2018-08-31
Thesis
en
http://hdl.handle.net/1808/27851
https://kuscholarworks.ku.edu/bitstream/1808/27851/2/Han_ku_0099M_16198_DATA_1.pdf.txt
b8d6ec170c5b03115e7b98168ef5ca39
https://kuscholarworks.ku.edu/bitstream/1808/27851/1/Han_ku_0099M_16198_DATA_1.pdf
03473a3cda4df56180cbd548491eb016
Copyright held by the author.
Music therapy
familiar music
music therapy
preferred music
oai:kuscholarworks.ku.edu:1808/151752017-12-08T21:45:28Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Difference Thresholds for Timbre Related to Amplitude Spectra of Complex Sounds
Kendall, Roger A.
University of Kansas
1975
Thesis
http://hdl.handle.net/1808/15175
https://kuscholarworks.ku.edu/bitstream/1808/15175/1/Kendall_Difference_Thresholds_For_Timbre_Related_to_Amplitude_Spectra_of_Complex_Sounds.pdf
8b0b3f8b3458fa90b8fccb167bafd1d8
https://kuscholarworks.ku.edu/bitstream/1808/15175/3/Kendall_Difference_Thresholds_For_Timbre_Related_to_Amplitude_Spectra_of_Complex_Sounds.pdf.txt
d44881a5e015a15ab77f4b25a47a557b
https://kuscholarworks.ku.edu/bitstream/1808/15175/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
oai:kuscholarworks.ku.edu:1808/270932018-12-03T21:33:17Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Music Therapy in Public School Settings: Current Trends as Related to Service Provision Models
Gillespie, Melissa Lynne
Colwell, Cynthia M
The purpose of this study was to investigate existing school music therapy service provision, including the role of the therapist and models of service delivery to provide an up-to-date overview of the field as of 2017. Participants included board-certified music therapists working in public school settings (n = 217) who completed an online survey of demographic, job, and caseload characteristics; model(s) of service delivery; and decision-making variables that may impact chosen service delivery model(s). This study expands upon previous surveys by providing an updated and more detailed profile of practicing school music therapists and their caseloads, as well as considering variations from “traditional” service delivery models to provide a more complete picture of the public school music therapist in the 21st century. In comparison to the most recent school music therapy survey data from nearly two decades prior (Smith & Hairston, 1999), participating music therapists in the present study had more master’s degrees, were required to have dual certification less often, held more part-time positions, and had worked for less time in schools. Most music therapists provided direct services to whole, self-contained special education classrooms (68.4%). Comparisons of survey results indicate that relationships may exist between the model(s) of service delivery chosen by school music therapists and their (a) number of years employed as a public school music therapist, (b) region of employment, (c) additional certification held, (d) number of music therapists in the district, (e) SPED team model, and (f) how music therapy is listed on the IEP. Further findings and implications for clinicians, administrators, and music therapy educators are discussed. Future studies are warranted to understand the numerous variables related to school music therapy practice, support evidence-based practice, and promote the benefits of music therapy as a related service for students in public school settings.
University of Kansas
2018-05-31
Thesis
en
http://hdl.handle.net/1808/27093
https://kuscholarworks.ku.edu/bitstream/1808/27093/2/Gillespie_ku_0099M_16014_DATA_1.pdf.txt
ba42cd808fb96e461c1a41cf7541bb2d
https://kuscholarworks.ku.edu/bitstream/1808/27093/1/Gillespie_ku_0099M_16014_DATA_1.pdf
d7b577912284cf4f9e427d282f885150
Copyright held by the author.
Music therapy
Special education
models
music therapy
related services
service delivery
special education
survey
oai:kuscholarworks.ku.edu:1808/271142018-12-03T21:33:17Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
An Introduction and Evaluation of a Preventive Music Therapy Intervention in the Context of Poverty: A Conceptual Framework
Listhartke, April
Hanson-Abromeit, Deanna
Poverty is a serious health problem accompanied by many consequential risk factors, that exist within Bronfenbrenner’s ecological systems theory. These environmental and parental risk factors lead to complex trauma and toxic stress. When traumatic events occur early in life, there is a detrimental impact on the development of attachment, self-regulation, language development, and social skills. Preventive interventions can help support these impacted developmental areas. One preventive intervention, Therapist and Music Attuned Co-regulation (TMAC), was developed at an inner-city child development center (ICCDC). This research establishes the theoretical foundation of this intervention within the context of the needs of children and families living in poverty. In addition, a conceptual framework will be discussed and compared to these theoretical foundations. This research includes an evaluation of this intervention and whether it addresses the identified needs of the population, followed by future recommendations to further address the effectiveness of the intervention.
University of Kansas
2018-05-31
Thesis
en
http://hdl.handle.net/1808/27114
https://kuscholarworks.ku.edu/bitstream/1808/27114/2/Listhartke_ku_0099M_15743_DATA_1.pdf.txt
9930908ae393f09788dc4eb86eaa526a
https://kuscholarworks.ku.edu/bitstream/1808/27114/1/Listhartke_ku_0099M_15743_DATA_1.pdf
fd8f266148b73d84052c2f257f84e8e1
Copyright held by the author.
Music therapy
Mental health
intervention
music therapy
poverty
oai:kuscholarworks.ku.edu:1808/184102018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of RAS on Individuals With Total Hip Replacement and Hip Revision Surgery
Rettedal, Scott
Hanson-Abromeit, Deanna
Abstract The purpose of this study was to investigate whether individuals receiving Rhythmic Auditory Stimulation (RAS) during gait training showed statistically significant differences in cadence, stride length and velocity compared to those who only received conventional gait training. Six eligible subjects from three facilities in the Midwest and Southwest agreed to participate, with three assigned to the experimental group that received RAS and three assigned to the control group that did not receive RAS. The experimental group did have higher means for cadence, stride length and velocity, but variability in the data made statistical analysis of the data undesirable. An outlier in the experimental group with extremely high cadence, stride length and velocity skewed the data considerably so no statistically significant differences were found between the experimental and control groups. The number of days subjects spent in rehabilitation appeared to be correlated very closely with their gait parameters. Subjects with more days of rehabilitation had higher cadence, stride length and velocity regardless of whether they were in the experimental or control groups. Implications for future research are discussed.
University of Kansas
2014-12-31
Thesis
en
http://hdl.handle.net/1808/18410
https://kuscholarworks.ku.edu/bitstream/1808/18410/2/Rettedal_ku_0099M_13785_DATA_1.pdf.txt
f3a6867500836e018ab106f533c013ce
https://kuscholarworks.ku.edu/bitstream/1808/18410/1/Rettedal_ku_0099M_13785_DATA_1.pdf
a112ac58ad3cff079e58a07051f50b96
Copyright held by the author.
Music
Gerontology
Physical therapy
0317
0493
0573
oai:kuscholarworks.ku.edu:1808/97372020-09-02T13:19:48Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of Music Therapy on the Maladpative Emotionally Regulative Behaviors of Adults with Developmental Disabilities
Bender, Lisa
Colwell, Cynthia
ABSTRACT The purpose of this study was to examine the effectiveness of individualized music therapy protocols in decreasing the duration of instances of elevated levels of maladaptive emotionally regulative behaviors in adults with developmental disabilities. The participants were four adults with developmental disabilities, recommended for the study based on the presence of severe and/or frequent instances of maladaptive emotionally regulative behaviors. ABAB reversal design was used to examine the effectiveness of the usual staff techniques (A) and the individualized music therapy protocols (B) in decreasing the duration of instances of maladaptive emotionally regulative behaviors. The independent variables were the following two conditions: interacting with each participant while he or she was exhibiting the targeted maladaptive emotionally regulative behaviors at a rate per minute that exceeded the participant's usual rate per minute, using (A) non-music interventions recommended by staff, or (B) individualized music therapy protocols. The dependent variable was the time that elapsed from the onset to the conclusion of each instance of elevated levels of maladaptive emotionally regulative behaviors. Results from the four case studies indicated that music therapy protocols can be used to decrease the duration of instances of elevated levels of maladaptive emotionally regulative behaviors in adults with developmental disabilities, and that music therapy protocols can decrease these behaviors more quickly than the usual staff techniques in most cases. Three out of four participants responded better to the music therapy protocols than the usual staff techniques. The final participant responded to music therapy protocols and staff techniques exactly the same in terms of average duration of instances of elevated levels of maladaptive emotionally regulative behaviors.
University of Kansas
2011-12-31
Thesis
en
http://hdl.handle.net/1808/9737
https://kuscholarworks.ku.edu/bitstream/1808/9737/1/Bender_ku_0099M_11766_DATA_1.pdf
a61868798b1f89dc14fd2b4e80b4a47f
https://kuscholarworks.ku.edu/bitstream/1808/9737/2/Bender_ku_0099M_11766_DATA_1.pdf.txt
df752b2147e7076fad9a40c105710a19
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Behavioral sciences
Behavior
Developmental disability
Emotion
Maladaptive
Music therapy
Regulation
oai:kuscholarworks.ku.edu:1808/219472018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Suite for Big Band
Oatts, Eric Richard
Gailey, Dan
Suite for Big Band is a series of original compositions for a traditional 17-piece large jazz ensemble. The three-movement collection lasts approximately 18-19 minutes in its entirety. The goal of the suite is to present both the audience and performers with an enjoyable and challenging, yet still accessible, composition that utilizes a combination of both modern and traditional jazz-writing techniques. It features many different members of the ensemble, as improvised solo sections are provided for several different individual instrument parts. Each movement contains its own central melodic theme, with other various smaller themes occasionally appearing throughout. There are, however, instances of thematic melodic and harmonic material overlapping between pieces. For instance, the first motivic material presented in the first piece, Second Wind, is the same motivic material that is used to end the final piece, Revival. Each movement is also tonally centered to a different minor scale, with a substantial amount of the underlying harmonies being comprised of a series of stacked perfect fourths and fifths used in combination with both minor and major seconds. The main melody of each movement is also first presented early in a clear fashion by a small group of horns with rhythm section before eventually being joined by the rest of the ensemble. While traditional instrumentation for big band usually utilizes each horn section as a singular cohesive unit, members of each section instead play independently from one another for a majority of each movement of the suite.
University of Kansas
2016-08-31
Thesis
en
http://hdl.handle.net/1808/21947
https://kuscholarworks.ku.edu/bitstream/1808/21947/1/Oatts_ku_0099M_14776_DATA_1.pdf
ddec121f87d539f1237fc1508a94d391
https://kuscholarworks.ku.edu/bitstream/1808/21947/2/Oatts_ku_0099M_14776_DATA_1.pdf.txt
1d6e91f62c569252c5ce90cdc296f01c
Copyright held by the author.
Music
Band
Big
Composition
Jazz
Suite
oai:kuscholarworks.ku.edu:1808/297932020-06-23T21:05:10Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The History of the Fine Arts School at the University of Kansas
Turk-Roge, Janet Louise Coulson
The history of the Fine Arts School at the University of Kansas begins, in a sense, with the history of Lawrence. As early as 1854 there were musical influences in the town, which, after the founding of the university in 1866, were to be found also in the activities of certain early faculty members and musical groups. These factors all contributed to the establishment of the Department of Music, and culminated ultimately in the organization of the School · of Fine Arts. The first chapter of this work deals with these early musical influences leading to the organization of the Department of Music and the appointment of the first Dean. The remainder of the thesis is divided into chapters covering the administration of each Dean of the Fine Arts School.
University of Kansas
1941-12-31
Thesis
http://hdl.handle.net/1808/29793
https://kuscholarworks.ku.edu/bitstream/1808/29793/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
https://kuscholarworks.ku.edu/bitstream/1808/29793/1/coulson_1941_626409.pdf
6438e5ee487a0092e45d3a7c3d70fdd3
https://kuscholarworks.ku.edu/bitstream/1808/29793/3/coulson_1941_626409.pdf.txt
863b93c066e14c245625ebf1dac5afc2
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
oai:kuscholarworks.ku.edu:1808/295882019-11-05T23:51:42Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
"Are You Listening?": Vocal Polyphony in the Christian Rock Music of Emery
Schneider, Alexandria
Roust, Colin
Osborn, Brad
To many, the inception of Christian rock threatened the moral and religious stability of America due to its ties to rock and roll. Preachers and religious leaders spoke out against this combination of the “music of the devil” and gospel-proclaiming lyrics. Though the subgenre was gradually more accepted over time, Christian musicians faced a new challenge when they realized they had isolated themselves from a wider audience by occupying the “gospel” and “worship” sections of the record store. The Christian music industry simultaneously produced more “radio-friendly” music, while also creating their own Christian radio stations, retailers, and record labels as outlets for this music. This led to the emergence of dismissive assumptions that Christian musicians are only in the business for money and that Christian music is cheap imitation of secular music, which is more authentic. All of this points to a prevailing stereotype that in Christian rock, sincerity and compositional complexity are sacrificed for the sake of marketability and mass appeal. This thesis seeks to uncover and analyze Christian rock that has been largely overlooked by those who believe and perpetuate negative stereotypes about the subgenre. A history of Christian rock is presented in a way that existing literature on the subject has yet to accomplish. Chapter 2 includes people and events that challenge prevailing misguided beliefs about the subgenre. This includes the formation of Tooth & Nail Records and bands signed to the label who produced music that is both compositionally complex and sincere in its expression of Christian faith. The band Emery, whose history and genre classification are explored in Chapter 3, is used as a case study. Chapter 4 is an analysis of the diverse patterns of vocal polyphony in Emery’s music. Emery uses two types of this vocal polyphony: alternating and simultaneous. I have identified these same alternating and simultaneous polyphonic vocals in other contemporary rock subgenres such as emo, pop punk, indie rock, and others. This analysis of vocal polyphony in Emery’s music uncovers an area of popular music theory that should be explored further in future research.
University of Kansas
2019-05-31
Thesis
en
http://hdl.handle.net/1808/29588
https://kuscholarworks.ku.edu/bitstream/1808/29588/2/Schneider_ku_0099M_16579_DATA_1.pdf.txt
4700bdfa2691fc348b7bd080d7a1078c
https://kuscholarworks.ku.edu/bitstream/1808/29588/1/Schneider_ku_0099M_16579_DATA_1.pdf
3116509c0a9845ef8f07151681514555
Copyright held by the author.
Music theory
Music history
Music
Christian rock
Emery
Jesus music
music theory
polyphony
rock
oai:kuscholarworks.ku.edu:1808/148992017-12-08T21:46:53Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
History of folk music
Stone, Miriam Rose
University of Kansas
1914-01-01
Thesis
http://hdl.handle.net/1808/14899
https://kuscholarworks.ku.edu/bitstream/1808/14899/3/Stone_FolkMusic.pdf.txt
eed14baedee3fea6569220d86c4c7aef
https://kuscholarworks.ku.edu/bitstream/1808/14899/1/Stone_FolkMusic.pdf
79b25fc7d4e404e9520786ce77934508
https://kuscholarworks.ku.edu/bitstream/1808/14899/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
oai:kuscholarworks.ku.edu:1808/254002018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Effects of Conductor Preparatory Gesture Direction on Abdominal Expansion of Teenage Singers
Stefan, Emily Jade
Grady, Melissa L
This study examined teenage participants’ (N=30) lateral abdominal expansion while breathing before singing America and viewing a videotaped conductor demonstrating an upward or downward preparatory gesture. PhiMatrix grid overlay software placed over participant videos allowed for measurement of abdominal expansion in millimeters. Results indicated: (a) a difference in abdominal expansion measurement, although not significant, between breaths taken while observing upward and downward conductor preparatory gestures; (b) no significant overall difference on measurement of lateral abdominal expansion when comparing all participants; (c) participants with knowledge of diaphragmatic breathing had consistently larger abdominal measurements than participants with little to no knowledge; (d) male participants consistently displayed larger abdominal measurements when compared to female participants in three out of the four categories; (e) female participants demonstrated a larger abdominal measurement while viewing the downward preparatory gesture than while viewing the upward preparatory gesture; and (f) participants with more choir experience results were not significantly different than participants with less choir experience.
University of Kansas
2017-05-31
Thesis
en
http://hdl.handle.net/1808/25400
https://kuscholarworks.ku.edu/bitstream/1808/25400/2/Stefan_ku_0099M_15258_DATA_1.pdf.txt
87c8ee5771b2d6fc7a93f8a7067a3736
https://kuscholarworks.ku.edu/bitstream/1808/25400/1/Stefan_ku_0099M_15258_DATA_1.pdf
d47bee4edafeb27c50048f49fcc80286
Copyright held by the author.
Music education
Behavioral psychology
Music
Abdominal Expansion
Breathing
Conductor Gesture
Diaphragm
Preparatory
Singers
oai:kuscholarworks.ku.edu:1808/278632019-08-27T18:10:28Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
An Interpretative Phenomenological Analysis of Music Therapy Clinical Supervision Process
Tu, Wei-Hsuan
Colwell, Cynthia M
The aim of this Interpretative Phenomenological Analysis (IPA) study was to explore the process of clinical supervision for music therapy practicum from the perspective of the supervisor. Supervised clinical training in music therapy is required of student music therapists as part of their academic and clinical training prior to being qualified to take the board-certification exam. While music therapy supervision has been studied from different vantage points, the literature appears limited regarding the perspective of the supervisor in that process. With IPA as the methodology of the current study, the author conducted semi-structured interviews to investigate six supervisors’ lived experiences and sense-making process of the process of clinical supervision. Twelve superordinate themes emerged as a result of data analysis, suggesting that supervisors’ past experiences were impactful for their own growth in making effective decisions regarding supervisory models/approaches, techniques and formats. Supervisees’ behavior, personality characteristics and clinical potential were factors that impacted the supervisor’s perception of the supervisory process and supervisory relationship established on personal perspectives.
University of Kansas
2018-12-31
Thesis
en
http://hdl.handle.net/1808/27863
https://kuscholarworks.ku.edu/bitstream/1808/27863/2/Tu_ku_0099M_16312_DATA_1.pdf.txt
26647e41fbc8c549b308879a55997078
https://kuscholarworks.ku.edu/bitstream/1808/27863/1/Tu_ku_0099M_16312_DATA_1.pdf
24a529691f115af190798207551dcd3a
Copyright held by the author.
Music therapy
Counseling psychology
Education
Interpretative Phenomenological Analysis
Music Therapy
Semi-Structured interview
Supervision
Supervisor
Supervisor's training
oai:kuscholarworks.ku.edu:1808/194332018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
MUSICAL RHETORIC: AN AGENCY OF EXPRESSION IN HEINRICH SCHÜTZ’S MATTHÄUS-PASSION
Maize, Joshua Lee
Laird, Paul
This is an analysis of the ways in which the German Baroque composer Heinrich Schütz (1585-1672) incorporated musical rhetoric into his Matthäus-Passion (St. Matthew Passion). The utilization of musical rhetoric in compositions developed out of the musica poetica tradition, linked especially to North German Lutheran composers. Musica poetica thrived among composers of this religious sect primarily because of three principles: (1) what Lutheran’s perceived as music’s divine nature; (2) the concept of the affections; and (3) the development of rhetoric from speech. This study looks at all three of these aspects as well as the development of the Passion genre, and the major Italian influences that Schütz incorporated into his Matthäus-Passion that resulted in a work steeped in textual expression and dramatic presentation. Schütz regularly employed musical devices rooted in the musica poetica tradition immersed in the affections and understanding his use of affections and rhetoric provides insight into how he composed, his approach to narrative texts, and his commitment to textual expression through musical-rhetorical figures.
University of Kansas
2015-05-31
Thesis
en
http://hdl.handle.net/1808/19433
https://kuscholarworks.ku.edu/bitstream/1808/19433/1/Maize_ku_0099M_13940_DATA_1.pdf
b8e90ca3ce3d4b963aeba82b455625a3
https://kuscholarworks.ku.edu/bitstream/1808/19433/3/Maize_ku_0099M_13940_DATA_1.pdf.txt
2e11c30dd0102a2c72487d8524c11ab7
Copyright held by the author.
Music
Musica Poetica
Passion
Rhetoric
Schütz
oai:kuscholarworks.ku.edu:1808/108862020-09-25T14:13:13Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The effect of selected auditory presentation conditions of a picture song-book on preschool children's word recall
Davis, Shirley Anne
University of Kansas
1994
Thesis
en_US
http://hdl.handle.net/1808/10886
https://kuscholarworks.ku.edu/bitstream/1808/10886/3/Davis_1994_medium.pdf.txt
ec58d2e1845f5cf856142b52567ca2a7
https://kuscholarworks.ku.edu/bitstream/1808/10886/1/Davis_1994_medium.pdf
badda2fd5b9b233926bb5be5f57bc0fe
https://kuscholarworks.ku.edu/bitstream/1808/10886/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
oai:kuscholarworks.ku.edu:1808/129932020-10-19T14:20:53Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Activity Leader Facilitation of a Rhythm Activity to Engage Persons with Late Stage Alzheimer's-Type Dementia: A Feasibility Study
Coury, Sarah Nicole
Colwell, Cynthia
The purpose of this study was to determine if an activity leader with little to no formal music background could engage individuals with late stage Alzheimer's-type dementia in a rhythm activity following training by a board-certified music therapist. Persons with late stage Alzheimer's-type dementia were eligible to participate if they had a diagnosis staging at a level five or six according to the Global Deterioration Scale for Assessment of Primary Degenerative Dementia (GDS), which was found in the individual's medical file. The activity leader was eligible to participate based on their limited musical background as determined by responses on a questionnaire. Training sessions conducted by a board certified music therapist were designed for the activity leader to develop skills to deliver a structured 12-minute rhythm activity for persons with dementia. Following training the activity leader conducted three rhythm activities with a group of four facility residents. A trained observer was present at all experimental sessions to record engagement responses. Outcome measures included reliability testing. The measure of reliability testing between the trained observer and the investigator revealed a high level of agreement for varying types of engagement (97.9% to 100%). Quantitative data of percentages from each type of engagement for each resident (n = 4) provide percentages that show greater engagement to a rhythm activity than a Bingo activity. Engagement levels of residential participants during a rhythm activity ranged from 0% to 88%, while the Bingo activity engagement levels ranged from 0% to 77%.
University of Kansas
2013-12-31
Thesis
en
http://hdl.handle.net/1808/12993
https://kuscholarworks.ku.edu/bitstream/1808/12993/2/Coury_ku_0099M_13096_DATA_1.pdf.txt
67f9825230928c7e0e3d35de8db56d2e
https://kuscholarworks.ku.edu/bitstream/1808/12993/1/Coury_ku_0099M_13096_DATA_1.pdf
78989a5c0b70b6fb7d1e8deafdb3b7ef
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Music
Activity leader
Alzheimer's disease
Dementia
Music therapy
Rhythm activity
oai:kuscholarworks.ku.edu:1808/312252021-02-04T01:56:23Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A Comparative Analysis of Goals and Programs for College Level Group Piano Instruction in Kansas
Umberger, Gayle J.
This study was a comparative analysis of group piano programs and goals between the secondary two-year schools and the four-year schools of Kansas. A four-part survey was mailed to all group piano instructors of college piano classes; the. results were returned by mail; and the answers were analyzed by computer. Results indicated no significant differences occur between goals and programs of group piano classes in the two-year schools and the goals and programs of the four-year schools.
University of Kansas
1981-05-31
Thesis
http://hdl.handle.net/1808/31225
https://kuscholarworks.ku.edu/bitstream/1808/31225/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
https://kuscholarworks.ku.edu/bitstream/1808/31225/3/umberger_1981_740789.pdf.txt
7e3e98207ec010a0604f5e464b55f1da
https://kuscholarworks.ku.edu/bitstream/1808/31225/1/umberger_1981_740789.pdf
910ab894ca29ab3bf81be1327034a53a
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Piano--Instruction and study--Kansas
uketd_dc///col_1808_14144/100