The purpose of this study was to investigate the effect of approvals and disapprovals about the music from the teacher and rehearsal familiarity on the students' preference for the music. Eight middle schools participated in the study with students (N = 440) ranging from sixth to eighth grade. Each of the eight schools was assigned a different treatment condition. Teachers were given either one or two pieces to rehearse with their most advanced level band while giving treatment comments (approval, disapproval, or instruction only) that were provided in a score. Teachers rehearsed the piece(s) for a total of five rehearsals. After the fifth rehearsal, students were given a listening survey to rate their preference for six examples of band music including the two pieces that were used in the study. Students also rated their preference for performing the treatment pieces and were ask to choose one for possible performance. The results of this study indicate that the treatment conditions had a significant effect on both listening and performance preferences. Approval was not significantly different than instruction only or no experience, but significantly different than disapproval in both pieces. The approval condition increased the students' reported music preference more than the disapproval condition. Students who experienced the music through rehearsal rated the music significantly higher than music that was not rehearsed. In cases where both treatment pieces were rehearsed in class, students tended to have the same amount of preference for both pieces, regardless of treatment. Results of this study could be useful to music educators to increase student preference for music performed in class and to improve the music classroom experience. Future research should incorporate actual concert music and include concert performance as a factor that influences music preference. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Summer Semester, 2005. / Date of Defense: May 26, 2005. / Music Preference, Middle School Band, Performance, Familiarity / Includes bibliographical references. / John M. Geringer, Professor Directing Dissertation; Patrick Meighan, Outside Committee Member; Clifford K. Madsen, Committee Member; Patrick Dunnigan, Committee Member; Steven N. Kelly, Committee Member.

Music therapy is an established healthcare profession with evidence-based, adaptive therapeutic applications providing a unique and valued role within the neurologic healthcare setting. Neuroscientific research in music is giving rise to new ideas, perspectives, and methods for the music therapy development of more effective therapeutic interventions for persons living with Parkinson's disease. Research in music therapy and in other areas such as neuroscience, physical, speech, and occupational therapy have established scientific evidence supporting the effect of rhythmic and musical stimulation on motor and non-motor symptoms of Parkinson's disease and parkinsonism. The contemporary music therapy neuroscience approach integrates the functional use of external rhythmic cueing and other music-based methods with a variety of research supported strategies to enhance the quality of life for the individual living with Parkinson's. This thesis provide a complete literature review, detailed description of Parkinson's disease and its symptoms, and an evidence-based music therapy curriculum for clinical treatment of this population. In fall 2008, a music therapy clinical pilot program was created and developed as a community outreach for persons living with Parkinson's disease. Music therapy curriculum evolved from this program which is currently on-going with a weekly consistent attendance. This music therapy clinical movement program entails a progression of simple to more complex movement initiations utilizing musical stimuli and external auditory cueing applied to a range of motor activities implemented at a specific number of beats per minute (BPM). Evidence-based activities include specific stretches and exercises to decrease rigidity, increase joint mobility, decrease bradykinesia and akinesia of gait initiation, and positively enhance mood. Motor-neuro exercises from the Unified Parkinson's Disease Rating Scale (UPDRS) are also utilized. Patient preferred music is used to increase motivation to perform activity while improving fine motor coordination and motor initiation responses. Initial simple to complex movement patterns to specific rhythmic stimuli progress to structured ballroom dancing and adapted line dancing. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music.. / Degree Awarded: Spring Semester, 2010. / Date of Defense: February 10, 2010. / Community Outreach, Integrative, Exercise, Movement, Dance, Physical, Curriculum, Clinical, Rehabilitation, Neurologic, Parkinson's Disease, Music Therapy / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Alice-Ann Darrow, Committee Member; Clifford Madsen, Committee Member.

The purpose of this study was to determine the effect of music therapy on the spirituality of persons in an in-patient hospice unit as measured by self-report. Subjects (N=10) were used as their own control in an ABAB design format. Session A consisted of approximately 30 minutes of music therapy, after which the patient/subject responded to a spiritual well-being questionnaire; session B consisted of approximately 30 minutes of a non-music visit, after which the patient/subject responded to a spiritual well-being questionnaire. The spiritual well-being questionnaire used in this study is an 18-item, religiously non-specific, self-report questionnaire using a Likert Scale of six degrees adapted from the Spiritual Well-Being Scale (Ellison & Paloutzian, 1982). All subjects gave written consent prior to participation in the study. Data results were graphically and statistically analyzed after four visits and four spiritual well-being questionnaires were completed for each subject. Results indicate a statistically significant increase in scores on music days. / A Thesis submitted to the School of Music in partial fulfillment of the Requirements for the degree of Master of Music. / Degree Awarded: Fall 2003. / Date of Defense: October 6, 2003. / Spirituality, Music Therapy, Hospice / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Clifford K. Madsen, Committee Member; Dianne Gregory, Committee Member.

The purpose of this study was to compare the characteristics that influence the success of high quality band programs in schools having a large proportion of economically disadvantaged students (LSES) and schools having a small proportion of economically disadvantaged students (HSES). Perceptions about the causes for success of the band program were examined, along with the relationship of perceptions among participants at schools having LSES and HSES status. Further examined were students' value of the music program in their lives along with the teachers' and principals' perceptions of the value of the music program for the students. High school students (n=414), band directors (n=10), and principals (n=10), rated thirty-two questions about perceptions for success of the band program using a seven-point Likert-type rating scale, rank-ordered a check-list of perceptions of the success of the band program, and rated twelve statements about the value of participation in band using a seven-point Likert-type rating scale. At the end of the questionnaire, many participants wrote comments indicating their perceptions. Results indicated students, teachers and principals perceived "Band director's high expectations" had the most influence on the success of the band program. Other characteristics with highest mean scores common to all three groups were, "Band director's knowledge," and "Tradition of success." Likewise, "Student private lessons" was perceived by all three groups to have very little influence on the success of the band program. Other characteristics within the lowest mean scores and common to the three groups were "Successful fundraisers," "Adequate funding," "Quality feeder schools (middle schools)," and "Other directors coming in to help." Students rated the statements "It has given me musical experiences" and "It has taught me musical skills," to most reflect the value of band in their lives, while band directors perceived "It teaches them life skills," as most reflective and principals perceived "It gives them a place to belong." Students perceived "It gives me a reason to come to come to school" as the least reflecting the value of band in their lives. Overall, students from LSES schools perceived most of the statements to reflect the value of band in their lives to a greater extent than the students from the HSES schools. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Summer Semester, 2011. / Date of Defense: June 15, 2011. / Music Edcuation, Successful, Socioeconomic, Status Band / Includes bibliographical references. / Steven N. Kelly, Professor Directing Dissertation; Deborah Bish, University Representative; Judy K. Bowers, Committee Member; Alice-Ann Darrow, Committee Member.

The purpose of this study was to investigate the repertoire and therapeutic techniques utilized by hospice music therapists. An electronic survey consisting of two sections was sent to 134 hospice music therapists through email. Of these, only 40 music therapists completed the survey, creating a return rate of 30%. The first section of the survey pertained to the songs music therapists use the most frequently in the following five genres: Oldies (popular music prior to 1950); Religious/Spirituals; Country/Western; Musicals; and Popular (popular music from 1950 to the present). The second section of the survey compiled a list of 20 therapeutic techniques and the music therapists were asked to rate how frequently they use each technique. The results for this study revealed a total of 577 song recommendations for all five genres. The genres which received the most song recommendations were Popular (n = 146) and Oldies (n = 139). Additionally, results found all listed techniques, with the exception of one, were used by at least one music therapist to some degree within the hospice setting. Further results are discussed in the paper. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Therapy. / Degree Awarded: Summer Semester, 2011. / Date of Defense: May 18, 2011. / Hospice, Music Therapy Techniques, Repertoire, Music Therapy / Includes bibliographical references. / Kimberly VanWeelden, Professor Directing Thesis; Jayne M. Standley, Committee Member; Dianne Gregory, Committee Member.

This study examined the effects of music therapy with a psychoeducation curriculum with 40 heterogeneously diagnosed adult psychiatric patients. This study used two pre/posttests, Life Skills Attitude Questionnaire (LSA) and Community Living Competencies evaluation (CLC) and subjects? perceptions of sessions as indicated by the Session Evaluation and Response Sheet (SERS). Scores on the LSA and CLC were found to be significant between groups using a Mann-Whitney U statistic test. Future research implications are discussed. / A Thesis submitted to the School of Music in partial fulfillment of the Requirements for the degree of Master of Music. / Degree Awarded: Summer Semester, 2004. / Date of Defense: June 15, 2004. / Mental Health Patients, Music Therapy, Psychoeducation, Lyric Analysis, Pre/Post-Tests / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Clifford Madsen, Committee Member; Dianne Gregory, Committee Member.

Teachers often have a unique philosophy and teaching style based on the sum of their learning experience. That experience may include contact with their teachers, colleagues and students. When a student comes in contact with a large number of teachers, he has more source material from which to draw in his own teaching. The purpose of this document is, to present an in-depth descriptive narrative of individual lessons taught by university clarinet professors, highlighting their teaching style and philosophy and to provide a biography and personal interview. This study aims to bring light to the teaching philosophy, application of that philosophy, character and content of instruction, and interaction between student and professor. It is not the purpose of this study to comment on the validity of individual teaching styles, but rather to shed light on that style. This allows the reader to examine a collection of pedagogical approaches to the clarinet. The qualitative methodology used in this study included the observation of two lessons and a personal interview with each participant. The participants include Deborah Chodacki, Howard Klug, Frank Kowalsky, Richard MacDowell, Fred Ormand, Robert Spring, Elsa Ludewig-Verdehr, John Weigand, and their respective students. The delimitation of this study is that all the professors have had at least ten years of university teaching experience. Students may increase their knowledge and understanding of clarinet playing and performance by applying concepts learned from this study. Inexperienced teachers, while forming their own teaching style and environment, might do well to emulate a more experienced teacher, and more experienced teachers might broaden and enhance their own lesson content and style. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Degree Awarded: Fall Semester, 2005. / Date of Defense: November 2, 2005. / Robert Marcellus, Stanley Hasty, Robert Spring, Fred Ormand, John Weigand, Richard Macdowell, Howard Klug, Clarinet, Pedagogy, Teaching, Observation, University, College Teaching, Interview, Frank Kowalsky, Deborah Chodacki, Elsa Ludewig-Verdehr / Includes bibliographical references. / Frank Kowalsky, Professor Directing Treatise; Carolyn Ann Bridger, Outside Committee Member; Eric Ohlsson, Committee Member.

The purpose of this study was to examine the effects of preferred recorded music on heart rate, perceived pain and total exercise capacity during regular physical therapy exercises prescribed for sports related injuries. Subjects included 16 male and 10 female athletes who were referred by an orthopedic surgeon for Physical Therapy at the Tallahassee Orthopedic Sports Physical Therapy Clinic. Participants were randomly assigned into two groups, (a) physical therapy with music, and (b) physical therapy without music. A two-sample, independent method of measurement was used. Pre-tests were completed on visit one and post-tests completed on visit four. Music was not used with any subject on visit one. Baseline measurements of each variable were recorded and subjects were randomly assigned to either the music group or the control group. The control group exercised for three sessions without music. The experimental group exercised for three sessions with music. The investigator returned on the fourth visit to record final measurements of heart rate, pain perception and total exercise capacity. Differences in post-test data between groups were then compared using the Mann-Whitney U Test. Results indicated no significant differences between groups; however, mean scores for post-test data show that subjects in the music group experienced similar heart rate averages, less pain and a greater increase in total capacity of exercise. Subject's verbal feedback indicated that music during exercise increased exercise enjoyment. Only two out of the 26 participants stated that music was not part of their regular exercise routine. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Degree Awarded: Spring Semester, 2008. / Date of Defense: April 7, 2008. / Physical Rehabilitation, Heart Rate, Pain Perception, Music / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Alice-Ann Darrow, Committee Member; Dianne Gregory, Committee Member.

This treatise "György Ligeti's Piano Études: A Polyrhythmic Study" focuses on polyrhythm in his Piano Études. The purpose of this study is to present the complex polyrhythmic sections that are influenced by African Music, Conlon Nancarrow's player piano music, fractal theory, hemiola, and gamelan music. For this project, the rhythmic sections of the Piano Études are reviewed from two different perspectives: the influence of Nancarrow's player piano music which usually conveys polytemporal relationship, and African music which often provides a repeated rhythmic pattern like ostinato. In addition, this document presents technical problems and solutions for Ligeti's Piano Études, including score reading, fast tempo, perpetual pattern with accentuation, dynamics, and polyrhythmic sections. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Degree Awarded: Summer Semester, 2009. / Date of Defense: April 14, 2009. / Ligeti, Polyrhythm, Etudes, Études, Piano, György, Nancarrow, Fractal, Gamelan, Hemiola, African Music, Polytempo / Includes bibliographical references. / James Nalley, Professor Directing Treatise; Jane Piper Clendinning, Outside Committee Member; Karyl Louwenaar, Committee Member.

Adolescent emotions are constantly changing as new life experiences and freedoms begin to emerge from daily life activity. This study investigated the emotional attribution patterns of adolescents using a concise emotional inventory. The concise emotional inventory used in this study was taken from an original study conducted by Madsen, Madsen, and Madsen (2009) which assessed the emotional attribution patterns of college-aged students. The researcher modified the concise emotional inventory by changing questions to better suit the adolescent population. This slightly modified scale was then used with adolescents. The scale consisted of twenty three questions and each question was answered using an 11 point Likert scale. The scale on the inventory appeared as -5, -4, -3, -2, -1, 0, 1, 2, 3, 4, 5, covering a range from negative through positive response. The inventory concluded with a section that allowed each participant to organize their highest and lowest scores, analyze them, and determine if any further actions or improvements were necessary. In the present study, comparisons were made with sixth- through twelfth-grade students at a large school in Northern Florida (N = 250). Comparisons from the results of the present study and results from the original study (Madsen, Madsen, and Madsen, 2009), indicated that there were in general many similarities and several differences between the emotional states of adolescents compared to college-age students. Results of the current study indicated that when participants were asked to rate their current emotional state "this morning," participants displayed the lowest mean. Also, where participants were asked to rate their current emotional state regarding "future schooling," participants displayed the highest mean. Adolescent participants were able to recognize and analyze emotional attribution as well as determine if the results were trivial or consequential. Suggestions for beneficial uses of the instrument by educators and mental health professionals are discussed. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Therapy. / Degree Awarded: Spring Semester, 2011. / Date of Defense: April 4, 2011. / Music Therapy, Assessment, Inventory, Emotional Attribution, Emotion, Adolescent, Music Education, Anxiety, Stress / Includes bibliographical references. / Clifford Madsen, Professor Directing Thesis; Jayne M. Standley, Committee Member; William Fredrickson, Committee Member; Alice-Ann Darrow, Committee Member.