Thesis (M.A.)--Ohio State University, 1941. / Includes bibliographical references (leaves 64-65). Available online via OhioLINK's ETD Center.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript. Sponsor: Harry R. Wilson. Dissertation Committee: Robert Pace, Sloan Wayland, . Type C project. Includes bibliographical references (leaves [111]-113).

Thesis (MMus (Music))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: Die Kersfeesorkeste is ‟n Christelike tradisie binne die Kleurling-gemeenskap van die Wes-Kaap wat dissipline en goeie waardes by lede van hierdie gemeenskap inboesem en musiek in voorheen benadeelde en minderbevoorregte sektore van die samelewing bevorder. Die geskiedenis en agtergrond van die Kersfeesorkeste is soortgelyk aan dié van die Kaapse Klopse en die Maleierkore, wat veral prominent na vore kom tydens die Kersfees- en Nuwejaarsfeestelikhede in die Kaap. Alhoewel hierdie drie groepe ‟n nou verbintenis tot mekaar het en dikwels deur die publiek saamgroepeer word, funksioneer hulle onafhanklik van mekaar en is daar beduidende verskille in kultuur, repertoire, kleredrag, organisatoriese struktuur en samestelling. Hierdie studie fokus op die Perseverance Kersfeesorkes en ondersoek dié orkes in sy vele fasette binne die raamwerk van wat in die musiekwetenskap deesdae “gemeenskapsmusiek” genoem word. Die kenmerke van die begrip “gemeenskapsmusiek”, soos dit in die laaste 15 jaar in ander lande geformuleer is, word aan die hand van die Perseverance Kersfeesorkes getoets om uit te vind of die Perseverance Kersfeesorkes as ‟n voorbeeld van gemeenskapsmusiek beskou kan word en, omgekeerd, of die begrip “gemeenskapsmusiek” aan die hand van hierdie geval in alle opsigte gepas is of dalk aangepas moet word. / ENGLISH ABSTRACT: Christmas Bands are a Christian tradition within the Coloured community of the Western Cape that instils discipline and values amongst members of this community and promotes music within previously disadvantaged and under-privileged sectors of society. The history and background of the Christmas Bands is similar to that of the Cape Minstrels and Malay Choirs, who are very prominent during the Christmas and New Year festivities in the Cape. Although these three groups have a close connection they function independently of each other. There are significant differences amongst these groups in respect of culture, repertoire, uniform, organisational structure and composition. This study focuses on the Perseverance Christmas Band and examines this band in all its different facets within the framework of what, in current musicological terminology, is called “community music”. The characteristics of the concept of community music, as they have been formulated in other countries over the last 15 years, are tested against the Perseverance Christmas Band to determine whether the Perseverance Christmas Band should be understood as a example of community music and, vice versa, whether the concept of community music itself is valid when measured against the Perseverance Christmas Band or whether it needs adjustment or expansion.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Ernest E. Harris. Dissertation Committee: Norval L. Church, Paul L. Essert. Bibliography: leaves [124]-135.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1959. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 298-303).

Background: This context statement describes the formation and organisation of a community music centre www.coda.org.uk from the personal story and perspective of the founder and director. The work was undertaken at a time (1995 – 2005) of changes in music education in the UK and changes to the funding environment for the arts. It includes the background to the formation of the Music Research Institute www.mri.ac.uk. The paper is supported by evidence of correspondence, the author’s own writings from a national music education magazine, annual reports from the time and the author’s own examples of music, workshops and perfomances. Methods: The statement uses an autoethnographic approach with a retrospective analysis of the story placing the work into the organisational, educational and social context of the time. It explores through developmental models the drivers for the direction and decisions made to fund and grow the organisation. Case studies and evidence in piano tuition, music therapy and governance are used to support the statement. Conclusions: The statement identified aesthetic and organisational connections and threads of relationships that became concrete in the culture and style of the organisation. It also identified challenges of funding a large capital project in community music making set against an establishment and conservatoire ecology of music making and learning. The statement concludes by defining a six point list of innovations of combining formal and informal music making within a centre for life-long learning for all ages and all abilities.

Using Ezra Schabas’ (1966) report on Ontario community orchestras as a catalyst for inquiry, this dissertation examines the nature of amateur orchestras, arguing that they may be reconceptualised as unique, socio-musical communities of practice through an exploration of several factors which influence their health and sustainability. These include: aspects of amateur musical engagement; the relationship between amateur musicians and the various professional actors found in the amateur context; the importance of ensemble-based music education as a crucible for the development of individual artistry, life-long musical learning, and a socio-musical skill set which will encourage and enhance future orchestral participation; the adoption of new, creative and collaborative practices as pathways to improved socio-musical awareness and artistic freedom; and an approach to public engagement which celebrates diversity, embraces cultural democracy, and fosters community cohesion among players and the public. These concepts are explored against the backdrop of two contrasting paradigms of practice: the traditional symphony orchestra and Community Music. This comparison suggests a new paradigm for amateur orchestras, embodying the characteristics of amateurism, socio-musical cohesion, and community engagement, which can properly be described as “community orchestras.

This ethnographic study contextualized identity development and maintenance within the field of community music through case studies of four performing groups and interviews with seven current members. The underlying question guiding this research was how does participatory music making contribute to the development and maintenance of identity in older adult community musicians? This research was positioned in the milieu of four nonformal community music ensembles in the Pacific Northwestern United States: the Tacoma Concert Band, the South Puget Sound New Horizons Band, Samba OlyWA, and the Artesian Rumble Arkestra. While nuances were evident in the characteristics, ideals, instructional praxis, and values of each ensemble, regardless of the setting (traditional versus nontraditional), results indicate participants developed social, musical, and group identity through community music participation. Results showed that participants created social identities through social learning by modeling group behaviors and practices, and displayed role identities based on positions held within their ensembles. Meanings for these roles may have been altered by participants’ previous experiences—such as a hiatus from playing—or by the nature of their respective ensembles, the inclusiveness of the ensemble, or the perceived level or purpose of the ensemble. Participants cherished the social connections made through their ensembles. Group membership opened doors to allow them to interact with other people with the same passion, helped to build confidence through compliments, energize social justice and community matters and events, sustain a passion for rhythm and harmony, maintain and refresh knowledge of music, preserve the joy in playing an instrument, develop self-satisfaction in playing music, and build memory. Participants agreed they were music-makers; however, each held a different meaning for the role of musician. Most participants identified as a musician with a qualified response of but: …I’m not very good; …I’m only a beginner; et cetera. Limitations for self-identification as a musician included a lack of interest or time for practice, viewing participation as a hobby, or a greater focus on social activism, inclusion, or community over performance.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 19, 2004, Feb. 24, 2005, Apr. 22, 2005, and July 12, 2006. Includes bibliographical references (p. 43-46).

Syftet med denna uppsats är att utifrån ett hermeneutiskt perspektiv utforska några inom musikterapiområdet insatta personers uppfattningar om Community Music Therapy inom svensk musikterapi, utifrån frågeställningarna: Hur uppfattas det svenska musikterapilandskapet? Vilken betydelse anses inriktningen Community Music Therapy ha inom svensk musikterapi? På vilka sätt och inom vilka samhällsområden i Sverige anses CoMT kunna fylla en funktion? Uppsatsen grundar sig i hermeneutisk vetenskapsfilosofi och metoden utgörs av kvalitativa, halvstrukturerade intervjuer som analyserats utifrån tematisk analys. Resultatet består av en tre metaforiska teman: Vilse i behandlingslandskapet, med undertemana Svårt att synas och höras, Som en smygande kameleont samt En glänta dit solljuset når ner. Det andra temat är Ett öppnat landskap, med undertemana Spår i landskapet samt Alfahannarna i granndjungeln. Det tredje temat är In i ny och okänd terräng. Uppsatsen avslutas med en diskussionsdel, inklusive en metoddiskussion, tankar kring arbetets betydelse samt fortsatt forskning.