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The purpose of this research was to examine the potential relationship between students’ degree of familiarity with repertoire common to beginning band method books and aural-based music achievement after one year of study. Three research questions guided this study: (1) Which songs from the Familiar Repertoire Survey (FRS) are reported as being the most and least familiar to the sample? (2) For a familiar song, “Lightly Row,” can FRS scores predict (a) Familiar Music Achievement Singing Test (FMAST) scores, (b) Familiar Music Achievement Playing Test (FMAPT) scores, (c) Familiar Music Achievement Improvisation Singing Test (FMAIST) scores, and (d) Familiar Music Achievement Improvisation Playing Test (FMAIPT) scores? (3) For an unfamiliar song, “Finish Line,” can FRS scores predict (a) Unfamiliar Music Achievement Singing Test (UMAST) scores, (b) Unfamiliar Music Achievement Playing Test (UMAPT) scores, (c) Unfamiliar Music Achievement Improvisation Singing Test (UMAIST) scores, and (d) Unfamiliar Music Achievement Improvisation Playing Test (UMAIPT) scores? Participants (N = 17) were fifth and sixth grade students enrolled in their second year of beginning band in a New Jersey elementary school. I created two measurement instruments: FRS, designed to gauge the breadth and depth of students’ familiarity with songs common to beginning band method books, and the Music Achievement Test (MAT) designed to measure aural-based music achievement in singing, playing by ear, and improvising on a familiar and unfamiliar song. In the first session, participants completed FRS by listening to songs common to beginning band books and completing a Likert-type survey on their familiarity with each song. Later, participants watched MAT through an interactive video which prompted them to complete eight musical subtests. I recorded all performances. Judges rated each performance with two rating scales. I analyzed the frequency of responses for each song and found “Hot Cross Buns,” “Jingle Bells,” “Pierrot,” “Lightly Row,” and “London Bridge” to be the most familiar songs. Through linear regressions, I analyzed the ability of FRS to predict MAT scores. I found a significant regression equation between FRS and its ability to predict FMAST scores and UMAIST scores. The current exploratory study contained many limitations which restricts its generalizability to other beginning band populations; however, six conclusions can be made. Familiarity with common beginning band repertoire as represented by a selection of 24 songs common to beginning band method books does not predict students’ achievement (a) singing an unfamiliar song, (b) demonstrating through singing improvisation based on a familiar song, (c) playing by ear a familiar or unfamiliar song, and (d) improvising on an instrument, whether improvising within the context of a familiar or unfamiliar song. Familiarity with common beginning band repertoire does predict students’ achievement (a) singing a familiar song and (b) demonstrating through singing improvisation based on an unfamiliar song. / Music Education / Accompanied by one .mp3 file and one .xlsx file (Microsoft Excel 2007).

The effect of group improvisational music therapy on depression in adolescents and adults with substance abuse was investigated. It was hypothesized that group improvisational music therapy would relieve depressive symptoms. Twenty-four Spanish-speaking patients receiving outpatient and inpatient treatment for substance abuse at Fundación José Felix Ribas (FJFR), located in Mérida State-Venezuela participated in the study. All participants completed the Beck Depression Inventory (BDI) and the Hamilton Rating Scale for Depression (HRSD) before being randomly assigned to experimental or control groups, each consisting of three cohort groups recruited over a nine month period. The experimental group received 12 group improvisation sessions over a three-month period, along with the standard treatment program provided at the facility, and the control group received only the standard treatment program. Post-test measures were completed at the end of each three-month treatment cycle. Differences between groups in pre-test and post-test scores were calculated using the Mann-Whitney U Test. Results showed that both groups were equally matched on all pretest measures. As for post-test measures, significant differences were found between the groups on HRSD, but not the BDI. The experimental group was significantly less depressed after treatment than the control group, as measured by the HRSD. Improvisational music therapy led to statistically significant greater improvements in psychologist-rated depression (HRSD) when compared to the regular treatment program alone; although no statistical differences were found in the improvements on the BDI between the two treatments, improvisational music therapy had a clinically significant effect. Possible explanations are offered. The most important limitations of the study were the small sample size, absence of a depression assessment tool specifically for substance abuse, and the use of the first version of the BDI instead of the second version as well as lack of information on demographic and clinical data. / Music Therapy

This study examined how Mary Priestley musically implemented 15 Analytical Music Therapy (AMT) techniques for exploring conscious material, accessing unconscious material, and strengthening the ego. Using the Priestley archives at Temple University, the author listened to 96 recorded examples of individual AMT sessions with 31 adult clients that were made between the years 1975-1991 to examine and aurally identify the musical phenomena and patterns occurring in the musical implementation of AMT techniques. The results of the study present clinical considerations necessary for applying each AMT technique and the clinical/musical roles of the analytical music therapist. Finally, this study presents distinctions between traditional and contemporary AMT practice and implications for AMT training and supervision. / Music Therapy

This dissertation focuses on the African American community of Timbuctoo, Westampton, New Jersey. Timbuctoo was founded circa 1825 by formerly enslaved and free born African Americans. The community operated as a "station" along the Underground Railroad. At its peak Timbuctoo had over 125-150 residents and supported a general store, "colored" school, AMEZ church, cemetery and several homesteads. Today the only standing markers of the nineteenth century community are the gravestones in the cemetery. In 2007, Westampton Township acquired roughly four acres of the nearly forty arces that once comprised Timbuctoo. From 2009-2011, Christopher Barton and David Orr conducted archaeological work at the community. The focus of this dissertation was the excavation and analysis of 15,042 artifacts recovered from the Davis Site, Feature 13. The Davis Site was purchased by William Davis 1879. Davis and his wife Rebecca raised their five children in a 12x16ft home constructed on the 20x100ft property. Between the 1920s to the 1940s the foundation of the Davis home was used as a community trash midden. Specifically, this dissertation looks at the practices of yard sweeping, architecture, construction materials, home canning and the consumption of commodified foods. A practice theory of improvisation is posited as a working model to explaining the reflexive practices used by marginalized residents to contest social and economic repression. This theory of improvisation seeks to complicate narratives of poverty through underscoring the dynamic disposition of material culture and everyday life. / Anthropology

För att utveckla mitt pianospel och förädla mitt uttryck kommer jag att låtas inspireras av tre pianister vars spel och komponerande tilltalar mig konstnärligt, teoretiskt och tekniskt. Transkribering och analysering skall leda mig vidare till komposition och improvisation vilka i sin tur får sina likheter jämförda med valda inspirationskällor.

I den här undersökningen har jag fördjupat mig i två framstående jazzmusikers improvisationergenom transkribering och analys. Med hjälp av egenproducerade backing tracks har tre egna improvisationer därefter spelats in i syfte att undersöka instuderingens inverkan på min egen musikaliska praktik och mina konstnärliga val därtill. De tre egna improvisationerna har haft olika utgångspunkter i avsikt att kunna jämföras med varandra. Arbetet har resulterat i nya insikter om mig själv som improvisatör, en djupare förståelse för Miles Davis och John Coltrane samt bidragit till ny konkret kunskap för improvisation på Rhythm Changes.

In this work, I have been investigating the subject of solo guitar. I was interested in exploring some of the different methods that are being and have been used for performing music on the instrument in this context. I explored some of the techniques and sounds that have been used by instrumentalists before me and composed various exercises that would allow me to incorporate them in my own music. The techniques studied varied from right-hand fingerpicking patterns used in classical guitar pieces to ways of incorporating electronic effect-pedals in solo guitar music. Inspired by the music and techniques that were studied I also composed and arranged music for solo guitar. I concluded the work by conducting a concert/recording where I combined fully arranged compositions with freely improvised sections. The purpose of this work was to deepen the understanding of the guitar and its role as a solo instrument concerning harmony, rhythm, improvisation and tone. Both the technical and creative aspects of the work have improved my playing during the process and have influenced how I perform music and intend to do so in the future. The process provided me with a clearer understanding of my musical strengths and weaknesses, particularly through self-recording and analysis. The compositions and arrangements worked on revealed different aspects throughout the process, showing me that less detailed arrangements allowed for bigger opportunities of improvisation during performance for me. / <p>Andas - Albin Ormegard</p><p>Etyd #1 - Albin Ormegard</p><p>Naked Truth - Albin Ormegard</p><p>Broder - Albin Ormegard</p><p>Like Someone In Love - Jimmy Van Heusen</p><p>For once - Albin Ormegard</p><p></p><p>Albin Ormegard - Guitar/Composition</p>

Denna uppsats handlar om konsten att uppöva förmåga till improvisation på orgel. Den tar upp frågor kring hur de s.k. musikaliska parametrarna spelar in vid improvisation, vilken plats improvisationen kan ha vid en gudstjänst samt hur jag gick tillväga för att uppöva en förmåga till Preludium innehållande trio och fuga. Det bestod i en klar kombination av teori via litteratur och föreläsning samt praktik med eget övande och analyserande. Resultaten visar att det går att uppöva en ändamålsenlig förmåga till improviserat spel på orgel, att det de musikaliska parametrarna spelar en central roll samt att gudstjänsten erbjuder tillfällen för organisten att improvisera.