Lorinda Jones, MT-BC, is the longest practicing music therapist in Kentucky. She began her work as a music therapist in 1995 and built a private practice, which expanded over the course of the next 20 years to include services in 16 counties. Ms. Jones’ perspective on the growth of music therapy, both within the state and nationwide, as well as her extensive knowledge of Appalachian folk music, makes her an invaluable resource to Kentucky music therapists. The purpose of this study was to present a historical account of the life and career of Lorinda Jones, to gain her perspective on the field of music therapy in Kentucky, and to learn about how she incorporates Appalachian music into her work with clients. The researcher found that Ms. Jones’ impact on the field of music therapy in Kentucky goes far beyond the individuals with whom she has personally interacted and that her role as a teacher to students of music therapy continues to influence the profession.

Abstract not available

<p>The concept of entrepreneurship in research and society has been firmly rooted in the realm of economics and business. This narrow focus excludes a large number of entrepreneurial acts that occur outside of economic contexts. The discipline of high art music performance is rich with innovative acts that challenge the boundaries of conventional practices. However, these acts largely go unnoticed because of the strength of the bond between entrepreneurship and economics. In this research paper, a literature review will be used to examine how entrepreneurship can best be conceptualized in the discipline of high art music performance. It is argued here that a project-based view of entrepreneurship (Lindgren & Packendorff 2003) provides a valuable conceptualization to understand entrepreneurship in high art music performance. This conceptualization is then applied to three case studies of Canadian high art music performers. The case study uses the musicians' narrative accounts to provide illustrations of the project-based nature of entrepreneurship in music performance. It is hoped that the findings from this investigation provides further support for a project-based view of entrepreneurship and a starting ground to develop more effective tools to support and develop entrepreneurship in music through education and policy development.</p>

<p>One of the most important aspects of music performance is the expression of emotions, yet research has suggested that this skill is neglected in music education. The aim of this thesis was thus to develop and test a novel and empirically-based approach to teaching emotional expression in music performance.</p><p>Study I explored the nature of instrumental teaching in its natural context, with a focus on emotional expression. Although there were individual differences among teachers, a common feature was a lack of clear goals, specific tasks, systematic teaching patterns, and informative feedback.</p><p>Study II presented and tested a computer program that analyzes music performances and offers informative feedback, including specific suggestions on how to enhance the emotional expression. Performers were randomly assigned to one of three conditions: (1) feedback from the computer program, (2) feedback from music teachers, and (3) repetition without feedback. The results indicated the greatest improvements in communication accuracy for the computer feedback group, but although the computer program was rated as easy to understand and use, performers did not want to use it in the future.</p><p>Study III explored whether the negative views towards the computer program were due to negative attitudes towards computers or a dislike of the characteristics of the actual feedback contents. Results from a deception experiment revealed that the mere belief that the feedback derived from a teacher yielded higher quality ratings, but so did also feedback that did indeed derive from a teacher. The latter feedback was perceived as more detailed.</p><p>The thesis shows that it is possible for performers to improve their abilities to express emotions through computer-assisted teaching, but suggests that the feedback may benefit from including human-like aspects such as encouragement, examples, and explanations in order to make it more attractive in the eyes of its potential users.</p>

One of the most important aspects of music performance is the expression of emotions, yet research has suggested that this skill is neglected in music education. The aim of this thesis was thus to develop and test a novel and empirically-based approach to teaching emotional expression in music performance. Study I explored the nature of instrumental teaching in its natural context, with a focus on emotional expression. Although there were individual differences among teachers, a common feature was a lack of clear goals, specific tasks, systematic teaching patterns, and informative feedback. Study II presented and tested a computer program that analyzes music performances and offers informative feedback, including specific suggestions on how to enhance the emotional expression. Performers were randomly assigned to one of three conditions: (1) feedback from the computer program, (2) feedback from music teachers, and (3) repetition without feedback. The results indicated the greatest improvements in communication accuracy for the computer feedback group, but although the computer program was rated as easy to understand and use, performers did not want to use it in the future. Study III explored whether the negative views towards the computer program were due to negative attitudes towards computers or a dislike of the characteristics of the actual feedback contents. Results from a deception experiment revealed that the mere belief that the feedback derived from a teacher yielded higher quality ratings, but so did also feedback that did indeed derive from a teacher. The latter feedback was perceived as more detailed. The thesis shows that it is possible for performers to improve their abilities to express emotions through computer-assisted teaching, but suggests that the feedback may benefit from including human-like aspects such as encouragement, examples, and explanations in order to make it more attractive in the eyes of its potential users.

Ēriks Ešenvalds is an early twenty-first century composer who has been commissioned to write works for some of the most noteworthy ensembles in the world. Having written over 100 compositions to date, 72 of which are choral pieces, Ešenvalds is quickly becoming one of the most prolific and significant composers of his time. He currently works as a full-time composer out of Riga, Latvia. Ešenvalds’s choral works are primarily unaccompanied, while some include brass band, saxophone quartet, percussion, or orchestral accompaniment. Textures vary from three to twelve voice parts. His oratorio Passion and Resurrection (2005), written for soprano solo, SATB quartet, SATB chorus, SS soli, and strings, is an amalgamation of compositional techniques drawn from all eras of music history. This project identifies characteristics of Roman Catholic and Byzantine chant that are imitated throughout Passion and Resurrection. A succinct history of both styles is presented along with a detailing of Ešenvalds’s compositional technique and an overview of his oratorio. Aspects of form, melody, text, rhythm, harmony, and texture present in each movement are also discussed. This study provides conductors with insight into the chant-like aspects of Ešenvalds’s work and any influences on performance. Listings of notable Passion settings and Ešenvalds’s choral output are also included.

The concept of entrepreneurship in research and society has been firmly rooted in the realm of economics and business. This narrow focus excludes a large number of entrepreneurial acts that occur outside of economic contexts. The discipline of high art music performance is rich with innovative acts that challenge the boundaries of conventional practices. However, these acts largely go unnoticed because of the strength of the bond between entrepreneurship and economics. In this research paper, a literature review will be used to examine how entrepreneurship can best be conceptualized in the discipline of high art music performance. It is argued here that a project-based view of entrepreneurship (Lindgren &amp; Packendorff 2003) provides a valuable conceptualization to understand entrepreneurship in high art music performance. This conceptualization is then applied to three case studies of Canadian high art music performers. The case study uses the musicians' narrative accounts to provide illustrations of the project-based nature of entrepreneurship in music performance. It is hoped that the findings from this investigation provides further support for a project-based view of entrepreneurship and a starting ground to develop more effective tools to support and develop entrepreneurship in music through education and policy development.

No description available.

The boundaries of opera, as in all art forms, are constantly being re-evaluated. This analysis examines one of the most recent developments in opera-the use of film as source material, and connections to the film world- through analyzing three operas: Austrian composer, Olga Neuwirth’s opera, Lost Highway, Chinese-American composer, Tan Dun’s opera, The First Emperor, and acclaimed American film composer, Rachel Portman’s opera, The Little Prince. Each of these works exemplifies the modern relationship of opera and film in different ways. To classify these newly film-influenced works, the term cinemopera is used in describing operas connected to or influenced by film. Analytical techniques and historical perspectives, as well as revealing how these three operas are associated with the film world through their composers, source materials, and styles are the tools utilized to establish the characteristics of cinemopera as an operatic subcategory. Also, a definition and discussion of intertextuality in these operas reveals not only their cinematic features, but their ties to common practices in music history. Lost Highway is one of the most intertextual works containing sound effects, electronic music, and drawing heavily upon the David Lynch film of the same name as its source material. The First Emperor is an interesting study in modern ethnomusicology and contains many links to film in its source material as well. The Little Prince has a different kind of intertextuality than the preceding two operas because its source material is a French children’s book. However, since its composer, Rachel Portman, is a very distinguished film composer, it represents many elements of style commonly found in cinemopera. Finally, opera as a business is changing due to its convergence with film. The visual aspect of opera productions is of increasing importance, as is a singer’s credibility in the role they are portraying. Singers must look their parts much more so now than even two decades ago. As cinemopera is explored herein and its effects on the business are discussed, so are the elements of style which clearly serve to classify an opera as cinemopera.

Musicians are universally reliant on practice to improve and perfect their craft and there is substantial evidence that suggests mastery can only be achieved after 10,000 hours of practice early in life. This dissertation explores the validity of this theory as it pertains to master percussionists and examines their discoveries and recommendations as to how those 10,000 hours should best be spent. Research sources include selected published literature and personal interviews with thirty-six percussionists, conducted between 2010- 2013. The research is summarized in the following six sections: the 10,000-hour threshold; planning a practice session; warming up; learning new music; problem spots; and performance preparation. The primary goal of this dissertation is to detail the specific practice methods currently implemented by many of today’s most successful percussionists. This research should reveal the various ways success can be achieved in the practice room and help aspiring and accomplished professionals alike explore and integrate new practice methods and philosophies into their own careers and the careers of their students.