Thesis (M.M.) -- Florida State University, 2004. / Advisor: Jayne M. Standley, Florida State University, School of Music. Title and description from thesis home page (viewed 9-27-04). Document formatted into pages; contains 48 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.M.) Florida State University, 2007. / Advisor: Jayne Standley, Florida State University, College of Music. Title and description from dissertation home page (viewed 4-1-2008). Document formatted into pages; contains 49 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains xiv, 192 p. Includes bibliographical references (p. 164-192). Available online via OhioLINK's ETD Center

Thesis (M.M.) Florida State University, 2005. / Advisor: Jayne M. Standley, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-22-07). Document formatted into pages; contains 55 pages. Includes biographical sketch. Includes bibliographical references.

Dissertation (M.Mus. (Music Therapy))-University of Pretoria, 2008. / Abstract in English. Includes bibliographical references.

This study investigated the relationship between frequency of musical activity participation, Sense of Coherence (SOC), and subjective report of health in older adults. From a sample of 197 older adults from Muncie and Anderson, Indiana, 129 (65.5%) individuals participated in this study. The participants completed an information sheet, the Musical Activity Participation Report, SOC, and Perceived Health questionnaires. Pearson r correlation coefficients found frequency of musical activity participation was not correlated with SOC but was correlated with subjective reports of health. A frequency table and chi-square analysis revealed that cohort and education were related to musical style preferences. A one-way analysis of variance (ANOVA) revealed that musical activities enhanced perceived quality of life to a lesser degree than other activities. However, many participants commented on the positive impact of music on well-being. A one-way ANOVA and t-tests found gender and musical upbringing were related to frequency of musical activity participation. / Fisher Institute for Wellness

Thesis (Ph. D.)--University of Massachusetts Amherst, 2010. / Includes bibliographical references (p. 125-136).

Thesis (Ed. D.)--University of West Florida, 2005. / Title from title page of source document. Document formatted into pages; contains 91 pages. Includes bibliographical references.

This thesis reports on a phenomenological inquiry into the experiences of hospice patients and music therapy clinician in end of life care. Three total participants were included in this study, two hospice patients and the music therapy clinician. Interventions included singing familiar songs, music for relaxation and Music and Imagery, an adaptation of the Bonny Method of Guided Imagery and Music. Each hospice patient participated in two music therapy sessions, plus an interview. Data included audio recorded sessions and interview, a process journal kept by music therapist, clinical observations, and one of the participant's mandala. Data was analyzed according to Moustakas' modification of the Stevick - Colaizzi - Keen method of Transcendental Phenomenology. Experiences for the hospice patients include themes of Positive Experience with Music, Positive Experience with Music and Pain, Negative Experience with Music, Music and Imagery, The Artist, Coping, The Mandala, Processing Music and Imagery and Transcendence. Experiences for the therapist include Feelings, Clinical Awareness, Meeting my Own Needs, Desire to Help, Ebb and Flow, and the Guide Following. Implications for further research are given.

The objectives of this thesis were to explore the effects of receptive individualised live and recorded-music on interactions within participating dyads consisting of a person with dementia who was in their final phase of life (resident), and a person with whom he or she shared a close connection (carer), as well as on each individual participant. A 'Receptive' music intervention is one where participants are not required to do anything but listen. METHODS The conceptual frameworks of realist evaluation, ethnography, symbolic interactionism, and dramaturgical actionism influenced the design of this study. There were two phases: during phase-1, fifteen semi-structured interviews were conducted with 'key-consultants', who were specialists in topics related to this thesis, to inform the design of 'phase-2'. During 'phase-2', musical interventions were conducted at five non-NHS care homes in Scotland over a period of nine-months. Each intervention consisted of either individualised live-music (3 sessions) or the same or similar music pre-recorded (three sessions); all music was played by the researcher on the solo cello. Interventions took place in residents' private bedrooms, and lasted between fifteen and seventy-minutes. The order of live and recorded-music interventions was switched for approximately half the dyads. Each intervention was video-recorded for later observation. Semi-structured interviews and Visual Analogue Scales (VAS) were administered with each participating carer before and after the conclusion of their series of interventions, to compare their expectations with their actual experiences and to better understand their experience. Whenever possible, key-staff and managers were also interviewed to learn what their perceptions of this study had been: its effects on them and on participants. ANALYSIS required repeated visits to the raw data: beginning with thickly-describing all video-footage; then thematically coding all thick-descriptions and transcribed audio-interviews; and lastly revisiting all video-footage via a self-modified version of an evaluative observation instrument; 'Person Interaction Environment Care Experience in Dementia' (PIECE-dem). FINDINGS support prior research regarding the beneficial effects of individualised receptive music on listeners who have dementia. This study suggests that both live and recorded-music promote wellbeing, and enhance dyad interaction in the moment of listening. These findings demonstrate the potential for receptive music to create an embodied sense of 'haven' for people with dementia who are nearing the end of life and for those sharing the experience with them: by capturing and holding their attention, and transporting them either back in time, or entirely out of time into a state of 'flow', or into an 'intense musical experience'.