Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

The dead painter's son is a two-act musical for the stage. Set in Atlantic City, New Jersey in the early 1940s, the story concerns an acclaimed magician's descent into insanity. The music mostly exhibits the styles of popular song and swing, while some sections employ polytonality and free atonality. What makes the musical unique is its blending of comedy with horror, as well as its complete authorship by one person; the book and lyrics are written by the composer. / text

The study arose out of a curiosity and a personal interest in finding different methods of songwriting for various target groups in music therapy. The aim of the study was that, based on a literature review and interview, compile information about the different methods of songwriting for different audiences, how as a music therapist can work with songwriting and what the outcome might be. The study presents a review of relevant literature and previous research in the field of songwriting. From a hermeneutic perspective, the interview responses interpreted and transcribed, and literature have summarized the most important and relevant on the subject. The questions have focused on how different methods might look like and what advantages and disadvantages there are to the methods, both for clinicians and clients. Questions about the tools, techniques, theoretical knowledge and reflection on the different diseases and disabilities, are also included in the study. / Uppsatsen har uppkommit ur en nyfikenhet och ett personligt intresse kring att hitta olika metoder i songwriting för olika målgrupper inom musikterapi. Syftet med studien var att, utifrån en litteraturstudie och intervjustudie, sammanställa information kring olika metoder i songwriting för olika målgrupper, hur man som musikterapeut kan arbeta med songwriting och vad resultatet kan bli. I uppsatsen presenteras en genomgång av relevant litteratur och tidigare forskning inom området songwriting. Utifrån ett hermeneutiskt perspektiv har intervjusvaren tolkats och transkriberats, och litteraturen har sammanfattats till de viktigaste och relevanta angående ämnet. Frågeställningarna har handlat om hur olika metoder kan se ut och vilka fördelar och nackdelar det finns med metoderna, både för klinikerna och klienterna. Frågor kring verktyg, tekniker, teoretiska kunskaper och överväganden kring olika sjukdomar och funktionsnedsättningar, tas också upp i studien.

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Music is often used by its advocates as a vehicle to promote positive changes in students, academically, emotionally, and socially (Catterall, Chapleau & Iwanaga, 1999; Fiske 1999). In this study, I examined the implementation, in my own public elementary classroom, of a five-month Character Really Matters! songwriting program that I developed. The study is designed to provide insight into the potential impact of such songwriting music programs on students’ character development. The study examined the connections students made between the songwriting program and their lives. The data for this study were derived from a guided student reflection form used as a normal part of teaching. To provide further elucidation of the impact of the songwriting program on students’ character development, I supplemented the reflection-form data with my direct classroom observations using field notes and a character-tracking checklist. Findings from the research revealed connections between songwriting and its impact on developing children’s work habits in collaboration, cooperation, commitment to quality work, and in turn, character development. By writing songs, students were able to tell stories and reflect on their learning from their songwriting experiences. The findings from this study inform the justification and improvement of the program and contribute to the school board’s body of evidence used to examine its character education program. / Thesis (Master, Education) -- Queen's University, 2013-01-06 19:24:02.226

This study examines social factors in songwriting collaborations with the aim to understand the inner workings of co-writes. Previous research indicates significant benefits with songwriting collaborations, both related to productivity and creativity (e. g. Bennett 2012, Littleton &amp; Mercer, 2012). Nonetheless, it can be creatively frustrating to make music in a collaboration that does not work like expected. What is significant about the musical work in a fulfilling co-write? And how can you find your way out of struggle together? While there is qualitative research on musical collaborations, this study is distinguished by that the researcher is partaking in several co-writes. Six collaborations were documented with various methods, including video and audio recordings, post-hoc reflection, semi-structured interviews and communication memos. The comprised material was transcribed and analyzed in order to reveal socio-musical tendencies in the co-writes. The research suggests four socio-musical categories for explaining actions in co-writing sessions – ‘Artistic Concept’, ‘Concept’, ‘Meta’ and ‘External’. The two first categories are more artistically connoted, where the last two are more socially signified. During the study, purely artistic actions were outweighed by more socially connoted actions in the co-writes. This resulted in a fairly low generation of musical material per session. The prevalence of bonding may be seen as a way of avoiding rejection, which is a possible outcome when suggesting musical ideas (Bennett, 2012). The sessions that were most fulfilling for the researcher were characterized of nonverbal, musical means rather than linguistic ones - where the collaborators didn’t talk about the music, but connected through songwriting. High rates of fulfillment connected to musical communication was also supported by numerous co-writers in the project. / <p>Medley of songs created in the project. </p>

Jag har länge skrivit pop-musik till andra artister, ofta i session tillsammans med andra låtskrivare, men varje gång jag försökt skriva musik som jag själv ska framföra har det tagit stopp. Jag bestämde mig för att ta itu med detta och utmana mig själv att övervinna de hinder som ofta dyker upp. Därav ägnade jag delar av våren 2019 med att undersöka de upplevda skillnaderna mellan att skapa musik åt mig själv och att skapa musik åt andra. Syftet med detta arbete var att undersöka skillnaderna som uppstår när jag skapar musik till mig själv gentemot när jag skapar åt andra, för att hitta ett arbetssätt som fungerar så bra som möjligt för mig. Genom att skriva och producera i olika konstellationer fick jag lärdomar om hur jag fungerar, inte minst när det gäller hur jag upplever skillnader i frihet och kontroll när jag skriver till olika mottagare. Efter flertalet sessions hade jag lyckats ta fram så många som nio olika låtar, och med det kom minst lika många insikter och lärdomar. Utifrån detta material skedde ett urval bland låtarna, som så småningom ska bli en EP.

Examensarbete (30 p). Bilaga: 1 CD. Dubblett finns.

Examensarbete (30 p). Bilaga: 1 CD. Dubblett finns.

In this narrative study, I explored the creative process of songwriting from learners’ perspectives. Much literature regarding the creative process in songwriting is taken from the perspective of the instructor. In this study I have focused primarily on how the participants experienced songwriting from their perspective. I examined whether the participants’ backgrounds impacted their perceptions of songwriting, whether participants valued songwriting, whether meanings emerged from the songwriting process, and what strategies emerged through the process. Qualitative methods were used in gathering data, which included interviews, journals, conversations, observation field notes, e-mails, and songwriting artifacts. The data were coded through a cyclical series of transcription and analysis and slowly a research story began to emerge (Saldaña, 2009). The seven participants were worship and music majors at a southern Christian University in an undergraduate songwriting survey class. Through narrative I endeavored to restory their songwriting experiences based on the themes that emerged through the codifying process. Narrative analysis revealed that participants constructed meaning through the process of songwriting. The backgrounds of the participants helped in shaping the subjects of their songs often involving hardships. Participants storied the tension between the initial stage of songwriting and the revisions to follow. Songwriting became a narrative expression of their experience of spiritual awakening. Through reflection during the songwriting process they found greater connection with God. In the process the participants constructed their songs using tone painting to shape their melodies to express their lyrics and metaphors to enliven their lyrics. Participants made use of various recording devices to capture initial ideas before they forgot them, and noted a preference for working with pen and paper in the songwriting process. Where much of previous research focused on songwriting approaches and methods of instruction, this study found that participants enjoyed the meaning making aspects of songwriting and the spiritual connection with God that it brought them.