AN ABSTRACT OF THE THESIS OF Linnea Anderson, for the Masters of Science degree in Communication Disorders and Sciences, presented on 4/3/2013, at Southern Illinois University Carbondale. TITLE: The Use of Melodic Intonation Therapy in the Clinical Setting MAJOR PROFESSOR: Kenneth O. Simpson Melodic Intonation Therapy (MIT) is a popular published program for Broca's aphasia. This investigation focused on the clinical use of MIT. Five participants were selected to take part in a survey. Of these five, none had purchased the program and all had created a modified MIT program. Some of the participants used their modified MIT program with individuals who do not have Broca's aphasia. Varying levels of effectiveness were indicated by the participants about their modified MIT program.

This project is an investigation of melodic drum-kit practices in popular and contemporary music. The development of melodic drum-kit playing techniques has helped create a more inclusive role for drum-kit players within ensembles and has increased the potential for drum-kit players to present solo elements in performance. The project artefacts of my research are six compositions presented on CD. They demonstrate performance and compositional techniques that encourage a melodic approach to drum-kit performance. My research involved several methodological approaches these included: a) professional practice-based research, b) music composition and transcription, c) interviews with significant musicians familiar with drum-kit melodic practices and d) elements of autoethnography. I refer to particular drum-kit performance techniques and practices such as mirroring, thinking melodically, spatial relationships between drum-kit instruments and ensemble players, as well as, internalising melodic and harmonic ideas and being in the moment. I have shown in my compositional project that melodic elements in drum-kit performance and composition encourage a broader and more inclusive role for drummers in improvised performance. This is evident in the ensemble versions of compositions submitted as part of this study.

No description available.

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The thesis presents annotated transcriptions and detailed analyses of four improvised solos by jazz saxophonist Ornette Coleman, a leading figure within the free jazz movement. The four solos, all of which were recorded in 1959, are: "Ramblin', " "Lonely Woman," "Congeniality," and "Free." -The focus of the analyses is upon Coleman's techniques for creating melodic continuity and development. Introductory chapters survey Coleman's career and examine his original theoretical system, "Harmolodics. " The thesis concludes with an annotated bibliography and discography.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 99-109). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 99-109). Also available on the Internet.

Submitted by Gesiel Vilarubia Pereira (35345734801) on 2017-08-23T13:24:32Z No. of bitstreams: 1 Dissertação - Gesiel Vilarubia Pereira.pdf: 134882582 bytes, checksum: 1b452379542030a7180799844b4e877a (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-08-23T18:10:15Z (GMT) No. of bitstreams: 1 pereira_gv_me_ia.pdf: 134882582 bytes, checksum: 1b452379542030a7180799844b4e877a (MD5) / Made available in DSpace on 2017-08-23T18:10:15Z (GMT). No. of bitstreams: 1 pereira_gv_me_ia.pdf: 134882582 bytes, checksum: 1b452379542030a7180799844b4e877a (MD5) Previous issue date: 2017-06-30 / Tendo como objeto de estudo os 50 Ponteios para piano de Camargo Guarnieri, este trabalho se concentra na análise de suas estruturações melódicas e harmônicas, almejando compreender aspectos estruturais da poética do compositor neste ciclo de peças. Apresenta-se, inicialmente, um diálogo entre as transformações sofridas pela escritura melódico-harmônica de Guarnieri durante o período de composição desta coleção e uma contextualização histórico-estilística, na qual são focalizadas, principalmente, suas buscas por um nacionalismo influenciado por Mário de Andrade e suas experiências com diferentes idiomas harmônicos. Propõe-se, ainda como texto preparatório para as análises, uma classificação textural dos 50 Ponteios e, ainda, a verificação de algumas constâncias formais dentro desta coleção. Nos capítulos seguintes, esta dissertação se direciona para a verificação das escolhas dos materiais presentes na construção das melodias e harmonias e se estende sobre observação dos procedimentos composicionais característicos de Guarnieri – sua poética. A partir desta investigação analítica, constatamos, nos Ponteios e em outras obras do compositor, a recorrência de um motivo melódico o qual denominamos Motivo Guarnieri. Na dimensão harmônica, chamou-nos a atenção a reincidência de uma determinada estrutura harmônica simétrica, utilizada com função Dominante nos momentos cadenciais, além do cuidado, por parte do compositor, em usar estruturas simétricas nos contextos escalares, harmônicos e formais. Sempre que possível, as análises foram permeadas por diálogos estabelecidos com pesquisadores da obra de Guarnieri e pela observação das relações entre suas decisões composicionais e seu posicionamento estético, diretamente influenciado pelo livro Ensaio sobre a música brasileira, de Mário de Andrade. / The aim of this work is to study the 50 Piano Ponteios of Camargo Guarnieri, focusing on the analysis of their melodic and harmonic structures, seeking to understand the structural aspects of the composer's poetics in this cycle of pieces. We initially examine the transformations incurred by Guarnieri's melodic-harmonic writing in the period that this collection was composed, and a produce a historical-stylistic contextualization. This contextualization focuses on the Brazilan nationalism which was influenced by Brazilian philosopher and critic Mário de Andrade, and Guarnieri’s experiences with different harmonic languages. In preparation for the analysis, a textural classification of the 50 Ponteios is performed, as well as a verification of some formal consistencies within this collection. The dissertation is also directed to the examination of the choices of the materials present in the construction of the melodies and harmonies, and extends to the observation of the compositional procedures characteristic of Guarnieri – in other words, his poetics. From this analytical investigation we can observe, in the Ponteios and in other works by this composer, the recurrence of a melodic motif which we call The Guarnieri Motive. In terms of harmony, we are struck by the recurrence of a specific symmetrical harmonic structure, used as dominant function in cadential moments. We may also verify the care the composer took to use symmetrical structures in scalar, harmonic and formal contexts. Whenever possible, the analysis was permeated by dialogues established with researchers on Guarnieri’s work, and by the observation of the relationship between Guarnieri’s compositional decisions and his aesthetic opinion, as influenced directly by the book Ensaio sobre a música brasileira by Mário de Andrade.

The present research utilised five tasks to investigate non-musicians' perception of phrase, rhythm, pitch and beat structure in unaccompanied Gaelic melodies and musical sequences. Perception of phrase structure was examined using: i) a segmentation task in which listeners segmented Gaelic melodies into a series of meaningful units and ii) a novel click localisation task whereby listeners indicated where they perceived a superimposed click in the melody had occurred. Listeners consistently segmented the melodies into units of 2.4 - 5.4 seconds. Clicks which were positioned before and after perceived boundaries (identified by segmentation) were perceptually migrated towards the boundary. These results suggest that listeners perceptually differentiate between phrasal groups in melodies (See Sloboda & Gregory, 1980; Stoffer, 1985, for similar results with musicians). Short term memory for rhythmic structure was examined using rhythm recall of computer generated sequences and Gaelic melodies. Computer generated rhythms with small tonal pitch intervals (1 - 4 semitones) were easier to recall than large atonal intervals (predominantly greater than 4 semitones). Recall of Gaelic melodies, containing repetitive rhythmic units, was better than recall of computer sequences. Pitch reversal of Gaelic melodies did not effect recall. Beat-tapping with three Gaelic melodies revealed that the majority of listeners established the underlying beat 1.5 - 3 seconds (5 - 6 notes) after the start of the melodies. Perception of meaning and content in two note melodic intervals and three Gaelic melodies was examined using an adjective pair two-alternative forced choice task. Responses to musical intervals showed evidence of perceptual similarity based mainly on interval size. Perceived information content in the melodies increased significantly by the fourth note. The results suggest that the amounts of Gaelic melody which are: i) required to establish an underlying beat, ii) remembered after one hearing, and iii) perceptually grouped into a meaningful unit, include the unit of melody which is necessary to establish a basic meaning.

No description available.