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Thesis (M.M.)--Boston University

The purpose of the study was to investigate freshman music students' identification with expected tasks in music theory class including aural, written, and performance requirements. The second research problem compared students' descriptions with actions in class to determine the presence of role taking (the conscious adherence to a set of behaviors) or role playing (the unconscious assumption of a set of behaviors).

The compositional problem I have proposed to solve is the creation of a work for full symphonic orchestra, utilizing a unified melodic and harmonic field in a piece of large dimension. The form of the first movement is ternary, the second is variation form, and the third is rondo-like. Technically I have employed a single hexachord--C, E-flat, E-natural, F-sharp, G, and B--registered in integers as (0, 3, 4, 6, 7, 11), which I have rotated and permuted to create both melodic and harmonic materials. Furthermore, I have used a number of rhythmic and timbral devices to help sustain the thrust of these materials, and also to create variety. The projected playing time of this composition is approximately 25 minutes.

The purpose of this study is to understand affective, behavioral, cognitive, physiological, and spiritual, Musical Performance Components (MPCs) in the lifelong musical education of 20 nursing home residents who actively engaged in musical education, practice, performance, and appreciation since childhood and continued to do so in their nursing home community. The project began exploring Musical Performance Anxiety (MPA), and expanded the concept to MPCs, which may cluster to form basic states, moods, and dispositional-traits (e.g., individual differences in anxiety, sadness, anger, happiness, amorousness, or spirituality). The following question guided the research: How have the 20 nursing home residents who have actively engaged in making music since childhood, experienced, if at all, affective, behavioral, cognitive, physiological, and spiritual MPCs? Observations were utilized to describe the many qualities of the musical community. A flexible, open-ended, thematic interview approach with template analysis was used to uncover memories of possible experience with MPCs. Analysis revealed that residents experienced a broad spectrum of MPCs including affective, behavioral, cognitive, physiological, and spiritual components throughout their lives making music, consistent with the literature review. Analysis also revealed that residents experienced a continuum of MPCs, ranging from brief but intense component states, to lower-level moods that tend to endure for longer periods of time, to dispositional-traits that can be lifelong, consistent with the continuum of affect theory detailed, herein. Their experiences sometimes negatively influenced well-being and commitment to engaging in music, but oftentimes they had beneficial impact. Some risks and benefits of MPCs from lifelong music making are detailed. Keywords: affective, behavioral, cognitive, continuum of affect theory, dispositions, emotional, lifelong, moods, MPA, MPCs, musical performance anxiety, musical performance components, music making, physiological, spiritual, states, traits.