A method for the computer analysis of certain melodic and rhythmic elements, such as intervals, range, and frequency of occurrence of elements, of selected musical works is presented and results are obtained. The method also utilizes new techniques of musical analysis which would otherwise be too lengthy or cumbersome to be practical, i.e., information-content, redundancy, and autocorrelation. The analytical results are discussed and both the method and the results are evaluated with a view to alteration and expansion leading to a more comprehensive analysis of music. / Arts, Faculty of / Music, School of / Graduate

The following study and the compilation of the accompanying syllabus have been prompted by the fact that Music Appreciation opens up large fields of knowledge and social cooperations for the teen-ager, and the curriculum of the Seventh-day Adventist secondary schools does not yet take proper advantage of it as an educational means.

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The popular culture of the past three decades owes a great deal to the creativity and musical impact of the artists featured in Retro-Respect. The project's objective was to carefully select ten of this generation's most influential recording artists and, as a musical tribute, produce and record unique arrangements of songs by each of them for an audio CD. Each featured artist has at least a 30 year history of influence and recognition as being among the industry's best, and all remain musically active today. Included are Aerosmith, Chaka Khan, Stevie Wonder, Steely Dan, Bonnie Raitt, Sting, The Eagles, Eric Clapton, Elton John and David Bowie. Retro-Respect was produced and arranged by Kam Falk. Each of the eight vocal and two instrumental songs features a different ensemble with Falk performing on six-string bass, fretless four-string bass, keyboards, vocals and drum/ percussion programming. / by Kam Allen Falk. / Vita. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

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This is a stylistic study of the four versions of Liszt's Three Petrarchan Sonnets with special emphasis on the revision of poetic settings to the music. The various revisions over four versions from 1838 to 1861 reflect Liszt's artistic development as seen especially in his use of melody, harmony, tonality, color, tone painting, atmosphere, and form. His use of the voice and development of piano technique also play an important part in these sonnets. The sonnets were inexplicably linked with the fateful events in his life and were in a way an image of this most flamboyant and controversial personality. This study suggests Liszt's importance as an innovator, and his influence on later trends should not be underestimated.

This study was an investigation of the effects of guided listening upon instrumental music performances of junior college students. The study also sought to discover possible significant relationships between perception and performance variables. It was concluded that the guided listening program was ineffective in improving music performances of junior college students. It was recommended that (a) this study be replicated utilizing string, voice, and piano students, (b) an experimental study be made to investigate the effects of music theory instruction upon music performance, (c) an experimental study be made to investigate the effects of music history instruction upon music performance, and (d) an investigation be made of the Abeles performance constructs interpretation, tone, rhythm-continuity, intonation, tempo, and articulation, in an effort to ascertain ways in which expression of these constructs may be improved.

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Since the introduction of the iPod in 2001, portable music listening devices that play or stream compressed music files have steadily become the standard devices used to listen to music. Despite this, few music education researchers have investigated the role that such devices have in shaping students' music listening experiences. This dissertation is meant to fill that gap in the literature and contribute to the existing sociological and psychological literature on music listening in everyday life. Phenomenology served as the theoretical framework for the design of the study. 10 college students from three institutions underwent iterative interviews and were asked questions developed from McCarthy and Wright's (2004) Deweyan method for investigating user experiences with technology. The questions fell into five categories: sensual, emotional, compositional, spatio-temporal, and the sense-maker. The participants' responses were digitally recorded, transcribed, and analyzed using grounded theory methods. The following four axial codes emerged from the data and were used to divide the dissertation into chapters: "Embodying the Experience," "Organizing the Experience," "Navigating Real and Virtual Spaces," and "Developing the Self." The main finding articulated in the chapter entitled "Embodying the Experience" is that the participants located the music in their heads while listening to music on their devices using headphones or earbuds. In contrast, participants consistently reported that, when listening to music through open-air speakers, they experienced the music as being located everywhere or in their whole bodies. The main finding in the chapter entitled, "Organizing the Experience," is that participants exercised agency in their music listening experience by creating playlists. Typically, playlists were created by the participants to be used in conjunction with other activities such as exercising, studying, commuting, and so forth. I used these findings to develop the concept of "Integration in Consciousness" which models the participants' simultaneous engagement with the music and other activities. In the chapter entitled "Navigating Real and Virtual Spaces," I explore how the participants simultaneously navigated the spatial aspects of the music listened to on their players and the spatial aspects of the physical spaces within which their activities naturally occurred. In doing so, I provide an example of how the participants experienced music and activities as "Integrated in Consciousness." In chapter seven, "Developing the Self," I explore how the participants' uses of their devices reflect their development as adolescents. In addition, I propose that participants' uses of their devices may be constitutive of their adolescent development. Finally, in chapter eight, I explore the ways in which music teachers can utilize the findings of this study in the development of their own classroom pedagogies. Among other things, I propose that music teachers can use the "Integration in Consciousness" model to help their students communicate about their music listening experiences in the classroom. In the use of this model, music teachers can tailor their pedagogies specifically for the technology rich, "post-performance" world within which they teach.