Thesis--University of Michigan. / Vol. 2 contains a selection of Hoyoul's works in modern edition. Index of incipits: v. 1, leaves 196-220. Includes bibliographical references (v. 1, leaves 221-225).

Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006. / "A dissertation in conducting." Advisor: William Everett. Typescript. Vita. Description based on contents viewed Oct. 30, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 100-102). Online version of the print edition.

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The work in this thesis explores the relationship between singing and well-being. In particular, I focus on investigating the potential for group singing to promote feelings of hedonic, eudaimonic and social well-being. The theoretical evidence suggests that such is possible because music activities are structured to engage mind and body in overcoming a challenge, generating feelings of achievement and pleasure in the process. However, the empirical evidence on such effects is less conclusive, reflecting the novelty of the field. I start by developing a model capable of generating hypotheses and framing the empirical work on the relationship between group singing and well-being. In this model, I integrate a conceptualization of well-being as a multidimensional concept with a conceptualization of group singing as a challenging multifaceted activity. The model suggests that well-being is promoted by group singing through the effects this activity has on its psychological, bodily and social correlates. However, the model also accounts for possible moderating effects of situational factors and individual differences. My empirical work focus first on clarifying that group singing involves the types of experiences that can generate feelings of hedonic, eudaimonic and social well-being. I then show that singing in a group relates to long-term measures of well-being, particularly social and eudaimonic. In the short-term, group singing is also consistently related to correlates of well-being. It is shown to increase positive affect, decrease negative affect, increase feelings of achievement and connection to others. Situational factors such as the social context in which the singing occurs are shown to have a moderating effect on endocrine effects of group singing. However, gender differences do not emerge. I also show that group singing can have effects over and above those of a similar, though non-musical, group activity. Overall, the evidence suggests a meaningful relationship between group singing and well-being.

Background There is growing interest in the idea that arts and singing have effects on health, wellbeing and quality of life in older individuals. This study assesses the effectiveness and transferability to Italy of an English model of health promotion which promotes wellbeing and quality of life in older people through participation in singing groups (Silver Song Clubs). The model developed in the South East of England has proved to be successful. A recently completed randomized controlled trial (Coulton, et al. in press) demonstrated a significant improvement in mental health with a reduction in measured anxiety and depression for older people living independently. The current study adopted the same measures. Method A mixed method approach was adopted with research divided into two parts; Part A was focused on exploring the status of older people living in Rome, their interest in music and singing today and in the past and in taking part in a singing experience. It also explored how local politicians and social workers see the status of older people. Part B was focused on setting up and evaluating singing groups and gathering information from participants on their experiences of singing. The primary outcome measure was an Italian version of the York SF-12 which provides scores for physical and mental wellbeing. The Italian version of the EQ-5D-3L questionnaire was also employed. Results Results from Part A revealed a highly fragmented Italian family, with widespread poverty and social isolation and a need for emotional support and leisure activities among older people. In Part B, three singing groups were established in different areas of Rome with weekly sessions over a period of three months. Participants completed the standardized measures of health and wellbeing at baseline (n=62), after the singing experience (n=45) and three months later (n=41). After the singing experience, older people showed a statistically significant decrease in their levels of anxiety and depression, but this was not maintained over the three month follow up period. However, a significant improvement was found from baseline to follow up in reported performance of „usual activities‟. Conclusions Silver Song Clubs provide a health promotion model which was successfully transferred from England to the different cultural setting of Italy. Singing can be widely used because it is grounded in a fundamental human ability to engage with music. The present study had a number of limitations, primarily a lack of a control group and small sample size. However it provides a good foundation for the development of further research on singing and the wellbeing of older people in Italy.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

This document examines and analyzes solo vocal music composed by several Costa Rican composers who did not remain in Costa Rica, but rather left the country to study abroad. Unlike prior studies of Costa Rican vocal music, which have focused upon the use(s) composers made of indigenous folk elements, this study identifies foreign, non-indigenous elements that were introduced into Costa Rican vocal music by musical pioneers such as Julio Fonseca (1885-1950) and Dolores Castegnaro (1900-1979), composers who studied at various times in Italy, Belgium, France and Mexico. Excerpts of their music have been analyzed for this document to demonstrate specific international influences. Another two composers were selected due to their present importance in Costa Rican music: Eddie Mora and Marvin Camacho. In a very distinctive manner, these composers bring to the musical environment of Costa Rican diversity and exoticism in Eddie Mora's case and a mix of contemporary with Costa Rican elements with Marvin Camacho's music. In analyzing the music of these four composers, this research intends to present the different influences of other countries into Costa Rican music while Marvin Camacho brings back its own Costa Rican voice.

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Thesis (M.A.)--York University, 2001. Graduate Programme in Music. / Typescript. Includes the following original compositions (leaves 93-219): I remember the north wind over the water in January 1986 : for female choir & bowed vibraphone ; Prelude to Step down off the last whale : for tenor recorder, 2 Hohner Melodicas, trumpet B♭, piano, contrabass ; Portent from Step down off the last whale : for voice, 2 Hohner Melodicas, bowed piano ; A tree with bare branches thought itself to be a man : for voice, 2 Hohner Melodicas ; The butchershop quartet : for 4 male subtone singers ; Dark noon : for 3 voices ; Agnus Dei : for subtone-harmonic choir ; A calling so it would seem (A child's finger paint in rain) : for eight harmonic voices ; Skull music (for Dark noon) : for eight subtone-harmonic voices ; Father I just found a meterorite : for solo B♭ trumpet ; Be still there, be still here : for flute, B♭ clarinet/bass clarinet ; vibraphone/glockenspiel, piano, violin, cello ; The word music--poems. Includes bibliographical references (leaves 86-89). Discography: leaf 90. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ66380.