Theses and Dissertations

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Open Access
A conductor's analysis: John Mackey's Wine-dark sea: symphony for band
(Colorado State University. Libraries, 2020) Weber, Shannon Denise, author; Phillips, Rebecca, advisor; Grapes, K. Dawn, committee member; Kenney, Wes, committee member; Pedrós-Gascón, Antonio, committee member
This thesis provides a study of the composer John Mackey and his music. In the last twelve years, Mackey has become internationally renowned and one of the most widely performed composers in the band world. Mackey has received numerous awards and honors for his musical contributions. His unique compositional style is distinguishable in his works regardless of the genre. Audiences, conductors, and performers alike continue to find enjoyment in his music due to his creative, rhythmic, and unique scoring for winds and percussion. This document includes biographical information on the composer, provides insight into his compositional style, and thoroughly analyzes the symphony for band, Wine-Dark Sea. Wine- Dark Sea was commissioned in 2014 by Jerry Junkin and the University of Texas Wind Ensemble, in celebration of the 100th anniversary of the Sarah and Ernest Butler School of Music. The symphony is a programmatic piece that tells the story of Odysseus, Homer's hero from The Odyssey, through three exciting and dramatic movements. Distinctive characteristics of this piece include Mackey's unique use of meter changes, extended techniques in winds and percussion, and recurring programmatic themes. Wine-Dark Sea is Mackey's longest work to date, one of his most challenging works for performers and conductor, and is especially captivating for the audience.
Open Access
A conductors guide to the use of ensemble pedaling and acoustic recreation of electronic delay processing in the wind band music of Viet Cuong
(Colorado State University. Libraries, 2023) Pouncey, Benjamin Allen, author; Phillips, Rebecca L., advisor; Grapes, K. Dawn, committee member; Taylor, James, committee member; Doe, Sue, committee member
The purpose of this thesis is to provide a conductor's analysis of two unique orchestration techniques utilized in Viet Cuong's wind band music. Viet Cuong (b. 1990) is an award–winning contemporary American composer whose eclectic sound has been described as "alluring" and "wildly inventive" by The New York Times. Two approaches to orchestration have been identified by the composer as distinctive elements of his compositional voice: ensemble pedaling, and the acoustic recreation of electronic delay processing. Sound and Smoke (2011) is Cuong's earliest available work for wind band and exemplifies early application of these techniques. Over the course of his career, Cuong has continued to employ and develop these approaches in select works, including Vital Sines (2022). Therefore, this document provides detailed examination of ensemble pedaling, and the acoustic recreation of electronic delay processing appearing in Cuong's Sound and Smoke, with select examples provided from Vital Sines to serve as a comparison of these techniques in the composer's recent body of work. The research conducted was completed concurrently with the Colorado State University Wind Symphony's performance preparation of Sound and Smoke in the 2023 spring semester. The information presented serves as a resource for the preparation and performance of Viet Cuong's music for wind band.
Open Access
A conductors guide to Vincent Persichetti's King Lear
(Colorado State University. Libraries, 2018) Gillespie, Andrew Robbins, author; Phillips, Rebecca L., advisor; Grapes, K. Dawn, committee member; Kenney, Wesley, committee member; Mallette, Dawn, committee member
Vincent Persichetti's septet King Lear was originally composed for the choreographer Martha Graham and her 1949 production, Eye of Anguish. While the production was considered a failure and has not been performed since its European tour in 1950, Persichetti admired his own portion of the collaboration and argued it would stand on its own merit as a chamber work. This thesis represents the first significant study of Persichetti's King Lear. It is a guide for conductors and chamber ensembles preparing an informed performance, with historical information, theoretical analysis, and rehearsal analysis.
Open Access
A guide to Kevin Poelking's By the hands that reach us
(Colorado State University. Libraries, 2019) Poelking, Kevin, author; Phillips, Rebecca L., advisor; David, James M., committee member; Kenney, Wes, committee member; Aragon, Antonette, committee member
This thesis is written to accompany the full score of Kevin Poelking's By the Hands That Reach Us for wind symphony. The first chapter includes studies and expert opinions that attempt to define quality music. It begins with a brief synopsis of the recent (post World War II) increase of wind band repertoire and the difficulties that conductors encounter as a result. Quotations from conductors and composers throughout history are included in an attempt to shed light on the topic. The second chapter is a detailed biography of composer Kevin Poelking. It discusses personal, professional, and musical experiences that have shaped his compositional voice. There are also specific music examples given with explanations as to how they affected Poelking in his development as a composer. The final chapter is a detailed summary of Poelking's compositional process when writing By the Hands That Reach Us. The chapter includes original sketches, score excerpts, and specific compositional techniques that were used throughout the work.
Open Access
A guide to the performance of James M. Stephenson’s Symphony No. 2: Voices for Concert Band
(Colorado State University. Libraries, 2021) Peterson, Myron S., author; Phillips, Rebecca L., advisor; Doe, Sue, committee member; Grapes, K. Dawn, committee member; Kenney, Wes, committee member; Leslie, Drew, committee member
James M. Stephenson is an American composer whose compositions are lauded by critics, performed on multiple continents, and recognized with prestigious awards from respected intuitions. His Symphony No. 2: Voices for Concert Band won the 2017 National Band Association William D. Revelli Composition Contest, and the 2018 Sousa-ABA-Ostwald Composition Contest. It was commissioned by "The President's Own" United States Marine Band and Colonel Jason Fettig. It was premiered on December 14, 2016 at the Midwest Clinic: International Band and Orchestra Conference at the McCormick Place in Chicago, Illinois. This thesis infuses James M. Stephenson's personal and intimate knowledge of his Symphony No. 2: Voices for Concert Band with a theoretical analysis to provide conductors, performers, and other musically curious patrons insight into understanding its performance. A granular analysis of this symphony examines theoretical topics such as form, melody, harmony, rhythm, dynamics, texture, orchestration, instrumentation, and unifying thematic material. The theoretical analysis then combines insights from Stephenson about the symbolic and emotional development of the piece, along with salient rehearsal considerations. Finally, this paper documents current influences on Stephenson's work and his broader views on composing, composers, and the state of wind bands in general.
Open Access
A guide to the performance of Love and Light by Brian Balmages
(Colorado State University. Libraries, 2022) Middleton, Ryan James, author; Phillips, Rebecca L., advisor; Grapes, K. Dawn, committee member; Mallette, Dawn, committee member; Taylor, Jayme, committee member
Brian Balmages is a renowned American composer in the band profession. This thesis is the first formal study of Brian Balmages and his compositions. The author provides a detailed biographical account of the composer's musical background as well as an overview of his works and contributions to music education, both derived from an interview and written communication with Balmages. Although Balmages is well known for his significant contributions to the repertoire of developing ensembles, his 2020 composition Love and Light exemplifies his ability to express his compositional voice in a more intricate and expansive setting. The piece was commissioned in January 2019 by Elizabeth Elliott. This document provides a detailed account of the inception and premiere of the piece, based primarily on interviews with Elliott and Balmages. These personal accounts are vital in understanding the impact of the piece both within and beyond the music community. A detailed theoretical analysis of Love and Light completes this study, covering a wide array of musical elements, including form, melody, harmony, rhythm, orchestration, texture, dynamics, and use of borrowed musical material. Throughout the theoretical analysis, rehearsal and performance considerations for conductors and ensemble members are highlighted.
Open Access
A survey of music therapists' attitudes toward evidence-based practice
(Colorado State University. Libraries, 2013) Hahn, Kevin, author; LaGasse, A. Blythe, advisor; Davis, William B., committee member; Henle, Chris, committee member
Background: Evidence-based practice is the confluence of research evidence, practitioner expertise, and client preferences applied in a clinical context. An expansion of the evidence-based medicine movement developed during the early 1990s, evidence-based practice (EBP) has garnered significant attention from healthcare researchers, academics, and clinicians through the alternating endorsement and criticism it receives. Opinions about EBP are likely to vary greatly within a given field, yet little research has been completed to systematically investigate how music therapists view EBP. Given the American Music Therapy Association's inclusion of "evidence-based" in the definition of music therapy, a lack of recent, systematically-gathered information about music therapists' perceptions of EBP highlights the question: What are music therapists' attitudes toward evidence-based practice? Objective: The primary purpose of this study was to survey professional music therapists' attitudes toward evidence-based practice (EBP). This study also sought to determine how music therapists' attitudes toward evidence-based practice systematically vary based on familiarity with EBP, age, year entering the field, years of experience, level of formal academic training, primary philosophical orientation, and additional music therapy designations. Methods: Board-certified music therapists (MT-BCs) were surveyed using a 26-item measure of attitudes toward evidence-based practice (adapted from Johnston et al., 2003). After giving informed consent, participants were provided with a definition of EBP and then completed the adapted Johnston et al. (2003) measure, answered additional items measuring the strength of their attitudes toward EBP, and supplied demographic and professional status information. A total of 646 participants provided results included in the final dataset. Results: On a scale from 1 (lowest) to 6 (highest), 646 participating MT-BCs indicated a mean average response of 4.31 (SD = .65) on an adapted scale of attitudes toward evidence-based practice. Participants reported a mean level of familiarity with EBP of 5.11 (SD = 1.35, n = 643) on a scale from 1 (very unfamiliar) to 6 (very familiar). Familiarity with EBP was positively correlated with and predicted attitudes toward EBP. Participants' age in years and calendar year entering the profession were associated with attitudes toward EBP. Participants' attitudes toward EBP differed based on primary philosophical orientation, level of training, and additional training designations. Conclusions: Responses from this study suggest MT-BCs are very familiar with evidence-based practice and possess generally favorable attitudes toward EBP. Increasing music therapists' familiarity with EBP may predict a moderate increase in their attitudes toward EBP (adjusted r2= .057). Instrument revision and study replication are recommended due to methodological and sampling concerns. Music therapists' supportive attitudes toward EBP might indicate their willingness to engage in EBP in clinical practice.
Open Access
Active music making for patients with unilateral spatial neglect in the subacute stage of stroke
(Colorado State University. Libraries, 2020) Leeman, Kirsten, author; Knight, Andrew, advisor; LaGasse, Blythe, committee member; Witt, Jessica, committee member
Unilateral neglect is the decreased awareness of events or items in the contralesional side of space, on the opposite side of the brain affected by a stroke. This study examined the effect of a music therapy procedure on the severity of unilateral spatial neglect in patients in the subacute stage of stroke. Three individuals were recruited from a large Midwestern hospital to participate in this study, all with a presentation of left neglect. One functional assessment (Kessler Foundation Neglect Assessment Process) was completed at admission and discharge to measure severity of neglect during activities of daily living. Two written assessments (Line Bisection Test and Line Cancellation Test) were administered at the start and end of each music therapy session to examine any immediate effects. During each session, patients were asked to hit a paddle drum gradually moved from the non-neglected side of space (right) toward the neglected side of space (left) over the course of every four beats. Patients then completed musical sequences on resonator bells following a descending pattern, also directed right to left. Results showed inconsistent performance between and within sessions for all participants on the Line Bisection Test. Written performance varied for two participants on the Line Cancellation Test, while one participant showed no change from the second treatment session through hospital discharge. These preliminary findings support further exploration into the use of musical instruments as a possible intervention for neglect, though future research involving larger sample sizes or a control group is needed.
Open Access
Adam Gorb's Bohemian Revelry: a conductor's analysis and performance guide
(Colorado State University. Libraries, 2022) Kasper, Matthew, author; Phillips, Rebecca L., advisor; Grapes, K. Dawn, committee member; Kenney, Wes, committee member; Balgopal, Meena, committee member
Adam Gorb is a British composer whose works have been performed worldwide and received much critical acclaim. His ability to blend many musical styles and influences within individual pieces and the utilization of varied sound colors and textures has resulted in a distinct compositional voice among contemporary composers, specifically in the wind band genre. Gorb's composition Bohemian Revelry was composed in 2013 for the Bromley Youth Concert Band and has since been distinguished by the World Association of Symphonic Bands and Ensembles (WASBE) as a significant work. This thesis provides an in-depth study of Bohemian Revelry, further exploring the influences behind Gorb's compositional voice and his process for composing this work. Study of the unique characteristics of traditional Czech folk songs and dance styles reveal how Gorb assimilates them into his own compositional voice. The results of this analytic research culminate in a set of rehearsal considerations that can be utilized by other conductors and musicians in future performances of this piece. Interviews were conducted with the composer and conductor Timothy Reynish to provide additional insights and perspectives about Bohemian Revelry, Gorb's other compositions for winds, and his impact on wind band music. This document also provides updated biographical information about Gorb and works completed since 2011.
Open Access
Alan Hovhaness: a conductor's analysis featuring Symphony No. 4, op. 165 for Wind Orchestra and Symphony No. 17, op. 203 for Metal Orchestra
(Colorado State University. Libraries, 2016) Bowles, Michael P., author; Phillips, Rebecca, advisor; Grapes, K. Dawn, committee member; Kenny, Wes, committee member; Balgopal, Meena, committee member
Studying American composers and American music encourages the continued performance of our cultural music masters. Alan Hovhaness (1911-2000) is seldom researched and is thus becoming an underperformed composer. He composed during the eclectic compositional era of the twentieth century and is best known for his orchestral works. His music for wind band is not well known by the music community at large. The purpose of this thesis is to provide conductors and performers with a guide to performing and understanding the wind band music of Alan Hovhaness. Part I includes a biographical sketch and summary of Hovhaness’s compositional style. Part II is a conductor’s analysis of two works for winds and percussion. The first is his most well known piece for band, Symphony No. 4 (1958), and the second is a lesser known chamber work Symphony No. 17 (1963). The conductor’s analysis consists of both a theoretical and rehearsal analysis for each work. The theoretical analysis is a survey of each work focusing on form, melody, harmony, texture, dynamics, rhythm, and meter. The rehearsal analysis is comprised of two major sections, first is the considerations for the conductor, and second is considerations for the ensemble. Both sections are designed to guide future performers in executing these two works.
Open Access
An analysis of young-band repertoire in the context of culturally responsive teaching
(Colorado State University. Libraries, 2020) Bennett, Hollie E., author; Johnson, Erik, advisor; Phillips, Rebecca, advisor; Coffino, Kara, committee member; Pippen, John, committee member
Repertoire is a highly discussed topic especially for band music educators (Battisti, 2018; Brewer, 2018; Dziuk, 2018; Koch, 2019; Mantie & Tan, 2019). Many educators even view the "repertoire as the curriculum" (Reynolds, 2000, p. 31) making it a core tenet of the band music classroom. Repertoire can be chosen using a variety of filtering systems including alignment with music education philosophy (Allsup, 2018; Elliott, 1995; Jorgensen, 2003; Reimer, 1959; Reimer, 2009), artistic merit (McCrann, 2016; Ostling, 1978; Ormandy, 1966) and potential for musical learning (Apfelstadt, 2000; Hopkins, 2013). However, many critics of band repertoire claim that it is limiting to inclusive education purposes pertinent to contemporary music education classrooms (Abril, 2003; Elpus & Abril, 2011; Elpus & Abril, 2019; DeLorenzo, 2012; Kratus, 2007; Lind & McKoy, 2016; Soto, 2018). While repertoire is important when taking into consideration the development of comprehensive musical dispositions that are required for students to fully engage with music in their lived experience. Many music teachers may use repertoire alone to foster connections with student cultural referents (DeLorenzo, 2019; Shaw, 2020). However, inclusive instructional approaches such as Culturally Responsive Teaching (Gay, 2010; Hammond, 2015; Ladson-Billings, 2009; Lind & McKoy, 2016), Multicultural Education (Banks, 2015; Banks, 2019; Nieto, 2009), and Funds of Knowledge (Amanti, Moll, & González, 2005; Rios-Aguilar, 2010) can help to address the multitude of diverse student needs within the music classroom (DeLorenzo, 2019; Ravitch, 2010; Shaw, 2010). Guided by the tenets of inclusivity, teachers are also called upon to consider the importance of student cultural validation, background knowledge, as well as becoming increasingly aware of diverse repertoire and increasingly flexible with instruction when selecting repertoire (Abril, 2009; DeLorenzo, 2012; Shaw, 2020). The aim of this study is to provide a framework to help clarify the unique relationship between repertoire for young wind band and opportunities for responsive, student-centered instructional approaches.
Open Access
An investigation of emerging music courses in Colorado secondary schools
(Colorado State University. Libraries, 2022) Cort, Madeleine Amy, author; Johnson, Erik, advisor; Grapes, K. Dawn, committee member; Decker, Derek, committee member
Emerging Music Courses (EMCs) are music classes for secondary students outside of traditional ensemble offerings and include courses in composition, music theory, music technology, guitar, piano, and general music. These classes are a growing trend and serve as an access point to music learning for students who play an instrument not offered in ensembles, are not enrolled in traditional ensemble courses, or have musical interests outside of ensemble performance (Abril & Gault, 2008; Kubik, 2018; Sanderson, 2014; Veronee, 2017). Though these courses are popular choices for students (Pendergast & Robinson, 2020) and viable options for teachers looking to increase their course offerings (Freedman, 2019; Sanderson, 2014), music educators historically lack training in the pedagogical practices of these courses (Kubik, 2018; Ruthmann, 2006; Sanderson, 2014). Additionally, there is a lack of research surrounding the EMCs currently being offered by Colorado secondary schools and the practices of experienced EMC educators. The purpose of this study was to investigate the prevalence of EMCs in Colorado's secondary public schools, examine the learning activities currently used in EMCs, explore the beliefs teachers have about music learning in the context of EMCs, and assess the impact of the COVID-19 pandemic on these courses. Findings suggest that a variety of EMCs are offered in Colorado secondary schools, with general music, guitar, and piano as the top three most offered courses. Learning activities in EMCs appear to focus on performing, reading, and appreciating music, in addition to applying skills learned outside of the classroom. The COVID-19 Pandemic affected the enrollment in and availability of EMCs and, to a lesser extent, the instructional delivery of EMCs. Results from follow-up interviews suggest that educators believe EMCs are valuable to their professional goals and students, but more training and preparation is needed in order for teachers to feel confident in their curricular design and delivery.
Open Access
Clients' preference for cueing instrument and style in music therapy
(Colorado State University. Libraries, 2019) Liu, Bolin, author; LaGasse, Ashley Blythe, advisor; Knight, Andrew, advisor; Choi, Eunhee, committee member
Music therapists use different types of cueing instruments (piano, guitar, or autoharp) to facilitate functional outcomes. However, no research has been done to investigate client preference for the facilitation instrument. This study investigated clients' preference for cueing instrument and their perception of how well the music helped them move. The 15 participants were all adults aged 50 and older who participate in music therapy motor rehabilitation groups. Participants completed the responsive survey with some quasi-convenience sampling, and the researcher played six videos that demonstrated cueing with three different instruments (piano, guitar, and autoharp) in two different styles: patterned sensory enhancement (PSE) cueing and simple accompaniment cueing. In the videos, the researcher demonstrated a simple motor movement that is cued with music played on one of the three instruments and in one of the two styles (a total of six conditions). Participants were asked to follow the movements and then answered questions about their instrument preference and their perception of how well the music helped them move. Fifteen participants completed the survey. Based on the data collected, the researcher found that most participants indicated that they felt that the music helped them to move. This may be because different instruments and cueing styles have similar effects on participants or some participants may not perceive any differences between different instruments and cueing styles. Therefore, music was generally acceptable for these participants; however, music therapists should consult with the individual client to learn more about their perception of the music and how they feel it is helping to facilitate their outcomes. Further recommendations include recruiting a larger sample size, counterbalancing the order of the videos, and collecting data on measures of motor movement.
Open Access
Colorado secondary ensemble teachers' perceptions of the integration of students with disabilities
(Colorado State University. Libraries, 2023) Gray, Samuel David, author; Johnson, Erik, advisor; Bacon, Joel, committee member; Lopes, Tobin, committee member
Inclusive practices are required of K-12 educators regarding the inclusion and integration of students with special needs through the Individuals with Disabilities Act (1975) and the Every Student Succeeds Act (2015). However, barriers to integrating students with disabilities may exist in secondary performing ensembles. These barriers include paraprofessional staffing, educator efficacy, community stakeholder expectations, and educator professional development. Implementing and understanding these barriers is vital to providing secondary music educators with the proper tools to provide an integrated performing ensemble. While the inclusion of students with disabilities often occurs in a performing ensemble, the scope of integration may vary depending on educator decisions. When an educator faces this situation, understanding any decisional difference is needed. The purpose of this study is to investigate Colorado music educators' perceptions regarding the current practices of inclusion and integration of students with disabilities in Colorado's secondary public schools (middle or high schools). Furthermore, this study examines educators' perceptions regarding inclusive practices where students with disabilities are included in ensemble settings. This study can help inform discussions, methods, and policies related to the professional development of in-service educators and pre-service educator preparatory programs regarding the integration and inclusion of students with disabilities. In this study, the following research questions were asked: What is the level of concern and self-efficacy of Colorado secondary music educators about integrating students with disabilities? What is the relationship between years of teaching experience, concerns, and self-efficacy about the inclusion and integration of students with disabilities? Do Colorado secondary music teachers vary in their level of concern and teaching efficacy at various stages of their career or by school location? The adapted SACIE-R and TSES questionnaire included the concerns subset of the Sentiments, Attitudes, and Concerns about Inclusive Education – Revised Scale (Forlin et al., 2011) and the Teacher Self-Efficacy Scale (Tschannen-Moran & Hoy, 2001). Both scales utilized a four-point Likert scale. Data was compiled from mid-November through early mid-December of 2022. Findings from this preliminary investigation indicate that as educator experience increases, the level of educator concern about integrating students with disabilities decreases. Additional findings suggest no statistical significance between educator district setting and the level of concern and efficacy about students with disabilities.
Open Access
Comparing the effects of rhythmic and musical cueing on a volitional movement in older adults with Parkinson's disease
(Colorado State University. Libraries, 2021) Smith, Ryan Alexander, author; LaGasse, A. Blythe, advisor; Knight, Andrew, committee member; Tracy, Brian, committee member
Music therapists who work from a neuroscience-informed approach use auditory cueing to facilitate movement exercises when working on motor goals with older adults with Parkinson's disease (PD). There is minimal research, however, comparing the effects of different auditory cueing techniques on the kinematic parameters of volitional arm movements in older adults with PD. Therefore, the purpose of this study was to compare the effects of auditory cueing types––no auditory cues, rhythmic cues, and sonified musical cues––on the movement smoothness and movement variance of repetitive, volitional arm movements in older adults with PD. Seven older adults with PD and ten college students completed three trials of a repetitive arm reaching task in each of three auditory cueing conditions. The position of each participant's wrist was recorded in three dimensions using an infrared motion capture system at 120Hz. Data from the kinematics system were processed to compute two indicators of movement performance–normalized jerk (NJ), an indicator of movement smoothness; and spatiotemporal index (STI), a measure of movement path variance–for each participant. No significant differences in STI or NJ were observed between groups in the no cueing condition. Between-condition analysis demonstrated a significant difference in NJ between the no cueing condition and rhythmic cueing condition such that NJ values were larger, and therefore movements were less smooth, in the rhythmic cueing condition. There were no statistically significant differences in STI between cueing conditions. Exploratory analysis, however, revealed that there is a trend of decreased movement performance in the rhythmic cueing condition and improved movement performance in the sonified musical cueing condition for participants in the PD group. These findings were unexpected and warrant future research to determine which working mechanisms are the facilitators of change in auditory cueing-based rehabilitation of volitional movements.
Open Access
Comparison between neuroscience- and DIR/Floortime™-informed approaches within music therapy: a descriptive case study
(Colorado State University. Libraries, 2021) Shinn, Haley, author; LaGasse, A. Blythe, advisor; Wilhelm, Lindsey, committee member; Hepburn, Susan, committee member
The purpose of this study was to examine the differences of client and therapist behaviors between a neuroscience-informed approach and a DIR/Floortime™-informed approach for one child involved in music therapy. There are no current studies comparing how the two approaches differently facilitate social skills. The author examined five videos from a neuroscience-informed approach and five videos from a DIR/Floortime™-informed approach and coded seven non-musical social skill behaviors, four musical social skill behaviors, and seven therapist behaviors. The author observed how a music therapist assisted in skill development, responded to and interacted with their client, and utilized the music between approaches and how those changes between approaches affected client social skill behaviors. In the neuroscience approach, there was a higher prevalence of six of the client behaviors and three of the therapist behaviors. In the DIR approach, there was a higher prevalence of five of the client behaviors and four of the therapist behaviors. Descriptive statistics and visual analysis indicated that multiple client behaviors were similar between approaches while the therapist behaviors had more differences between the two approaches. The author discusses why the differences may have been observed and clinical implications for working the client and using each approach within treatment. Further studies are needed to explore these different approaches.
Open Access
Concerto da tana del drago: using flexible instrumentation and mixed difficulty level music for ensembles affected by the COVID-19 pandemic
(Colorado State University. Libraries, 2023) Matchey, Gideon, author; David, James, advisor; Johnson, Erik, committee member; Doe, Sue, committee member
The Covid-19 pandemic provided music educators with unique challenges in recruiting and retaining students in their instrumental music ensembles. Faced with reduced student numbers, some ensembles are left with non-standard instrumentation. Although some schools are able to maintain the general structure of their programs, other directors are forced to combine different grade and skill levels in order to have at least one complete ensemble. For these ensembles, music of not only flexible instrumentation but also mixed difficulty (grade) levels is necessary for all students' learning levels to be met. Concerto da Tana del Drago meets the needs of these ensembles in providing music that is flexible in instrumentation, contains mixed difficulty levels, provides teachable content, and engages students with programmatic music suitable for many age levels.
Open Access
Differences in cortical activation with live music compared to recorded music: an fNIRS study
(Colorado State University. Libraries, 2020) Flaagan, Carly, author; LaGasse, A. Blythe, advisor; Knight, Andrew, advisor; Rojas, Donald, committee member; Davalos, Deana, committee member
The purpose of this study was to compare and assess the neural activations during live music and recorded music engagement in neurotypical adults aged eighteen to sixty years old within a social context. The research questions sought to answer if cortical activations in areas of the brain involved with social interaction would be different in the live music conditions compared to the recorded music conditions and if blood oxygenation levels across the entire cortical surface would be different in any area across the four conditions. This study was a within-subjects quasi-experimental design where each of the 32 recruited participants were exposed to all four conditions while mirroring the CR (clinician-researcher) in a tapping task. The four conditions were: recorded sung, recorded spoken, live sung, and live spoken. Participants were exposed to the four conditions as well as a rest condition in pseudo-randomized order. Each participant underwent five trials of each condition using a block design. Cortical activation was measured using functional near-infrared spectroscopy (fNIRS). A total of 27 participants were included in the analyses. Imaging results revealed significant differences in inferred cortical activation during live stimuli compared to recorded stimuli, live music compared to recorded music, music stimuli compared to non-music stimuli, live music compared to all other conditions, and live spoken stimuli compared to recorded spoken stimuli in brain regions of interest and globally. Results support the possibility that live music may have a greater effect than recorded music in regions of the brain that process social responses. Future research could better illuminate the comparisons of neural activations between live and recorded auditory stimuli.
Open Access
Effects of music on joint attention between individuals with autism and neurotypical siblings
(Colorado State University. Libraries, 2015) Montgomery, Jaley A., author; LaGasse, A. Blythe, advisor; Knight, Andrew, committee member; Most, David, committee member
Given that a common social skills deficit for individuals with Autism Spectrum Disorder (ASD) is joint attention, and that development in joint attention can cause improvement in other social skill deficit areas such as affect, imitation, initiation of socialization, and expressive language (Ferraioli & Harris, 2011), it is necessary to examine treatment options that promote joint attention. This study measured the effects of music versus non-music interventions on joint attention between individuals with ASD and neurotypical siblings. One sibling pair (dyad) participated in this study. To be eligible for the study, one sibling must have an ASD diagnosis, be between the ages of 6 to 10 years old, have a sibling up to three years older with no ASD or related diagnosis, speak English as a primary language, and both siblings free of significant visual or hearing impairments. The sibling dyad received two fifteen-minute sessions a week for two weeks. The first session of each week was a music session designed to elicit joint attention in siblings. In the second session of each week, the group participated in a fifteen-minute non-music session designed to elicit joint attention between siblings. The neurotypical sibling primarily led these sessions, with video instruction shown to the participants before each task in the sessions.
Open Access
Examining student experiences of choice in reflective practice through the lens of self-efficacy
(Colorado State University. Libraries, 2023) Falls, Kristen Breann, author; Johnson, Erik, advisor; Bacon, Joel, committee member; Decker, Derek, committee member
Preservice music teachers starting their first course in a music education program often find themselves under the pressure felt by grades, an overload of new information, and teaching public school students for the first time. Music teacher educators combat the pressure not only by giving reassuring and positive feedback but also by introducing developmental tools to help teachers improve themselves. Scholars have shown that reflective practice is an effective tool for teacher development (Piety et al., 2010; Kennedy et al., 2013; Korthagen & Evelein, 2015, Prilop et al., 2019). There are also varying thoughts on how to best implement reflective practice for the most effective development process, including the framing of teacher self- efficacy and professional identity during preservice music education programs. Yet, there are many differences between how degree programs approach these aspects of teacher development (Lee, 2007; Stanley, 2022). This study continued the exploration of student experiences in reflective practice and how the choice of reflective modalities can increase student agency, and in effect, teacher self-efficacy. Quantitative data for teacher self-efficacy was collected using an adapted version of the Preservice Music Teacher Efficacy measure (Prichard, 2013). The findings of this preliminary study help to expand the knowledge of how preservice music teachers choose reflective practice modalities and how those choices impact their self-efficacy. Implications for this study are framed in both theoretical and practical realms.