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The saxophone is privileged to have a wide variety of repertoire from contemporary composers. Due to its invention in the later half of the nineteenth century, it has no repertoire written by baroque composers, including Johann Sebastian Bach. There are several published arrangements of Bach’s three solo violin partitas including

The saxophone is privileged to have a wide variety of repertoire from contemporary composers. Due to its invention in the later half of the nineteenth century, it has no repertoire written by baroque composers, including Johann Sebastian Bach. There are several published arrangements of Bach’s three solo violin partitas including that of Ronald Caravan and Raaf Hekkema. These collections either do not present every movement of each of these three partitas, or they do not present them in their original keys. An advantage to arranging these works in their original keys is that saxophonists have the opportunity to learn more about the works by playing along with recordings of great violinists such as Itzhak Perlman and Hilary Hahn, something that would be very difficult to do if they were not in the original keys. In Ronald Caravan’s Bach for Solo Saxophone, Caravan includes a collection of many unaccompanied works by Bach for saxophone but does not include all of the movements from the three partitas and they are not in the original keys that Bach wrote for. In Raaf Hekkema’s Bach for Saxophone, Hekkema arranges the entirety of the three partitas, however they are not set in the original keys that Bach wrote for. In addition to these points, those collections do not provide information of the life of J.S. Bach, baroque performance practice, mechanics of the baroque violin, baroque dances, and advice on going about the mechanics of these pieces from a saxophonist’s perspective. This information is very useful to a young saxophonist who is trying to fully understand and perform Bach’s three solo violin partitas.
ContributorsSalazar, Nathan John (Author) / Creviston, Christopher (Thesis director) / Saucier, Catherine (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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Description
This creative project explores the concept of how music is like a language and how, as a teacher, I plan to enforce this concept through my teaching. The aim of this project is to highlight the importance of completing research and acquiring knowledge of aspects, such as the composer's life,

This creative project explores the concept of how music is like a language and how, as a teacher, I plan to enforce this concept through my teaching. The aim of this project is to highlight the importance of completing research and acquiring knowledge of aspects, such as the composer's life, historical background and literary references, when learning a piece of music. Through this project, I address connections between the brain and music pertaining to memorization, the components of language, the similarities between language and music, the role of the teacher and the development of a "toolbox" of knowledge for studying a piece of music. I present my own research on Schumann's Novelette Op. 21, No. 8 in f-sharp minor as well as my own experiences of learning the piece to demonstrate an example of the process and discoveries I hope my students will make in their own studies of repertoire.
ContributorsLee, Kara Jia-Shan (Author) / Pagano, Caio (Thesis director) / Creviston, Hannah (Committee member) / Division of Teacher Preparation (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
The music business has constantly evolved since its inception. Sheet music was the first physical form of music sold and was influenced by innovations in printing technology. Recorded music came about in the late 1800s and early 1900s, with Thomas Edison pioneering the phonograph record. Technology shifted from records to

The music business has constantly evolved since its inception. Sheet music was the first physical form of music sold and was influenced by innovations in printing technology. Recorded music came about in the late 1800s and early 1900s, with Thomas Edison pioneering the phonograph record. Technology shifted from records to 8-tracks to cassettes, and finally, digital audio, which revolutionized the entire industry. Compact discs (CDs) skyrocketed in popularity during the 1990s and early 2000s, but so did file-sharing. To combat piracy, record labels began selling and streaming music online. Music sales have plummeted in all formats. Streaming reigns as the most popular form of music distribution, but it produces a mere fraction of the revenue traditional albums once did. The loss affects all those in the industry, especially the artists, who see an average of only $23.40 for every $1000 in music sold. But technology has allowed the independent artist to record and distribute their music to the world for little cost compared to their major label predecessors. Many wonder if the music industry is dead, but as with any other technological change in history, the adaptors and innovators will survive.
ContributorsDamiano, Alec (Author) / Swoboda, Deanna (Thesis director) / Whyte, Rutger (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor)
Created2015-05
Description
Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of

Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
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Description
This theoretical inquiry is a response to the apparent need for resources on providing music therapy for LGBTQ adolescents, a population facing systematic oppression in their respective homes and communities. Since there are no published research studies on actual clinical work with this population, I investigated the literature of queer

This theoretical inquiry is a response to the apparent need for resources on providing music therapy for LGBTQ adolescents, a population facing systematic oppression in their respective homes and communities. Since there are no published research studies on actual clinical work with this population, I investigated the literature of queer theory, an interdisciplinary field that destabilizes sexual categories and challenges the concept of normal and fixed identities, and applied its theoretical concepts to develop music therapy interventions. I was especially influenced by the ideas of foundational queer theorists Michel Foucault, Eve Sedgwick, and Judith Butler, among others. Their perspectives can advance how music therapists currently approach working with this population and interpret music therapy experiences with LGBTQ clients. The theoretical insights of these fields can be applied to impact the LGBTQ movement for social justice by empowering queer youth using music within a therapeutic environment. This interdisciplinary project incorporates queer theory with music therapy theory to develop evidence-based interventions and open up new perspectives in music therapy practice with LGBTQ clients.
ContributorsBain, Candice Lanell (Author) / Crowe, Barbara (Thesis director) / Grzanka, Patrick (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / Department of Psychology (Contributor)
Created2014-12
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Description
This project creates a possible framework for the application of music therapy to reduce test anxiety in students. Although music therapy has grown in recent years as a treatment method for a variety of mental health and wellness problems, it has yet to be comprehensively applied to the specific issue

This project creates a possible framework for the application of music therapy to reduce test anxiety in students. Although music therapy has grown in recent years as a treatment method for a variety of mental health and wellness problems, it has yet to be comprehensively applied to the specific issue of test anxiety. Some studies have examined the use of music in testing situations in order to reduce anxiety or improve academic performance. However, more in-depth music therapy interventions are a promising, largely untried treatment possibility for students suffering from this type of anxiety.
ContributorsCowan, Sarah Elizabeth (Author) / Crowe, Barbara (Thesis director) / Rio, Robin (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / School of International Letters and Cultures (Contributor)
Created2014-12
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Description
Asthma is a chronic respiratory disease affecting millions of people in the United States. Medication is effective at treating physiological symptoms of asthma, but other treatments are necessary to address the corresponding physical, emotional, social, and psychological issues and promote increased quality of life for patients. This paper presents a

Asthma is a chronic respiratory disease affecting millions of people in the United States. Medication is effective at treating physiological symptoms of asthma, but other treatments are necessary to address the corresponding physical, emotional, social, and psychological issues and promote increased quality of life for patients. This paper presents a literature review on the applications of music therapy for asthma and other respiratory disorders, utilizing elements of Therapeutic Singing and Therapeutic Instrumental Music Performance. A treatment protocol that uses therapeutic clarinet playing interventions, combined with breathing exercises and music-assisted relaxation techniques, can, as a compliment to medication, help asthma patients increase their physical functioning, effectively manage their symptoms, improve mood, and enhance overall quality of life.
ContributorsOlson, Shelbe Erin (Author) / Rio, Robin (Thesis director) / Gardner, Joshua (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
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Description
Rainbow Connection is an integrated choir with members on and off the autism spectrum. It was founded in the spring of 2012 by Barrett students Ali Friedman, Megan Howell, and Victoria Gilman as part of an honors thesis creative project. Rainbow Connection uses the rehearsal process and other creative endeavors

Rainbow Connection is an integrated choir with members on and off the autism spectrum. It was founded in the spring of 2012 by Barrett students Ali Friedman, Megan Howell, and Victoria Gilman as part of an honors thesis creative project. Rainbow Connection uses the rehearsal process and other creative endeavors to foster natural relationship building across social gaps. A process-oriented choir, Rainbow Connection's main goals concern the connections made throughout the experience rather than the final musical product. The authors believe that individual, non-hierarchical relationships are the keys to breaking down systemized gaps between identity groups and that music is an ideal facilitator for fostering such relationships. Rainbow Connection operates under the premise that, like colors in a rainbow, choir members create something beautiful not by melding into one homogenous group, but by collaboratively showcasing their individual gifts. This paper will highlight the basic premise and structure of Rainbow Connection, outline the process of enacting the choir, and describe the authors' personal reactions and takeaways from the project.
ContributorsFriedman, Alexandra (Co-author) / Gilman, Victoria (Co-author) / Howell, Megan (Co-author) / Rio, Robin (Thesis director) / Schildkret, David (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / School of Mathematical and Statistical Sciences (Contributor)
Created2014-12
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Description
This thesis explores my experience in teaching a high school music class through composition. I detail pedagogical approaches that helped to shape my lesson planning including constructivism, informal learning, and project based learning. The music education theory is put into action in a real high school setting and I explain

This thesis explores my experience in teaching a high school music class through composition. I detail pedagogical approaches that helped to shape my lesson planning including constructivism, informal learning, and project based learning. The music education theory is put into action in a real high school setting and I explain what happened: what worked, what didn't, and what can we learn from this?
ContributorsWhelihan, Brian Peter (Author) / Tobias, Evan (Thesis director) / Schildkret, David (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-05
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Description
E-Strings Academy (www.estringsacademy.wordpress.com) is a resource website intended for the beginning violinist, violist, cellist, and bassist. The mission of the website is to extend musical learning opportunities to students outside of the physical string classroom and to engage first-year string students in musical activities at home that supplement the instruction

E-Strings Academy (www.estringsacademy.wordpress.com) is a resource website intended for the beginning violinist, violist, cellist, and bassist. The mission of the website is to extend musical learning opportunities to students outside of the physical string classroom and to engage first-year string students in musical activities at home that supplement the instruction they receive in a school setting. The current website features five different areas for students to explore: lesson videos, tunes, listening activities, games, and resources. In each area, students have the opportunity to learn and reinforce musical concepts and skill sets that they will need in order to be successful in music, both in their first year of playing and beyond. I created E-Strings Academy with the intention that I use it with my own string students in my future teaching career. It is a flexible website that I will continue to revise, adapt, and enhance to best serve the needs of my students and enrich their musical learning outside of the classroom.
ContributorsCook, Christa Marie (Author) / Schmidt, Margaret (Thesis director) / Tobias, Evan (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05