Jane Austen’s depictions of musical performers and listeners in her novels suggest her belief that musical performances should strengthen intimacy between people, both between listeners and performers as well as among listeners. Austen commends music for its power to increase intimacy through honest expressions of taste, which more often arise in private performances, but she warns against its power to decrease intimacy through pretentious displays of taste, which more often arise in public performances. Austen’s belief that music allows for this healthy intimacy indicates that music has great significance in society. Austen suggests that music has a greater importance to everyday life than many may originally suppose, as it is a universal connection between people. Ultimately, Jane Austen’s perspective of music’s great power both to expose pretentiousness and to cultivate intimacy should lead all of her readers to recognize and respect music’s true power and to consider seriously the importance and role of music in their own lives.

For my honors thesis, I chose a creative project that would incorporate expertise and skills from both of my undergraduate degrees at Arizona State University: Music Performance and Music Theory and Composition. The main goal for this project was to design and experience an artistic process of musical production and create a professional musical work to release on digital platforms. The musical process included five main components: Listening, Transcribing, Composing, Recording, and Post Production. The final product is a full album, titled This is Jam Music, that consists of eight pieces and a run time of 33 minutes.

This thesis examines the theological significance and use of chant in the Divine Liturgy of Saint Chrysostom, in both Eastern Orthodoxy and Eastern Catholicism. An overview of the Liturgy and its chant is given while examining contemporary and historical practices. Finally, this paper also offers an overview of trends and practices used by Eastern Christian faithful in the United States.

This project is intended to fill gaps in the professional knowledge of music educators in the state of Arizona concerning the pedagogy, content, and importance of a visual education program in the scholastic marching band. It also aims to contribute to the general pool of knowledge surrounding visual education. While music educators are often expected to begin teaching marching band immediately following their graduation, many do not ever receive proper training in the visual aspect of the marching arts. The marching band is the most visible element of a holistic educational music program, and often represents the school to the community and the educator to their administrators. While significant music training is given at the collegiate level, many educators have not had further experience in the marching arts. The author uses his experience in Drum Corps International, as well as in teaching marching band to synthesize research-based practices into a handbook of immediately applicable visual pedagogical information that would be immediately useful to any music educator.