Matching Items (34)
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- All Subjects: Music
- Creators: Caslor, Jason
Description
In the last few decades, the rapid development of electronic music technologies has changed the way society interacts with music, which in turn impacts the profession of music therapy. Except for a few cases, music therapy has not extensively explored the integration of new technology. However, current research trends show a willingness and excitement to explore the possibilities (Nagler, 2011; Ramsey, 2011; Magee, et al., 2011; Magee & Burland, 2008; Magee 2006). The project described in this paper intends to demonstrate one of these possibilities by combining modern technologies to create an interactive musical system with practical applications in music therapy. In addition to designing a practical tool, the project aims to question the role of technology in music therapy and to initiate dialogue between technologists and music therapists. The project, entitled MIST: A Musical Interactive Space for Therapy, uses modern gestural technology (the Microsoft® Kinect®) to capture body movements and turn them into music. It is intended for use in a clinical setting with children with mild to moderate disabilities. The system is a software/hardware package that is inexpensive, user-friendly, and portable. There are two functional modes of the system: the first sonifies specific movement tasks of reaching and balancing; the second is an interactive musical play space in which an entire room becomes responsive to presence and movement, creating a sonic playground. The therapeutic goals of the system are to motivate and train physical movement, encourage exploration of space and the body, and allow for musical expression, play, auditory perception, and social interaction.
ContributorsHeadlee, Kimberlee (Author) / Ingalls, Todd M (Thesis advisor) / Crowe, Barbara J. (Thesis advisor) / Stauffer, Sandra L (Committee member) / Arizona State University (Publisher)
Created2011
Description
There is a lack of music therapy services for college students who have problems with depression and/or anxiety. Even among universities and colleges that offer music therapy degrees, there are no known programs offering music therapy to the institution's students. Female college students are particularly vulnerable to depression and anxiety symptoms compared to their male counterparts. Many students who experience mental health problems do not receive treatment, because of lack of knowledge, lack of services, or refusal of treatment. Music therapy is proposed as a reliable and valid complement or even an alternative to traditional counseling and pharmacotherapy because of the appeal of music to young women and the potential for a music therapy group to help isolated students form supportive networks. The present study recruited 14 female university students to participate in a randomized controlled trial of short-term group music therapy to address symptoms of depression and anxiety. The students were randomly divided into either the treatment group or the control group. Over 4 weeks, each group completed surveys related to depression and anxiety. Results indicate that the treatment group's depression and anxiety scores gradually decreased over the span of the treatment protocol. The control group showed either maintenance or slight worsening of depression and anxiety scores. Although none of the results were statistically significant, the general trend indicates that group music therapy was beneficial for the students. A qualitative analysis was also conducted for the treatment group. Common themes were financial concerns, relationship problems, loneliness, and time management/academic stress. All participants indicated that they benefited from the sessions. The group progressed in its cohesion and the participants bonded to the extent that they formed a supportive network which lasted beyond the end of the protocol. The results of this study are by no means conclusive, but do indicate that colleges with music therapy degree programs should consider adding music therapy services for their general student bodies.
ContributorsAshton, Barbara (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Davis, Mary (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this research study provided observational techniques and Applied Behavior Analysis (ABA) prompts and fading procedures to analyze music therapist-child interaction for child with autism spectrum disorder. Impaired social interaction is the primary symptom of a child with autism spectrum disorder. However, social interaction exists everywhere and throughout human life. Therefore, to improve interaction is the primary and significant goal in music therapy treatment for a child with autism spectrum disorder. The music therapist designs a series of music therapy activity interventions in order to create a therapeutic environment, based on a child's interests and favorite activities. Additionally, the music therapist utilizes the music to build the quality of relationship and interaction with child and support child practicing interaction with the therapist. Then music therapist utilizes the process of interaction to improve child's social interaction. Once the child achieves at desired behavior, he/she has ability to apply the music therapy techniques independently in the real world situations, such as family and schools that the child has learned throughout the process of interaction with therapist. The participants were three children with autism spectrum disorder and two certified music therapists (MT-BC). The researcher calculated the number of prompts and cues which the therapists provided, and the number of appropriate responses by each child in each activity intervention. Then the researcher utilized Applied Behavior Analysis (ABA), prompt and fading procedure in order to analyze the progress of therapist-child interactions during the sessions. The result showed that the children had improvement in the interactions with their therapist.
ContributorsLiao, Yin-chun (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Dishion, Thomas J. (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT Two qualitative studies described the effects of parent's participation in the music therapy session on parent-child interaction during home-based musical experiences learned in music therapy session. Home-based musical play was based on two current programs: Sing & Grow (Abad & Williams, 2007; Nicolson, 2008 Abad, 2011; Williams, et al; 2012) and Musical Connection Programme(Warren & Nugent, 2010). The researcher utilized the core elements of these programs, such as session structures and parenting strategies for improving parent-child interaction during music therapy interventions. Several questions emerged as a result of these case studies as follows 1) does parent's participation affect parent-child interaction during music therapy interventions 2) does musical parenting strategies promote parent-child interaction while practicing musical play at home 3) does parent's interaction increase when they practice parental strategies listed on parent's self-check list. Music therapy session was provided once per week during an eight week period. The participants were referred by Arizona State University (ASU) music therapy clinic. Sessions took place either in the ASU music therapy treatment room or the participant's home. There were four participants- one diagnosed with Down syndrome and the other with Autism Spectrum Disorder (ASD) and two parents or caregivers (each subject was counted as one participant). The parent/caregiver filled out the parental self-checklist 3-4 times per week and the survey after the end of the program. The case study materials were gathered through with parent/caregiver. The case studies revealed that all of the parents responded that the parent's participation in music therapy helped to improve their interactions with their child. Furthermore, all parents became more responsive in interacting with their child through musical play, such as sing-a-long and movements. Second, musical parenting strategies encouraged parent-child interaction when practicing musical play at home. Third, the parent's self-checklist was shown to be effective material for increasing positive parent-child interaction. The self-checklist reminded the parents to practice using strategies in order to promote interaction with their child. Overall, it was found that the parent's participation in home-based musical play increased parent-child interaction and the musical parenting strategies enhanced parent-child interaction.
ContributorsChoi, Yoon Kyoung (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2013
Description
This descriptive research study explored practicing Board-Certified Music Therapists' engagement in self-care as needed from the impact of stress and burnout, as well as perceptions of the music therapy profession and professional association. An online survey was completed by 829 practicing board certified music therapists. Mean scores and percentages of nominal variables were generated from an independent sample. ANOVA was used to compare mean scores of dependent variables with independent variables of two or more categories. Open-ended responses generated extensive qualitative data about stress/burnout, job satisfaction, motivation, and self-care. Those who are not currently members of AMTA reported affordability as the primary reason for not being members. Despite some negative perceptions about the profession and professional association, a significant number of music therapists expressed a passion for what they do. Music therapists appear to have a solid grasp on professional responsibilities and ethics. Although respondents reported an overall high level of job satisfaction, a substantial number agreed that they have considered leaving the profession. Low salary was the most commonly acknowledged reason, followed by the continued need to "sell" music therapy, burnout, stress, limited work opportunities, and workplace politics. Respondents identified healthy diet and rest as primary activities of self-care, followed by recreation/leisure time with loved ones, exercise, hobbies, and prayer. Music therapists reportedly continue to feel motivated and inspired in the profession predominantly because of the gratification/satisfaction of the results of their work, followed by engagement in self-care, loving the work regardless of income, attending conferences and symposiums, diversification among various populations, and keeping professional life separate from personal life. ANOVA results indicated that job satisfaction and engagement in self-care likely increase with age; job satisfaction is higher among married music therapists, those with children, and those with more than 30 years in practice; and those with no children and those with a master's or doctorate degree were more likely to engage in self-care. A variety of implications and recommendations are explored.
ContributorsMurillo, Julie Hoffer (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2013
Description
The original scope of this project was to have several conducting experiences and written records about the conductor’s experiences. Due to COVID-19, the focus of the paper has shifted to documenting the preparation, rehearsal, and performance "Recombobulation" (2016) by Theresa Martin. Using the templates found in the "Teaching Music Through Performance in Band" book series as a model, combined with the author’s personal narrative of their experience, this paper aims to serve as a resource for both people considering programming this piece of music as well as early career conductors who strive to improve their craft.
ContributorsStirm, Taylor Lynne (Author) / Caslor, Jason (Thesis director) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / School of Music, Dance and Theatre (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
Description
Clarinet articulation is a process that uses the tongue to create an interruption in sound production either by contacting the reed or disrupting the air stream. This process occurs inside the mouth and is hidden from direct view. As a result, various solutions were developed in clarinet pedagogy to address the issue of teaching with no visual feedback. Clarinet pedagogy literature consists of language that makes it possible for other clarinetists to discuss, teach, and research various aspects of clarinet playing. The interdisciplinary application of theoretical concepts in linguistics and how they map onto the language of clarinet pedagogy offers a new perspective for understanding the teaching methods used for articulation. To provide insight into the relationship of language and clarinet pedagogy, an overview of several linguistic theories and concepts, such as Peircean semiotics, metalanguages, discursive strategies, and articulatory phonetics, is presented. Additionally, a brief explanation of articulation techniques (single, multiple, flutter, and slap articulation) and commonly used teaching strategies is outlined. The language used in clarinet pedagogy literature from resources by prominent clarinet pedagogues, such as the works of John Anderson, Joshua Gardner, Michèle Gingras, Eric C. Hansen, Howard Klug, Phillip Rehfeldt, Thomas Ridenour, Heather Roche, Robert Spring, and Rachel Yoder, is surveyed. Pedagogical insights from a linguistic analysis are used to create resources for teaching and/or correcting articulation. Since the interdisciplinary application of linguistics and clarinet pedagogy is an underexplored topic, this research also aims to serve as a basis for further interdisciplinary studies.
Contributorsde Alba, Francisco Javier (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Fossum, Dave (Committee member) / Caslor, Jason (Committee member) / Arizona State University (Publisher)
Created2021
Description
This paper highlights a method for jazz transcription, comprehension, and practice to be implemented primarily in applied saxophone instruction with undergraduate students. The purpose is the identify and mend the divide between jazz and classical that appears in academia. This divide is one that came about by necessity in the saxophone’s relative youth in the academic world as it found solid footing in conservatories around the world. A literature review establishes the current state of dialogue between both jazz and classical in the academic saxophone community, including the current state of crossover scholarship that discusses the interaction between multiple genres. This review investigates what serves as pedagogical material in an aural discipline like jazz. A thorough approach to transcription is crucial change to the standard practice of jazz transcription typically employed in applied saxophone studios. This approach takes the focus away from the product and places it on the process. This process is demonstrated through a transcription and deconstruction of Charlie Parker’s “Cheryl.” Though this approach is presented through the perspective of a saxophonist, this process can be applied to any number of instrumental disciplines seeking to understand jazz transcription and improvisation more fully.
ContributorsFeher, Patrick Francis (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Libman, Jeffrey (Committee member) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
Description
While much has been written on the history of Education Concerts in the United States, there is a void in research focused on actual content, structure, and purposes of these concerts. This document seeks to fill this void through a detailed examination of salient aspects of Education Concerts, including programming, structure, rehearsal, and performance considerations. In conjunction with my research, I will draw on my first-hand experience as Associate Conductor of the Seattle Symphony, providing a glimpse into the creative challenges and solutions that confront a contemporary orchestra. Additionally, my research endeavors to discover ways of transforming the historically rigid model of orchestral operations into a structure that embraces diversity, equity, and inclusion, encourages connections, and sparks curiosity. The goal of this research, therefore, is to provide tangible references and practical guidance to the conductor or administrator who is venturing into the richness of Education Concert programming and performance in today’s everchanging orchestral landscape.
ContributorsXia, Sunny Xuecong (Author) / Caslor, Jason (Thesis advisor) / Bolanos, Gabriel (Committee member) / Feisst, Sabine (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2023
Description
During my career as an oboist, I have only played the oboe d’amore one time before this project. I have always wondered why such a beautiful instrument is scarcely
played today, and decided it was time to commission new works that aim to bring back
the instrument’s popularity. Tim Carlos composed Fernweh: Sonata for Oboe d’amore
and Piano and Two Sketches for Oboe d’amore, Guitar, and Percussion. This document
covers the collaborative method Carlos and I experienced, the history of the oboe
d’amore, edits made to the compositions, and most importantly a performer’s guide to
these two new works (discussing both technical and musical challenges.) The recordings
are also included. To purchase either work in its entirety, contact
timcarloscomposer@gmail.com.
ContributorsDinger, Maja Malina (Author) / Schuring, Martin (Thesis advisor) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022