Doctor of Philosophy, The Ohio State University, 2024, East Asian Languages and Literatures

Abstract: Language and music are integral to human cognition and emotion, distinguishing our species. Despite the pervasive presence of music, its pedagogical value in the field of Chinese as a Foreign Language (CFL) remains underexplored. This dissertation explores the potential of music in Chinese language pedagogy by addressing two key research questions: (1) Why must foreign language learning extend beyond the cognitive to integrate both cognitive and emotive aspects? Or, why is creating shared experiences essential for learning to communicate with and participate in another culture? (2) How can music facilitate the integration of cognitive and emotive aspects, leading to the creation of shared experiences? Grounded in an extensive literature review of the evolutionary trajectories, neurobiological and physiological features, and semiotic systematicity of language and music, this study advocates for the integration of music and all related activities—collectively termed “musicking”—into the CFL curriculum via the Performed Culture Approach (PCA) framework. This integration is crucial and timely, facilitating the creation of shared experiences that link cognitive and emotive aspects of learning. Moreover, this integration enhances interpersonal and intercultural communication and fosters a deeper level of intercultural awareness, understanding, and recognition. This study comprises five chapters. Chapter One delves into the evolutionary history of music and language, comparing their communicative functions. Chapter Two examines the physiological underpinnings of music's key mechanisms and features, such as entrainment, embodiment, and emotions. Chapter Three analyzes the semiotic function of music, emphasizing its role in social contexts and its parallels with language throughout evolutionary history. Chapter Four addresses the necessity of incorporating music into the PCA within contemporary CFL education. Chapter Five, titled “Chinese Songs as (open full item for complete abstract)

Committee: Xiao-bin Jian (Advisor); Galal Walker (Committee Member); Marjorie K.M. Chan (Committee Member) Subjects: Asian Studies; Language; Music

Bachelor of Arts, Wittenberg University, 2024, Education

In this study, I analyzed the ways music can teach phonological awareness to contribute to student engagement and literacy achievement. In recent years, literacy achievement has fallen short. With phonological awareness skills contributing to the success of a reader, an improvement needs to be found. Through the completion of teacher interviews and assessing the different outcomes between phonological awareness lessons with and without music, I was able to determine that music has the capability to improve a student's literacy skills. These findings contribute to the field of education by highlighting the need for supplemental instruction and the power that music integration into core content areas can have for students. This study provides insights for future research that can be done in this field to achieve more positive educational outcomes.

Committee: Kristin Farley (Advisor); David Schubert (Committee Member); Michael Daiga (Committee Member) Subjects: Education; Elementary Education; Music; Music Education; Reading Instruction

BM, Kent State University, 2023, College of the Arts / School of Music, Hugh A. Glauser

In 1830, music critic, Ludwig Rellstab, described the opening movement of Beethoven's Op. 27, No. 2 as “a boat, visiting, by moonlight, the wild places of the Viervaldsee in Switzerland” (Waltz, 2007). Using figurative language to describe the perceptual experience of music is a phenomenon musicologists, critics, and pedagogues practice fluently. Yet, how can any music listener accurately interpret that a piece of music sounds like moonlight? And how can any linguistic description evoke sound without hearing it? Since the Baroque Era and the development of the Doctrine of Affectations, researchers have argued the affects music can induce on the audience, primarily based on a lens model approach. However, what is less clear is how we use figurative language to describe music outside of pure emotion. This three-part study explores the relationship between figurative language and musical expression in relation to the wider discussion of encoding and decoding acoustical cues. In the first study, a corpus of 2,780 metaphors collected from 19th century music periodicals revealed that 19th century music critics used mostly personifying metaphors, followed by synesthetic metaphors and extended imagery, among numerous subcategories. The second study observed how words are acoustically defined by giving five words (cold, dark, lively, mournful, and tender) from the previous corpus study to instrumentalists to perform with five given excerpts. Results revealed significant acoustical effects of duration, articulation, and timbre (sans piano), but no significant effect of dynamics. Finally, the third study looked at whether participants could accurately perceive the intended musical expression. Results indicated that participants (mostly nonmusicians) were significantly able to interpret the intended expression, although individual features like instrument and excerpt affected ratings. These results carry cross-disciplinary and practical implications in music, psychology, and l (open full item for complete abstract)

Committee: Joshua Albrecht (Advisor); Wendy Matthews (Committee Member); Phillip Hamrick (Committee Member); Ed Dauterich (Committee Member) Subjects: Language; Music; Psychology

Doctor of Philosophy, Case Western Reserve University, 2022, Musicology

Many of today's vocal techniques and ideas about vocality originate at the turn of the previous century. Over the course of the nineteenth century, science and aesthetics, theory and practice, the medical and the musical came together. Arthur Chervin exemplifies the nineteenth-century impulse toward blending theory and practice in his journal La Voix Parlee et Chantee, published from 1890 through the end of 1903 in Paris. From 1848 onward, doctors and medical practitioners in France began to infiltrate many aspects of politics, social life, and art. As an acknowledged expert in stuttering and a state-appointed physician and the Paris Opera, Chervin was well positioned to facilitate a multi-disciplinary publication that merged medical perspectives with those of performers and pedagogues. His journal is unique in its interdisciplinarity and its wide-ranging arguments about vocal health and aesthetics. A close reading of La Voix enables an exploration of the many sociological, cultural, and artistic implications of voice, health, and pathology in 1890s France. In the early chapters of this dissertation, I show how physicians' interventions into the bodies of ailing singers both constricted the timbres available for expressive singing and contributed to the idea that vocal anatomy determines vocal sound. And, moving beyond the physical, I investigate the relationship between mental interiority (sanity, trustworthiness, identity, etc.) and vocality, showing that contributors to La Voix believed they could evaluate an individual's innermost feelings by listening to the sound of their voice. Later chapters examine pedagogies designed to shape children's voices, and finally an exploration of timbral practices in three distinct groups of voice users—amateur choristers, professional orators, and singers/actors. Throughout, I synthesize contents from La Voix and other period sources, as well as from contemporary scholarship on vocality, contemplating how fin-de-siecle vocal (open full item for complete abstract)

Committee: Francesca Brittan (Advisor); David Rothenberg (Committee Member); Peter Bennett (Committee Member); Andrea Rager (Committee Member) Subjects: Medicine; Music

Master of Arts, The Ohio State University, 2020, East Asian Languages and Literatures

This thesis explores if and how music can be incorporated into the teaching and learning of Chinese as a foreign language (CFL) from a cross-disciplinary perspective. Considering music more than simply a sonic device or a “fun tool” in classrooms, the author discusses the uniqueness of music in human communication, its nature as a cultural artifact in human evolution, and its role in the formation and maintenance of group cohesion among humans through the physiological mechanism of the human mirror neuron system (MNS). From a pedagogical perspective, music provides a critical link in the chain of meaning communication and intention construction due to its associative floating intentionality and its ability to elicit emotional and motivational responses, communicate communions, and enhance coordination within certain social group members. Specifically, Chapter one explores the possibility of integrating music into the CFL field by highlighting the uniqueness of music's role in human communication. Chapter two examines the connections between music and language from the perspective of their physiological foundations, cognitive mechanisms, and evolutionary pathways. Chapter three focuses on the functions of music and its role in learning and language learning. Finally, Chapter four focuses on material development by providing a sample unit of the music-enhanced Chinese online course—iFriends.

Committee: Xiaobin Jian (Advisor); Galal Walker (Committee Member) Subjects: Curriculum Development; Language; Music; Pedagogy; Teaching

Doctor of Musical Arts, The Ohio State University, 2020, Music

The Doctor of Musical Arts (DMA) degree has been the terminal degree in music performance, composition, and conducting in North America since the early 1950s. Originally met with criticism, some of which continues to this day, the DMA continues to serve as the gateway for applied music-makers that wish to join the academy. This document investigates and echoes these criticisms surrounding the necessity and design of the DMA in Voice Performance, while submitting new criticisms based in curriculum theory, learning science (pedagogy), and educational psychology. A comparative look at DMA in Voice Performance programs at 57 American universities and conservatories provides context and inspiration for a much-needed consensus on the desired outcomes of this terminal degree in singing. This document responds to this need by proposing a new, revised, and ideal course of study that encourages the singing community to reconsider the limitless possibilities that exist for artist-teachers in the pursuit of a DMA. In so doing, it serves as a mindful guide that institutions may use to tailor their doctoral programs to their strengths, while following best practices that uplift, validate, and ensure the existence of such a degree.

Committee: Scott McCoy DMA (Advisor); Edward Bak MM (Committee Member); Christin Ray PhD (Committee Member); Loretta Robinson MM (Committee Member) Subjects: Curricula; Curriculum Development; Education; Educational Psychology; Higher Education; Higher Education Administration; Music; Music Education; Pedagogy; Performing Arts; Teacher Education; Teaching

MFA, Kent State University, 2019, College of Communication and Information / School of Visual Communication Design

We are visual creatures that live in an increasingly interconnected culture. Devices and screens occupy our attention from the time we wake till the time we close our eyes at night. However, the way we take in our music has become the less visible as music has transitioned into being largely consumed digitally. This study explores how illustration can extend the aesthetic of a conceptual music project beyond the boundaries of sound. This study addresses how audiences emotionally respond to a multimodal music experience prototype. Using principles of emotional design, the prototype consisted of a sequential narrative, a motion design piece, and use of thematic continuation. The prototype collateral was integrated into the social media application, Instagram, and shown to participants, either before or after they listened to a music selection from a virtual artist. Participants chose a numerical value on a 9-point linear scale to indicate how they were feeling, after experiencing the proto-type, they would answer the question again and the emotional variance was recorded. The findings were that participants experienced higher values of emotion positively and negatively when provided design collateral against a control of participants who solely heard the music selection. Participants, who experienced the design collateral before hearing the music selection, experienced greater positive emotional response, while participants who saw design collateral after hearing the music selection experienced a larger variance of positive and negative emotional response.

Committee: Ken Visocky O'Grady (Advisor) Subjects: Design; Multimedia Communications; Music

Doctor of Philosophy, The Ohio State University, 2019, East Asian Languages and Literatures

Often cited as one of the most salient indices of sociocultural meaning, “sentence-final expressions” (bunmatsu hyogen) have long been a subject of analysis in Japanese linguistics. These units are a kind of what Bolinger and Sear (1981) more broadly refer to as an “audible gesture,” or a linguistic unit that conveys paralinguistic meanings, i.e. meaning that includes neither denotational nor propositional content. Named for their frequent and typical appearance at the end of utterances, in Japanese an immense number are deployed to a wide variety of sociocultural ends. Because of the large number of available expressions, however, previous research has struggled to develop a method of sociolinguistic analysis that is capable of capturing their multivalent nature. This is a difficulty that has been compounded by an array of different degrees of use, resulting in highly skewed levels of academic attention being given to certain expressions and nearly none to others. In this dissertation, I explore alternate means of addressing the intersection of sentence-final expressions and sociocultural meaning through a hybrid approach that utilizes statistical methods informed by cultural analysis. Drawing on frameworks developed for understanding “role language” (Kinsui 2003) and “character language” (Sadanobu 2011, Kinsui and Yamakido 2015), the series of studies presented in this dissertation approach these expressions from the perspective of their role in the performance of characterological figures and the history of use that these expressions have within mass media genres. By utilizing mass media genres, in particular popular entertainment media, I focus not simply on the use of these expressions, but the sociocultural ideologies that inform their use with regard to both creator and audience. Moreover, careful study of these expressions in popular media sheds light on the boundaries of their potential meanings, since we find them at work in such a variety of situations (open full item for complete abstract)

Committee: Charles Quinn PhD (Advisor); Mineharu Nakayama PhD (Committee Member); Anna Babel PhD (Committee Member); Mie Hiramoto PhD (Committee Member) Subjects: Asian Studies; Linguistics; Mass Media

Bachelor of Arts (BA), Ohio University, 2019, Spanish

This thesis explains how three forms of contemporary Mayan art--music, weavings and murals--form part of the larger effort in Guatemala to revitalize Mayan languages and culture, known as the Mayan Movement. This movement began in the 1990's after the end of Guatemala's 36-year long genocidal and ethnocidal civil war. The research focuses on three case studies: 1) a Mayan hip hop group that retells ancient myths through Spanish and Mayan-language lyrics, 2) a Mayan weaving cooperative that has taken advantage of the often culturally damaging tourism industry to raise awareness about the lasting effects of the civil war, and 3) a mural painted by a Mayan art collective depicting the people's history of Mayans in Guatemala from the genesis of the first human beings to present day. Each chapter analyzes the symbolism and cultural knowledge communicated by a different form of artwork, often relating them back to ancient Mayan myths, and concludes that each form of art constitutes a form of survivance, a combination of “survival” and “endurance” that refers to the active presence of indigenous peoples, worldviews, and ways of life in the world today, that inherently defies the historical and contemporary attempts to erase them.

Committee: Betsy Partyka Dr. (Advisor) Subjects: Cultural Anthropology; Fine Arts; History; Language; Latin American History; Latin American Studies; Modern History; Native American Studies; Native Studies; Political Science

Master of Arts in Speech Pathology and Audiology, Cleveland State University, 2017, College of Sciences and Health Professions

The present study aimed to investigate differences in vocal fold (VF) closure patterns in singers of varying genres with use of videostroboscopy. Three participants were selected to be in groups of different singing genres including classical, musical theatre, and pop/rock. A control group of non-singers were also included. Vocal tasks were assessed through acoustic, subjective, and stroboscopic analysis. Significant differences were observed between the classical group of singers and the pop/rock group. The VF closure patterns were relatively normal for the classical singers in comparison to the abnormal patterns in pop/rock singers. The musical theatre group had both normal and abnormal patterns. There was no significant differences between groups when analyzing the acoustic data through descriptive means. The acoustic data indicated all participants within relatively normal limits for the parameters assessed, except some inconsistencies with maximum phonation time (MPT). The subjective analysis showed differences between the classical and pop/rock groups in terms of vocal health and hygiene. The classical group showed the best vocal health and hygiene practices compared to the fair practices of the pop/rock group. The results between the classical and pop/rock group indicates that the lack of vocal training and competing with loud instrumentation in noisy environments may contribute to the recruitment of laryngeal musculature to achieve VF closure. These findings may indicate the need of vocal training and education in vocal health and hygiene for pop/rock singers.

Committee: Violet Cox Ph.D., CCC-SLP (Committee Chair); Myrita Wilhite Au.D. (Committee Member); Brian Bailey D.M.A. (Committee Member) Subjects: Music; Music Education; Performing Arts; Speech Therapy

Doctor of Philosophy, The Ohio State University, 1978, Graduate School

Committee: Not Provided (Other) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 1978, Graduate School

Committee: Not Provided (Other) Subjects: Mass Communications

Master of Music (MM), Ohio University, 2017, Music Therapy (Fine Arts)

Collaboration in healthcare fields is beneficial for the patients and clients served as well as the professionals who make up the treatment team. Patients and clients receive higher quality of care and professionals improve their communication skills, increase their knowledge about the different disciplines of their colleagues, and improve their quality of work in addition to many other benefits. Music therapy and speech-language pathology are two healthcare fields in which collaboration with other healthcare professionals currently occurs for the treatment of clients. Music therapists and speech-language pathologists (SLPs) also collaborate with each other. More evidence supporting collaborative models used between these two healthcare professions, particularly in a clinic setting, is needed so that collaboration can become more prevalent in work settings. Therefore, the purpose of this study was to investigate how a music therapist and an SLP graduate student work together to develop and implement a collaborative model in the treatment of a child currently receiving speech-language therapy services in a clinic setting. The study was a pilot and feasibility study that used qualitative and quantitative measures. The collaborative model that was developed and implemented was consultative with some occurrences of interdisciplinary collaboration. The qualitative data showed that the SLP graduate student, music therapist, and child client had positive experiences during the collaboration. The quantitative data showed that the music therapist's performance in preparing the student to use music-based interventions increased over time, and the SLP graduate student increased the use of music in speech-language therapy sessions over time.

Committee: Kamile Geist PhD (Advisor); Richard Wetzel PhD (Committee Member); Laura Brown PhD (Committee Member); Joann Benigno PhD (Committee Member) Subjects: Health Care; Music; Speech Therapy

Master of Arts in Psychology, Cleveland State University, 2016, College of Liberal Arts and Social Sciences

In this study, I examined whether or not the representations underlying music processing and spoken word recognition are similar. Previously, talker effects -an advantage for recognizing a repeated word spoken by the same talker relative to two different talkers - have been found when processing is relatively slow (McLennan & Luce, 2005). Research has previously shown that there are similarities between language and music (Patel, 2003; Lim & Goh, 2012; McMullen & Saffran 2004). Therefore, I extended previous work on talker effects to music perception by examining whether or not I would obtain instrument effects - an advantage for recognizing a repeated song played by the same instrument relative to a different instrument. That is, I compared listeners' responses to songs were repeated across two blocks of trials when the instrument remained the same (e.g., harp to harp) and when the instruments changed (e.g., harp to trumpet). The results demonstrated that the instrument match condition was significantly faster than the instrument mismatch condition, demonstrating instrument effects. Results support the notion that the representations underlying language processing are analogous to the representations underlying music processing.

Committee: Conor T. McLennan PhD (Committee Chair); Kenneth E. Vail PhD (Committee Member); Eric S. Allard PhD (Committee Member); Albert F. Smith PhD (Committee Member) Subjects: Cognitive Psychology; Experimental Psychology; Language; Music

Master of Arts, The Ohio State University, 2016, Music

The purpose of this study was to investigate the music-reading ability of English Language Learner (ELL) students as compared to non-ELLs and to establish baseline data for future research. Participants were 80 second-year, seventh-grade instrumental music students in a large public school district in the southern United States. The participants completed a demographic profile survey and pitch-identification test online. Results of the study survey were analyzed using descriptive statistics and a binary logistic regression model. Analysis demonstrated a significant correlation between ELL status and number of questions answered correctly. The logistic regression model indicated that ELL status was not a significant predictor of pitch-identification ability. Other variables that were found to be predictors of pitch-identification ability included participant age, primary language spoken at home, self-perceived English-reading ability, self-perceived music-reading ability, and question difficulty.

Committee: Robert Gillespie PhD (Advisor); Daryl Kinney PhD (Committee Member); Mark Rudoff MM (Committee Member) Subjects: English As A Second Language; Music; Music Education

BA, Kent State University, 2015, College of Arts and Sciences / Department of Modern and Classical Language Studies

For centuries, Dante's Commedia has inspired artists and musicians alike with its dense themes of redemption, atonement, religious ecstasy and reconciliation. His immense three-volume work is rife with musical metaphors and linguistic musicality qualifying it as a more than a poem: something that many in the field of Dante Studies term a masterpiece of an all-encompassing artistic nature. In this thesis, I explore the Commedia in terms of its musical construction, examining the specific choices by a linguistic genius to instruct his listeners of life, language and love through song.

Committee: Kristin Stasiowski Phd (Advisor); Kenneth Bindas Phd (Committee Chair); Jay White Phd (Committee Member); Stephanie Siciarz (Committee Member) Subjects: Literature; Middle Ages; Music; Philosophy; Religious History

BA, Oberlin College, 2015, Psychology

Many people enjoy listening to music while they study, but others find music distracting. Research about the effect of music on performance during a cognitive task mirrors the equivocal nature of this subjective debate. Across 3 experiments, music, either in the background or as an active encoding device, was found to have no effect on foreign language learning. In Experiment 1, participants studied foreign language vocabulary in silence, while listening to instrumental music, or while listening to music with lyrics. There was no effect of music on recall at immediate (p = .52) or delayed testing (p = .80). Participants in Experiments 2 and 3 listened to and then repeated foreign language phrases by speaking or singing them aloud. No significant differences were found in recall for phrases learned by singing and for phrases learned by speaking (p = .827). Experiment 3 assessed whether using a self-composed melody as a musical mnemonic device was more effective than singing a given melody in learning foreign language phrases. Recall for foreign language phrases sung to given melodies was not significantly different than recall for phrases sung to self-composed melodies at any retention interval (all p-values > .50). Despite finding only null results, this research sheds light on the question of when music may be successfully employed to enhance learning and suggests that familiarity of the music and difficulty of the learning task may be important factors.

Committee: Patricia deWinstanley (Advisor); Nancy Darling (Advisor); Paul Thibodeau (Committee Member) Subjects: Cognitive Psychology; Educational Psychology; Experimental Psychology; Foreign Language; Language; Music; Music Education; Pedagogy; Psychology; Teaching

Master of Music, University of Akron, 2015, Music-Theory

Summary, Data Conclusion: The purpose of the analyses explained in Chapter III was to recognize the relationship, if one exists, between the overlying emotion/purpose of the song and its intervallic complexity. Similarly to classical operatic structure, rock ballads, like arias, often stop time to further explore a singular emotion. The rock musical version of aria's counterpart, recitative, is the rock anthem which is inordinately trying to send a message - often one of passion, angst, or revolt. With a message as powerful as this, the music may fall prey to the text so as not to distract from the persistence of revolution. The Total Average Interval (TAI) data of Tables 5 and 6 indeed shows that the vast majority of songs classified as ballads or anthems lie on opposite ends of the spectrum, with ballads containing the largest intervallic totals and anthems the smallest. Another interesting correlation arose among songs that had repetitive texts. As aforementioned in the background of the study, Leonard Bernstein (famous for both the melodic tritone and the melodic minor seventh in his songs from West Side Story, "Maria" and "Somewhere," respectively), attended a production of Hair when it premiered on Broadway and was said to have walked out at intermission. His objection was that the lyrics reminded him of mere "laundry lists" which is an analysis not lacking in accuracy. Of the songs from Hair analyzed here, three stand out as having a majority of lyrics that incorporate the recitation of a series of nouns: the title song, "Hair," "I Got Life," and "Ain't Got No." "Hair" boasts forty different styles/types of hair, including, "polka-dotted," "confettied," and "spaghettied." In the same fashion, "I Got Life" specifies thirty-five "things we've got," the majority of which are body parts, while "Ain't Got No" spells out thirty-six "things we ain't got," including, "culture," "schoolin'," and a "draft card." When consulting Table 5, it seems that th (open full item for complete abstract)

Committee: Nikola Resanovic (Advisor); Brooks Toliver (Committee Member) Subjects: Music

BA, Oberlin College, 2002, English

I grew up listening to hip-hop music. Although I lived across the country from its birthplace, I would immerse myself in its sounds during the day and especially at night when my brother would play tapes before we fell asleep in our bunk beds. At a certain point in high school, I became obsessed with the music's lyrics. I was continually astonished by the cleverness, rhyme ability and edginess of the emcees I listened to. My admiration for hip-hop music developed alongside my admiration for the great authors I was reading at that time: F. Scott Fitzgerald, Herman Hesse and Virginia Woolf, to name a few. It was clear to me that English literature and hip-hop music used words in radically different ways. These divergent ways of employing language were reflected in the pedagogical fact that hip-hop would never end up in the classroom while English literature remained one of its fixtures. In college, I began to visit www.ohhla.com (short for "original hip-hop lyrics archive"), a website almost wholly devoted to transcribing the lyrics of hip-hop songs. At first, I was surprised that many of these lyrical transcripts, especially those that were abstracted from songs that I had never heard, seemed to lose something in translation. Without the voice of the emcee to infuse the words with life and the beat to enter into a synergistic relationship with them, the lyrics seemed simplistic and, at times, even nonsensical. However, as I continued to examine these transcripts, I began to engage with them in new ways; I saw the patterns between them, the similar things that they stressed and played with, the skill and artistry reflected in the tum of their phrases. I began listening to more underground emcees, who are mostly signed to independent labels and consequently given an almost unlimited amount of artistic freedom. While I discovered this music, I studied transcripts of its songs on www.ohhla.com. becoming increasingly impressed with what I found. This paper represents my a (open full item for complete abstract)

Committee: David Walker (Advisor) Subjects: Literature; Music

Bachelor of Science (BS), Ohio University, 2014, Communication Sciences and Disorders

The purpose of this study was to explore the benefits and challenges of using music to help children with ASD meet their communication goals. Also, roles that augmentative and alternative communication systems have played in Music Therapy were discussed. Finally, information was gathered in order to help Speech-Language Pathologists incorporate music into therapeutic sessions as well as to help make collaboration easier between Speech-Language Pathologists and Music Therapists. Ten Music Therapists, who had been Board Certified for at least 5 years, were currently working with a non-speaking child with an Autism Spectrum Disorder (ASD), and had a high self-rank skill of using Augmentative and Alternative Communication (AAC) participated in an online focus group. Over six weeks, participants discussed topics including the impact of Music Therapy on children with complex communication needs and ASD as well as advice for Speech-Language Pathologists. Thematic analysis revealed seventeen different themes that fell into 5 different categories. These categories included benefits, challenges, roles AAC play, advice, and other. The results of this study focused around the benefits and challenges of using music with children with complex communication needs, the roles AAC plays in therapy sessions, and advice Music Therapists have for Speech-Language Pathologists. Under these four categories, there were seventeen themes, which include: Motivation and Reinforcement, Total Improvement, Neurological, Motor, Life and Social Skills, Capturing the Benefits, Learned Behavior vs. Communication, Generalization, Dividing Attention Between AAC and Music, Serves as an Individual’s Voice, Provides Control, Provides Choices, Keep It Simple, Collaborate Effectively with a Music Therapist, Be Confident, Not Self-Conscious, Maintain Appropriate Expectations and Considerations, Use Resources, and Other. Motivation and reinforcement, along with neurology seem to have a big par (open full item for complete abstract)

Committee: John McCarthy (Advisor) Subjects: Music; Speech Therapy