Master of Arts in Music Therapy, University of Dayton, 2023, Music Therapy

This study sought to identify dimensions of a song that might suggest its clinical relevance to the music therapy method-variation of song discussion as employed with adolescents with behavioral health needs. Additionally, I aimed to explore how those dimensions of a song interact with an individual and their unique clinical profile and thus may contribute to indications and contraindications for the use of this method-variation in treatment. Because much of the published literature on song discussion points to its efficacy, it seemed fitting that the next step would be to detail the various salient aspects of a song that a music therapist must give attention to when evaluating its relevance for a discussion experience. I carefully reviewed the music therapy literature on song discussion, reflected on my own process of choosing songs for discussion in my clinical practice with children and adolescents, and I consulted other music therapy professionals on their process of choosing song material for song discussion and incorporated this information into my considerations. In this report, I outline the 30 relevant dimensions I have identified as crucial to consider when examining a song's potential for use in song discussion. The list of dimensions related to the lyric, musical, and nonmusical aspects of song selection for song discussion is intended to provide a general roadmap for music therapists and is not necessarily the ultimate or only resource that therapists may consult.

Committee: Susan C. Gardstrom, Ph.D., MT-BC (Committee Chair); James Hiller, Ph.D., MT-BC (Committee Member); Bryan Bardine, Ph.D. (Committee Member) Subjects: Alternative Medicine; Behavioral Psychology; Behavioral Sciences; Clinical Psychology; Cognitive Psychology; Cognitive Therapy; Counseling Psychology; Health; Health Care; Mental Health; Music; Therapy; Welfare

DMA, University of Cincinnati, 2011, College-Conservatory of Music: Voice

John Haribson's choice of literary material for his vocal repertoire has been diverse, ranging from classic poets such as Johann Wolfgang von Goethe, Emily Dickinson, and Thomas Hardy to modern and even ancient writers, such as Elizabeth Bishop, William Carlos Williams, Czeslaw Milosz, and translations of the fifteenth-century Hindu poet Mirabai. At the same time, Harbison has been drawn to certain poets several times, including Eugenio Montale, Emily Dickinson, William Carlos Williams, and the art historian Michael Fried. Despite the fact that Fried is a lesser-known poet, Harbison has been drawn to set his verse repeatedly. Simple Daylight, however, is the only vocal work of Harbison that relies solely on Fried's texts. This thesis explores the reasons why Harbison was inspired to set Fried's poems so many times. In the program note for Simple Daylight, Harbison wrote that his ordering of Fried's poems made “a sequence closer in tone to a Bach cantata text than to a nineteenth-century song cycle” and evoked “a sub-cutaneous narrative very favorable for musical purposes, but no doubt unintended by the poet.” This statement begs the question of how the ordering of the texts made the piece more akin to a Bach cantata than a nineteenth-century song cycle. At first glance, Simple Daylight seems to fit the definition of a song cycle. Harbison himself asserted that the ordering of the poems suggested a “sub-cutaneous narrative”—a thread that drew the pieces into a whole. Might Harbison have employed other cyclic devices as well, such as common musical motives or a reprise of music within the work? In order to answer these questions, I analyzed Simple Daylight to discover why Haribson believed that the piece was textually more akin to a Bach cantata than a song cycle. This analysis involved researching the primary characteristics of Bach's cantata texts and comparing these to the texts of Simple Daylight. Then I examined the musical treatment of the poetry, and, through t (open full item for complete abstract)

Committee: bruce mcclung PhD (Committee Chair); Joel Hoffman DMA (Committee Member); Robert Zierolf PhD (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2004, Music

This document introduces Every Night and Every Morn, a song cycle by American composer Jeffrey Wood, from the poetry of William Blake. Emphasis is given to the poetic and theoretical analysis of the cycle and provides performance perspectives from two pianists and two vocalists. The first chapter contains biographical information about Jeffrey Wood the man and his music. The second chapter is a brief historical background of William Blake and a poetical analysis of his poem, “Auguries of Innocence”. The third chapter includes a critical commentary and theoretical analysis of Every Night and Every Morn. The fourth and fifth chapters present performance perspectives from two pianists and two vocalists. This study should help prepare any artist for a performance of this work. It provides insight into not only the music, but also the text, and how the composer has intertwined the two. The theoretical analysis elucidates the creative process of the composer. An addendum contains a complete list of Wood's oeuvre, which includes an opera, choral works, orchestral works, instrumental works, and liturgical music.

Committee: Charles Woliver (Advisor) Subjects:

Doctor of Musical Arts, The Ohio State University, 2024, Music

Legato is essential to Western classical singing, in as much as this singing is centered on the sonority and rhythm of words and the demonstration of a cultivated, sustained vocalism. Some Chinese regional dialects retain phonation characteristics from ancient Chinese dialects, which can significantly improve legato and sound quality in singing. The musical appreciation of ancient Chinese poetry – commonly used in modern Chinese art song – is made difficult by the seemingly stark contrast between ancient and modern Chinese spoken language. The present study takes advantage of a wide range of disciplines, including Chinese literature, linguistics, musicology, voice science, and physiology, to explore the value of ancient dialect as an integral aspect of performance practice in modern Chinese art song, and as a tool to assist with the physical demands of singing including the particular difficulties of legato. A comparative analysis will delve into the phonology of ancient Chinese poetry, exploring the character of Mandarin, ancient, and regional dialects, and examining the differences between modern and ancient Chinese words, with a focus on pronunciation. The study of ancient language helps to address the challenge of non-legato singing in Mandarin by identifying new possibilities in both composition and interpretation of art song, as will be discussed in relation to two songs: “Song of the Yue Boatman” and “Night Mooring at Maple Bridge.” In so doing, this comparison aims to uncover potential folk and regional influences for future development of Chinese art songs.

Committee: Katherine Rohrer (Advisor); Russel Mikkelsson (Committee Member); Graeme M. Boone (Committee Member); Edward Bak (Committee Member) Subjects: Asian Literature; Asian Studies; Linguistics; Literature; Music

Master of Arts, The Ohio State University, 2019, Slavic and East European Studies

Music has always played an important role during war, both societally and practically – from drums to keep the soldiers marching together, to trumpets announcing the arrival of friends or foes, to the first war where nations had the ability to electronically transmit music. Though music had long been used as propaganda, due to developments in radio broadcasting World War II was the first war in which music was easily distributed on the air to millions. Music can bring us together, it can give rise to any emotion, or it can be the vehicle for ideologies that can encourage or subdue the masses. During WWII, American and Soviet composers, singers, soldiers, and common people all wrote songs about life, love, battle, leaving or being left, and about crushing a common foe. In both countries, these songs were written by people who wished to inspire the masses with their patriotism. The use of music to convey patriotic messages reveals interesting differences between the ideologies of the USA and the USSR, but it also reveals a multitude of similarities in content and context. In my paper, I explore the history behind the songs in question, their musical attributes and how these attributes are typically interpreted, and how the American and Soviet concepts of patriotism were remarkably similar in the war to end all wars, as reflected in some of the most popular American and Soviet war songs.

Committee: Alexander Burry PhD (Advisor); Daniel Collins PhD (Committee Member); Danielle Fosler-Lussier PhD (Committee Member) Subjects: Music; Slavic Studies

Doctor of Philosophy (Ph.D.), Bowling Green State University, 2016, American Culture Studies

This dissertation studies the cultural significance of Canadian-American singer/songwriter Rufus Wainwright's (b. 1973) album All Days Are Nights: Songs for Lulu (Decca, 2010). Lulu was written, recorded, and toured in the years surrounding the illness and eventual death of his mother, beloved Quebecoise singer/songwriter Kate McGarrigle. The album, performed as a classical song cycle, stands out amongst Wainwright's musical catalogue as a hybrid composition that mixes classical and popular musical forms and styles. More than merely a collection of songs about death, loss, and personal suffering, Lulu is a vehicle that enabled him to grieve through music. I argue that Wainwright's performativity, as well as the music itself, can be understood as queer, or as that which transgresses traditional or expected boundaries. In this sense, Wainwright's artistic identity and musical trajectory resemble a rhizome, extending in multiple directions and continually expanding to create new paths and outcomes. Instances of queerness reveal themselves in the genre hybridity of the Lulu song cycle, the emotional vulnerability of Wainwright's vocal performance, the deconstruction of gender norms in live performance, and the circulation of affect within the performance space. In this study, I examine the song cycle form, Wainwright's musical score and vocal performance, live performance videos, and fan reactions to live performances in order to identify meaningful moments where Wainwright's musical and performative decisions queer audience expectations. While these musical moments contribute to the already rich and varied lineage of the gay male artist in both classical and popular music, I argue that Wainwright's queer performativity and nontraditional musical choices speak to larger issues important to American culture in the contemporary moment. These issues include the visibility of male public mourning and the healing power of artistic expression in the face of traumatic loss.

Committee: Jeremy Wallach PhD (Advisor); Kimberly Coates PhD (Committee Member); Katherine Meizel PhD (Committee Member); Christian Coons PhD (Other) Subjects: American Studies; Gender; Gender Studies; Glbt Studies; Music; Performing Arts

Doctor of Philosophy, The Ohio State University, 2004, Evolution, Ecology, and Organismal Biology

We use a variety of methods to study population connectivity. In Chapter 1, we use stable isotope ratios in feathers to make Bayesian inferences about the migratory connectivity between breeding and wintering grounds of Henslow's sparrows. We use hydrogen and carbon stable isotope ratios (deltaH and deltaC). We compare the deltaH and deltaC of feathers from wintering sparrows to five breeding region deltaH and deltaC to estimate the probability that each individual wintering sparrow originated from each of the five regions. Breeding bird abundances are used as prior probabilities of breeding region origin. We conclude that there are no clear linkages between specific breeding regions and wintering sites. In Chapter 2, we use three methods to estimate dispersal in Henslow's sparrows. 1)deltaH in feathers are used to determine whether an individual breeding bird has a deltaH signature characteristic of the breeding site. 2) Song structure is used as the signature of an individual's previous breeding-ground origin. 3) Genetic markers are used to evaluate population structure. Genetic structure is evaluated using three estimates. Fst estimates and private alleles are used to calculate the number of migrants per generation (Nm) between sites. Private alleles are evaluated to determine if they are truly private. A Bayesian clustering method is used to infer the number of populations. All methods revealed high rates of dispersal. In Chapter 3, three methods for estimating dispersal are compared: deltaH in feathers, genetic population structure, and spatial autocorrelation (SAC). We compare the dispersal estimates of five migratory species. With the SAC analysis, we find no clear evidence for dispersal as a major synchronizing agent. However, new statistical methods may allow for the parsing out the effect of dispersal. One species had historically high dispersal (limited genetic structure) but currently low dispersal (high deltaH correlations). Another species had a deltaH (open full item for complete abstract)

Committee: Thomas Waite (Advisor) Subjects: Biology, Ecology