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Title: INTONATIONAL PERFORMANCE AND PERCEPTION OF ACCOMPANIED AND UNACCOMPANIED ASCENDING SCALAR PATTERNS.
Creator: GERINGER, JOHN MARK., The Florida State University
Date Issued: 1976, 1976
Identifier: AAI7708585, 2988406, FSDT2988406, fsu:72913
Format: Document (PDF)

Title: Factors Influencing Listener Preference for Music Therapists' Performances of Familiar Popular Songs.
Creator: Chason, Chelsea, Geringer, John, Gregory, Dianne, Standley, Jayne M., College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate factors that may influence listener preference for familiar popular songs as they might be performed live by music therapists. Participants, who were college undergrads (N = 86) enrolled in music appreciation courses, completed a web-based survey in which they rated their overall preference for video or audio excerpts of music therapists performing familiar popular songs, as well as their perceptions of performers' musical skills and ability to...
Show moreThe purpose of this study was to investigate factors that may influence listener preference for familiar popular songs as they might be performed live by music therapists. Participants, who were college undergrads (N = 86) enrolled in music appreciation courses, completed a web-based survey in which they rated their overall preference for video or audio excerpts of music therapists performing familiar popular songs, as well as their perceptions of performers' musical skills and ability to match the original artists' recordings of the same songs. Listeners' responses were analyzed to find correlations between ratings of overall preference and other performance elements. Results indicate that the strongest correlations with preference were found for ratings of performers' overall musical skill, singing skill, and musical expressiveness, while the lowest correlations were found for match of lyrics, match of rhythmic style, and match of accompaniment style. These results suggested that in preparing live music for use in music therapy settings, therapists may be more effective by focusing on musical skills, especially singing and expressiveness, rather than seeking to emulate rhythmic or stylistic elements from the original recording of a song.
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Date Issued: 2014
Identifier: FSU_migr_etd-8752
Format: Thesis

Title: The Effects of Incrementally Increasing and Decreasing Music Intensity on the Loudness Preference and Behaviors of College Students Performing Either Gross or Fine Motor Activity.
Creator: Kimura, Yuri, Standley, Jayne M., Madsen, Clifford, Geringer, John, College of Music, Florida State University
Abstract/Description: This study examined the preference of music loudness that incrementally increased and decreased while subjects performed a gross or fine motor task. A total of 64 college students listened to recorded popular music in the 9-minute individual experiment. In the gross motor group, subjects were asked to move up and down in small steps. In the fine motor group, subjects were observed tapping the fingers of one hand while sitting in a chair. Music loudness was the independent variable that...
Show moreThis study examined the preference of music loudness that incrementally increased and decreased while subjects performed a gross or fine motor task. A total of 64 college students listened to recorded popular music in the 9-minute individual experiment. In the gross motor group, subjects were asked to move up and down in small steps. In the fine motor group, subjects were observed tapping the fingers of one hand while sitting in a chair. Music loudness was the independent variable that incrementally increased from 65 to 85 dB and then decreased from 85 to 65 dB with a 5-dB change per minute. Subjects rated loudness preference every 30 seconds using a 5-point scale, thus, subjects rated loudness 2 times per minute. The dependent variables were loudness preference, behavioral responses, and heart rate. Heart rate was measured before, after the experiment, and after subjects completed a questionnaire. Ratings of loudness preference and heart rate were analyzed by the two-way analysis of variance (ANOVA) concerning gross versus fine motor groups, males versus females, and musicians versus non-musicians. Loudness preference ratings were also compared in loudness increasing versus decreasing mode and first versus second ratings at each dB level. The changes in subjects' synchronous movement and movement levels were observed and analyzed by the Friedman two-way analysis of variance by ranks. Observation reliability was 98.7%. Facial expressions and associated behaviors were also observed when music intensity increased. Results indicated that throughout the session the fine motor group perceived music significantly louder than the gross motor group. Females perceived music significantly louder than males when the music intensity reached 80 dB. Significant interactions were found between loudness preference and 2 ratings at the same intensity levels. Subjects in both gross and fine motor groups increased comfort levels in the second rating regardless of whether they perceived music as soft or loud in the first rating. Significant interaction was also observed between music experiences and 2 ratings. Musicians quickly became accustomed to music at high intensity levels, and non-musicians quickly became used to music at low intensity levels. Subjects perceived decreasing sounds significantly softer than increasing sounds. Heart rate significantly increased after the experiment and significantly decreased after completing a questionnaire in both gross and fine motor groups. Movement levels significantly changed throughout the session. Music intensity changes correlated with movement levels. Synchronous movement and movement levels significantly changed during the first 2 minutes. Subjects who perceived the music to be loud exhibited more facial expressions and associated behaviors of discomfort when music reached high intensity levels. The following were also discussed: the effects of body movement on loudness preference, auditory functions associated with loudness habituation, methodological issues to measure preference of loudness that changes over time, and implications for therapeutic applications.
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Date Issued: 2004
Identifier: FSU_migr_etd-2918
Format: Thesis

Title: The Effect of Music Therapy on Patients' Anxiety and Perception during Radiation Oncology Simulation and Treatment.
Creator: Chorna, Olena, Standley, Jayne M., Gregory, Diane, Geringer, John, College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the effect of music therapy on patient anxiety and perception during radiation oncology procedures. The design of this study included experimental and control groups with pre-test and multiple post-test data collection. Groups were randomly assigned to experimental (music) and control (standard treatment) groups and included patients with head/neck, abdomen and breast treatment area (N = 26). The dependent variables included a Visual Analog Scale (VAS)...
Show moreThe purpose of this study was to examine the effect of music therapy on patient anxiety and perception during radiation oncology procedures. The design of this study included experimental and control groups with pre-test and multiple post-test data collection. Groups were randomly assigned to experimental (music) and control (standard treatment) groups and included patients with head/neck, abdomen and breast treatment area (N = 26). The dependent variables included a Visual Analog Scale (VAS) anxiety measure, items from the Hospital Consumer Assessment of Healthcare and Provider Services/Picket and the facility Music Therapy satisfaction questionnaires. Results of a Two-Way Analysis of Variance with repeated measures revealed significantly lower post-test procedural anxiety between the experimental and control group across procedures after the simulation, the first treatment and the fifth. Patients' overall rating of the experience during each visit was significantly different between groups and across conditions. Overall, music therapy decreased anxiety, especially at the time of the first treatment.
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Date Issued: 2010
Identifier: FSU_migr_etd-3754
Format: Thesis

Title: Effects of Different Instrumental Accompaniment on the Intonation of High School and Collegiate Violinists, Violists, and Cellists.
Creator: Zabanal, John Rine Anacito, Geringer, John M., Holzman, Bruce, Bugaj, Kasia, Madsen, Clifford K., Thrasher, Michael, Florida State University, College of Music
Abstract/Description: The purpose of this study was to examine the effects of different instrumental accompaniments on the intonation of violinists, violists, and cellists in a melodic context. The following questions guided this research: (1) Are there differences in tuning accuracy of melodic content between accompanied and unaccompanied conditions among string musicians? (2) Are there differences in tuning accuracy of melodic content between accompaniment octaves? (3) Are there differences in intonation...
Show moreThe purpose of this study was to examine the effects of different instrumental accompaniments on the intonation of violinists, violists, and cellists in a melodic context. The following questions guided this research: (1) Are there differences in tuning accuracy of melodic content between accompanied and unaccompanied conditions among string musicians? (2) Are there differences in tuning accuracy of melodic content between accompaniment octaves? (3) Are there differences in intonation accuracy between string, oboe, and piano accompaniments? (4) Are there differences between the number of flat, sharp, and in-tune responses of participants? (5) Are there differences in string musician preferences between accompaniment types? (6) Are string musicians’ self-perceptions of tuning accuracy associated with performed pitch accuracy? (7) Are there differences between age and experience of participants in intonation accuracy with various accompaniment types? Performances of Frère Jacques were recorded by a cellist, oboist, pianist, and a violinist to serve as accompaniment stimuli for the study. Additionally, a questionnaire was created to measure preferences for accompaniment, perceptions of tuning accuracy, and collect background information of participants. The participants (N = 103) were high school (n = 60) and collegiate (n = 43) violinists (n = 55), violists (n = 22), and cellists (n = 26). Participants performed an excerpt of Frère Jacques in Eb major in five conditions: with a cello accompaniment, oboe accompaniment, piano accompaniment, violin accompaniment, and as a solo. Absolute cent deviation from the tonic, mediant, subdominant, and dominant scale degrees were collected from each participant for analysis. A significant main effect of intonation was found for accompaniment conditions. Participants performed more in tune with the cello, oboe, and violin accompaniments than with the solo. Additionally, they performed more in tune with the oboe accompaniment than with the piano accompaniment. The octave of accompaniment and instrument performed also did not appear to affect intonation. A significant main effect was found between high school and college participants. High school participants performed with less pitch acuity than college participants. An additional significant main effect was found between the deviations of analyzed notes. The Ab (subdominant) had significantly higher mean cent deviation than the Eb (tonic) and Bb (dominant). No differences were found between instruments performed and no interactions between variables were found. Participants demonstrated a propensity to perform with sharp intonation. Sharp responses occurred more frequently than in-tune (defined as ±6 cents) and flat responses with high school participants. Additionally, performances with the oboe accompaniment produced more in-tune responses than other conditions. In-tune responses occurred more frequently with collegiate participants; however, sharp responses occurred more frequently than flat responses. Performances with the oboe accompaniment also produced the most frequent flat responses as well as the lowest number of sharp responses. Questionnaire responses indicated that participants preferred to perform with the string accompaniments more than the non-string accompaniments. Participants least preferred to perform with the oboe accompaniment compared to the other accompaniments. A significant main effect was found in participants’ rating of their perceived intonation accuracy between conditions. Although participants rated their intonation as highest with the cello, their performances did not reflect this perception. A significant main effect was also found between the levels of participants. High school participants rated their intonation lower than college participants. No significant main effect was found between instrumental groups and no significant interactions were found. A moderate positive correlation was found between participants’ perception of their intonation and their actual performance of intonation with the violin accompaniment. Additionally, a weak positive correlation was found for the cello accompaniment and the solo condition. Participants’ rating of their perceived intonation correlated positively to the actual pitch accuracy for the string accompaniments and solo condition while no associations were found for non-string accompaniments.
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Date Issued: 2019
Identifier: 2019_Spring_Zabanal_fsu_0071E_15129
Format: Thesis

Title: The Effect of Instructional Interventions on Undergraduate Students' Responsiveness to Online Course Evaluations and the Quality of Their Feedback.
Creator: Wise, Jean-Marc, Dennen, Vanessa, Geringer, John, Keller, John, Reiser, Robert, Department of Educational Psychology and Learning Systems, Florida State University
Abstract/Description: Online course evaluations offer a number of advantages over the traditional paper based surveys that are handed out at the end of the semester for students to provide feedback about the course and the instructor. However, low response rates to online course evaluations have kept the method from being widely adopted. Additionally, concerns about a perceived lack of quality of student feedback have led to resistance against course evaluations, especially when the results are used to make...
Show moreOnline course evaluations offer a number of advantages over the traditional paper based surveys that are handed out at the end of the semester for students to provide feedback about the course and the instructor. However, low response rates to online course evaluations have kept the method from being widely adopted. Additionally, concerns about a perceived lack of quality of student feedback have led to resistance against course evaluations, especially when the results are used to make decisions about promotion and tenure. The present study aimed at addressing the issue of low response rates and low quality of feedback by means of targeted instructional interventions. The sixteen sections of a large enrollment (N = 484), lower division course at a southeastern public research I university were randomly assigned to three groups. One group received an intervention that highlighted the benefits of course evaluations and aimed at motivating students to participate in end-of-term online course evaluations. A second intervention aimed at teaching students how to provide effective feedback in online course evaluations. A third group that did not receive any intervention served as the control for the study. The results showed that the intervention aimed at increasing participation did not have the predicted effect. On the other hand, the intervention teaching students how to provide effective feedback yielded significantly higher comment rates. The quality of the comments as measured by the length of comments in words, whether or not the comments included examples from class, suggestions for improvement, or personal comments about the instructor, did not differ among groups. For future research it is suggested to vary instructor and course properties and use media based interventions for scalability.
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Date Issued: 2011
Identifier: FSU_migr_etd-0923
Format: Thesis

Title: An Analysis of Gender, Authority and Educational Background of Voice Teachers in Undergraduate Degree-Granting Institutions.
Creator: Puller, Shawn I., Weelden, Kim Van, Morris, Richard, Madsen, Clifford, Geringer, John, College of Music, Florida State University
Abstract/Description: Music education is a predominantly female occupation; however while women dominate the ranks of elementary and choral education they lose representation as grade level increases. In addition sex-role segregation within the field is also evidenced by the domination of males in the areas of instrumental and jazz music education. As with other areas of post-secondary education, females have made gains and now occupy 43% of music faculty positions, however it may be that the males and females...
Show moreMusic education is a predominantly female occupation; however while women dominate the ranks of elementary and choral education they lose representation as grade level increases. In addition sex-role segregation within the field is also evidenced by the domination of males in the areas of instrumental and jazz music education. As with other areas of post-secondary education, females have made gains and now occupy 43% of music faculty positions, however it may be that the males and females have gender specific sex-roles. Due to the specific, gendered nature of voice parts, it may be that applied voice teacher training programs would have an equal distribution of females (sopranos, mezzo-sopranos, contraltos) and males (counter-tenors, tenors, baritone, basses). The distribution of the sexes within the career field may affect hiring practices, promotions, and access to administrative positions thereby mitigating sex inequalities and sex-role biases which exist in other areas of post-secondary education. This study was an initial step investigating biological sex and authority as they relate to applied voice teachers in four-year institutions in the United States. Voice-teaching was found to be a predominantly female occupation with men and women holding a near equal number of full-time professor status positions. Upon closer examination, sex-role stratification within the field may be evidenced. For example, the proportion of males increased as faculty rank increased while the proportion of females decreased as faculty rank increased. There also seemed to be sex-role stratification with regard to specific teaching responsibilities held by males and females. The reasons for these differences are explored.
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Date Issued: 2009
Identifier: FSU_migr_etd-0468
Format: Thesis

Title: Listener Perceptions of Selected Emotions Portrayed by Singing.
Creator: Braden, Alexander H., Geringer, John M., Madsen, Clifford K., Gregory, Sarah Dianne, Florida State University, College of Music, College of Music
Abstract/Description: The purpose of this study was to observe people's perception of portrayed emotion in singing, and if emotion intensity influences perception of emotion. Participants, who were undergraduate non-music majors (N = 39), took part in in a music listening study to choose which emotion they heard, and the perceived intensity of the emotion. The participants listened to original music compositions created by the author, referencing previously researched original melodies and using a meaningless,...
Show moreThe purpose of this study was to observe people's perception of portrayed emotion in singing, and if emotion intensity influences perception of emotion. Participants, who were undergraduate non-music majors (N = 39), took part in in a music listening study to choose which emotion they heard, and the perceived intensity of the emotion. The participants listened to original music compositions created by the author, referencing previously researched original melodies and using a meaningless, fabricated language used in speech research for the lyrics, recorded by undergraduate music majors. Results indicate that certain emotions, primarily sadness and contempt, are more accurately and readily perceived than other emotions. Other portrayed emotions, joy and love, had a moderately high percent of responses, but were not significantly different than other responses for those portrayals. The intensity of the emotion appears to have a small correlation to the accurate perception of emotion. While further research into emotion portrayal and perception through singing is still needed, the findings suggest that certain modalities of emotion are more easily identified than others. Music therapists working in fields which focus on emotion regulation and perception could use this research to further improve interventions to help patients and clients better to portray their emotions, understand how people interpret emotions differently, and more effective ways to portray emotion.
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Date Issued: 2015
Identifier: FSU_2015fall_Braden_fsu_0071N_12976
Format: Thesis

Title: Effects of Teacher Approval and Disapproval of Music and Performance Familiarity on Middle School Students' Music Preference.
Creator: Droe, Kevin Lee, Geringer, John M., Meighan, Patrick, Madsen, Clifford K., Dunnigan, Patrick, Kelly, Steven N., College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate the effect of approvals and disapprovals about the music from the teacher and rehearsal familiarity on the students' preference for the music. Eight middle schools participated in the study with students (N = 440) ranging from sixth to eighth grade. Each of the eight schools was assigned a different treatment condition. Teachers were given either one or two pieces to rehearse with their most advanced level band while giving treatment comments ...
Show moreThe purpose of this study was to investigate the effect of approvals and disapprovals about the music from the teacher and rehearsal familiarity on the students' preference for the music. Eight middle schools participated in the study with students (N = 440) ranging from sixth to eighth grade. Each of the eight schools was assigned a different treatment condition. Teachers were given either one or two pieces to rehearse with their most advanced level band while giving treatment comments (approval, disapproval, or instruction only) that were provided in a score. Teachers rehearsed the piece(s) for a total of five rehearsals. After the fifth rehearsal, students were given a listening survey to rate their preference for six examples of band music including the two pieces that were used in the study. Students also rated their preference for performing the treatment pieces and were ask to choose one for possible performance. The results of this study indicate that the treatment conditions had a significant effect on both listening and performance preferences. Approval was not significantly different than instruction only or no experience, but significantly different than disapproval in both pieces. The approval condition increased the students' reported music preference more than the disapproval condition. Students who experienced the music through rehearsal rated the music significantly higher than music that was not rehearsed. In cases where both treatment pieces were rehearsed in class, students tended to have the same amount of preference for both pieces, regardless of treatment. Results of this study could be useful to music educators to increase student preference for music performed in class and to improve the music classroom experience. Future research should incorporate actual concert music and include concert performance as a factor that influences music preference.
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Date Issued: 2005
Identifier: FSU_migr_etd-0663
Format: Thesis

Title: The Effects of Contingent Lullaby Music on Parent-Infant Interaction and Amount of Infant Crying in the First Six Weeks of Life.
Creator: Robertson, Amy Marie Cermak, Standley, Jayne M., Holzman, Bruce, Madsen, Clifford K., Geringer, John M., Florida State University, College of Music
Abstract/Description: The purpose of this study was to examine the effect of a contingent live music intervention on full term infants’ amount of crying and parent-infant interaction in the first six weeks of life. Subjects (N = 65) were parent-infant dyads who were randomly assigned to either a no-contact control or experimental treatment group. The researcher wrote an original lullaby with each mother in the experimental group and gave instructions as to how to use the lullaby as reinforcement for infant quiet,...
Show moreThe purpose of this study was to examine the effect of a contingent live music intervention on full term infants’ amount of crying and parent-infant interaction in the first six weeks of life. Subjects (N = 65) were parent-infant dyads who were randomly assigned to either a no-contact control or experimental treatment group. The researcher wrote an original lullaby with each mother in the experimental group and gave instructions as to how to use the lullaby as reinforcement for infant quiet, non-crying behavior. All subjects participated in an assessment for infant crying behaviors once a week for six weeks as well as a six-week follow up video of parent-infant interaction. Infant crying behavior was measured by recording the total number of minutes each infant cried one day a week for six weeks. Parent-infant interaction was measured by observation using the LoTTS Parent-Infant Interaction Coding Scale (Beatty, Stacks, Partridge, Tzilos, Loree, & Ondersma, 2011). All participants were asked to complete a Value of Music survey, and the Edinburgh Postnatal Depression Scale (Cox, Holden, & Sagovsky, 1987). All subjects in the experimental group were assessed once a week for six weeks for total number of times the contingent music was used. Results indicated that training in the contingent music intervention significantly reduced infant crying duration while increasing mother-infant interaction behaviors for mothers in the experimental group. Analysis by demographic variables such as mother parity, socioeconomic status, and marital status showed no significant group differences on infant crying or interaction scores despite the body of research showing these variables usually affect the quality of caregiver/infant involvement and attachment. Mothers that used the contingent music intervention were more motivated to sing and valued the use of music with their infants more than did mothers in the control group. The outcomes of this study warrant the need for further research on additional benefits of decreased crying time on the infant/caregiver relationship including infant sleep time and caregiver stress.
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Date Issued: 2017
Identifier: FSU_SUMMER2017_Robertson_fsu_0071E_13995
Format: Thesis

Title: The Effects of Single-Session Music Therapy on Pain, Discomfort, and Anxety in In-Patient Hospice Patients.
Creator: Busé, Jonathan Payne, Gooding, Lori F. (Lori Fogus), Standley, Jayne M., Geringer, John M., Florida State University, College of Music
Abstract/Description: The purpose of the current study was to evaluate the effects of single-session music therapy on pain, discomfort, and anxiety in in-patient hospice patients. Participants were adults (N=24) receiving hospice care at an in-patient hospice unit. Participants were randomly assigned to one of two groups: experimental (single-session music therapy) and no contact control. Music therapy sessions consisted of Iso principle or music-based life review. The control group received standard care, with no...
Show moreThe purpose of the current study was to evaluate the effects of single-session music therapy on pain, discomfort, and anxiety in in-patient hospice patients. Participants were adults (N=24) receiving hospice care at an in-patient hospice unit. Participants were randomly assigned to one of two groups: experimental (single-session music therapy) and no contact control. Music therapy sessions consisted of Iso principle or music-based life review. The control group received standard care, with no additional services provided. Physiological measures of heart rate, respiration rate, and oxygen saturation level were taken pre- and post-intervention in the music therapy group, and before and after 20 minutes in the control group. Objective nonverbal indicators of pain were also taken during the study-related sessions. Three repeated-measures ANOVAs found no significant differences between groups on physiological measures. Behavioral observations were examined graphically, with trend lines added. While not statistically significant, the music therapy group tended to have more positive responses than the control group. Limitations, implications, and need for future research are discussed.
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Date Issued: 2017
Identifier: FSU_SUMMER2017_Buse_fsu_0071N_14089
Format: Thesis

Title: Old Time Fiddling in Florida: Implications for Music Education.
Creator: Ivey, Aisha Suzanne, Madsen, Clifford K., Holzman, Bruce, Geringer, John M., Bugaj, Kasia, Darrow, Alice-Ann, Florida State University, College of Music
Abstract/Description: Florida has a rich history of traditional old time fiddling and the fiddle was the most popular musical instrument among early pioneers in Florida. Fiddlers were revered members of the community, often playing for social dances called frolics. Slaves that were brought from Africa mingled with settlers from Western Europe in the Southeastern United States, their different fiddle styles blending into a new genre of music that incorporated aspects of both cultures. Dances on plantations served...
Show moreFlorida has a rich history of traditional old time fiddling and the fiddle was the most popular musical instrument among early pioneers in Florida. Fiddlers were revered members of the community, often playing for social dances called frolics. Slaves that were brought from Africa mingled with settlers from Western Europe in the Southeastern United States, their different fiddle styles blending into a new genre of music that incorporated aspects of both cultures. Dances on plantations served as one of the few places where whites and African Americans socialized together. Fiddlers also played at home with their families, sharing music across generations. After the development of radio, musicians would often perform as part of live radio shows and record companies produced old time music recordings featuring fiddlers that influenced musicians near and far. Contests became popular after Henry Ford began promoting traditional dance and fiddling in the 1920s and 1930s and cities across Florida held contests or fiddlers conventions as part of community celebrations. The Future Farmers of America sponsored string bands which often included a fiddle player in the 1950s. The Florida Folk Festival has promoted traditional music and dance, featuring many fiddlers since its beginning in 1953. The Florida State Fiddlers Association holds the official state fiddle contest every year along with an annual convention that brings musicians together from all around the region. Further incorporation of traditional music in the curriculum could offer multiple advantages, including creating a more equitable learning experience for students.
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Date Issued: 2019
Identifier: 2019_Spring_Ivey_fsu_0071E_14989
Format: Thesis

Title: The Effects of Music Training and Selective Attention on Working Memory during Bimodal Processing of Auditory and Visual Stimuli.
Creator: Jones, Jennifer D., Standley, Jayne M., James, Jeffrey, Geringer, John M., Madsen, Clifford K., College of Music, Florida State University
Abstract/Description: Researchers have investigated participants' abilities to recall various auditory and visual stimuli presented simultaneously during conditions of divided and selective attention. These investigations have rarely used actual music as the auditory stimuli. Music researchers have thoroughly investigated melodic recognition, but non-complimentary visual stimuli and attention conditions have rarely been applied during such studies. The purpose of this study was to examine the effects of music...
Show moreResearchers have investigated participants' abilities to recall various auditory and visual stimuli presented simultaneously during conditions of divided and selective attention. These investigations have rarely used actual music as the auditory stimuli. Music researchers have thoroughly investigated melodic recognition, but non-complimentary visual stimuli and attention conditions have rarely been applied during such studies. The purpose of this study was to examine the effects of music training and selective attention on recall of paired melodic and pictorial stimuli in a recognition memory paradigm. A total of 192 music and non-music majors viewed one of six researcher-prepared training videotapes containing eight images sequenced with a highly familiar music selection and an unfamiliar music selection under one of three attention conditions: divided attention, selective attention to music, and selective attention to pictures. A 24-question posttest presented bimodal test items that were paired during the training, paired distractors, a music trainer with a picture distractor, or a picture trainer with a music distractor. Total correct scores, error scores by modality, and scores by question type were obtained and analyzed. Results indicated that there were significant differences between music and non-music majors' recall of the bimodal stimuli under selective attention conditions. Music majors consistently outperformed non-music majors in divided attention and selective attention to music conditions, while non-music majors outperformed music majors during selective attention to pictures. Music majors were better able to reject distractor music than were non-music majors. Music majors made fewer music errors than non-music majors. However, an unanticipated effect of gender was found. Females were better at recognizing paired trainers and males were better at rejecting distractors for both music conditions. Individually selected memory strategies did not significantly impact total scores. Analyses of sample error rates to individual questions revealed memory effects for music due to serial position and rhythmic complexity of stimuli. Participants poorly recalled the final measure of both music conditions. This finding was unusual since this position is generally memorable in serial recall tasks. Simple rhythmic contexts were not remembered as well as more complex ones. The measures containing four quarter notes were not well recalled, even when tested two times. This study confirmed that selective attention protocols could be successfully applied to a melodic recognition paradigm with participants possessing various levels of music training. The effect of rhythmic complexity on memory requires further investigation, as does the effect of gender on recognition of melody. A better understanding of what makes a melody memorable would allow music educators and music therapists the opportunity to devise and teach effective strategies.
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Date Issued: 2006
Identifier: FSU_migr_etd-3438
Format: Thesis

Title: The Effect of Performance Quality, Audio and Video Performances, Tempo, and Adjudicator Experience on Music Majors' Evaluations of String Orchestra Performances.
Creator: Pope, David Andrew, Geringer, John M., Jones, Evan Allan, Fredrickson, William E., Madsen, Clifford K., College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the effect of presentation medium, adjudicators' performing experience on string instruments, music stimulus tempo, and performance quality on music majors' evaluations of string orchestra performances. Performances were presented in two mediums and two qualities to four groups: audio only (good & poor), video only (good & poor), good video with audio (good & poor), and poor video with audio (good & poor). Participants (N = 96) in this study were music...
Show moreThe purpose of this study was to examine the effect of presentation medium, adjudicators' performing experience on string instruments, music stimulus tempo, and performance quality on music majors' evaluations of string orchestra performances. Performances were presented in two mediums and two qualities to four groups: audio only (good & poor), video only (good & poor), good video with audio (good & poor), and poor video with audio (good & poor). Participants (N = 96) in this study were music majors enrolled at four large schools of music in the United States. For each string orchestra performance, participants gave ratings for 12 evaluative statements and provided an overall performance rating. The 12 evaluative statements were equally divided between general performance (togetherness, rhythm, articulation, phrasing, communication, & intonation) and string instrument specific (vibrato, bow placement/distribution, bow direction, tone quality, LH/RH position, & sitting position) categories. Participants also completed a questionnaire to indicate their perceived level of comfort with assigning ratings. Repeated-measures ANOVA tests revealed that music majors assigned significantly higher ratings to performances with good audio quality compared to those with poor quality. Performances in the good video with audio (both good & poor) presentation medium received significantly more favorable ratings than performances in the other presentation conditions for 12 of the 13 evaluation scales. Results indicate that good visual aspects of performance can moderate the effects of poor audio quality: good video with poor audio was rated above poor video with good audio. Performances in a slow tempo received higher ratings than those in a fast tempo for 12 of 13 evaluation scales primarily in the poor audio examples. Participants' performing experience on string instruments did not have a significant effect on evaluations. Multiple two- and three-way interactions were also found. Self-reported comfort levels with assigning ratings to the general evaluation statements and the overall performance were similar for all experience levels. However, results showed that participants' comfort level with assigning ratings to the string specific scales increased with string instrument experience. Participants indicated significantly different levels of comfort with assigning ratings during some presentation mediums over others.
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Date Issued: 2012
Identifier: FSU_migr_etd-5116
Format: Thesis

Title: The Effect of Improvisational Group Drumming versus General Music Therapy versus Activity Therapy on Mood, Session Behaviors and Transfer Behaviors of in-Patient Psychiatric Individuals.
Creator: Tague, Daniel B., Standley, Jayne M., Gussak, David, Madsen, Clifford, Darrow, Alice-Ann, Geringer, John, College of Music, Florida State University
Abstract/Description: Individuals with mental illness are often diagnosed with mood symptoms in relation to a variety of disorders. Mood has been used as a measure of progress for patients recovering from mental and physical illness, but has also been examined in a variety of populations as an indicator for certain behaviors and treatment outcomes. The purpose of this dissertation was to investigate whether single-session facilitated improvisational group drumming will improve the mood of in-patient psychiatric...
Show moreIndividuals with mental illness are often diagnosed with mood symptoms in relation to a variety of disorders. Mood has been used as a measure of progress for patients recovering from mental and physical illness, but has also been examined in a variety of populations as an indicator for certain behaviors and treatment outcomes. The purpose of this dissertation was to investigate whether single-session facilitated improvisational group drumming will improve the mood of in-patient psychiatric individuals and increase socialization and positive behaviors observed on the unit. Group drumming was compared with a non-drumming general music therapy session and a non-music activity therapy group. Participants (N = 66) were male and female patients with serious mental illness assigned by convenient randomized sampling to one of three experimental groups. Mood data were collected pre and post by self-report using an adapted visual analog mood scale (VAMS). On-task and interaction behaviors during sessions were collected via observation of digital video, and transfer behaviors on the living unit were collected 30 minutes post session by trained hospital staff. The content of the three treatment sessions was designed to include five topics: cooperation, teamwork, friendliness, compliments and helpfulness. Each treatment protocol also incorporated role-play and direct instruction to encourage participants to demonstrate appropriate social interactions on the unit. The treatment protocols were created to allow for 35 minutes of activities during psychosocial education programming. Results from the modified VAMS survey indicated positive changes in mood for participants in all three treatment conditions although statistical analysis of the mean pretest and posttest scores showed no differences among groups. Results from the analysis of observations of participant behavior 30 minutes post treatment did not show significant differences between experimental groups, but participants from all three groups scored in positive numbers, indicating that they had been involved in positive behaviors on the unit after their participation in a treatment group with the greatest amount observed in the two music groups. Results from observations of interpersonal behaviors during treatment indicated that the mean percentages of social approval and neutral behaviors were also not significantly different by type of treatment. The mean percentage of on-task behaviors revealed that participants were more on task in the drumming and the music therapy treatment groups than in the activity therapy treatment groups, though differences were not statistically significant. This study was the first application of group drumming to be used for an entire treatment session in an acute psychiatric setting. This was also the first research trial to use drumming alone to influence the mood of in-patient psychiatric individuals. Results of this study indicate that a group drumming protocol can be successfully utilized as part of the psychosocial training program in a hospital setting, though analysis of the data also confirmed that general music therapy and activity therapy may be beneficial to the mood of patients. Implications for clinical use and suggestions for future research are discussed.
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Date Issued: 2012
Identifier: FSU_migr_etd-5220
Format: Thesis

Title: Rankings and Ratings of Literature Selection Criteria Among Florida Public School Wind Band Conductors.
Creator: Carney, Patrick Koby, Dunnigan, Patrick, Mathes, James, Madsen, Clifford K., Geringer, John M., Ebbers, Paul, College of Music, Florida State University
Abstract/Description: The purpose of this preliminary study was to investigate the values music educators apply to the selection of wind band literature. Specifically, the purpose was to examine twelve classified objective elements of quality and suitability in the wind band field that influence the selection of literature. Participants (n = 237) were selected from educators teaching middle school, high school, or both in the state of Florida during the 2004-2005 academic year. Participants (n = 237) were...
Show moreThe purpose of this preliminary study was to investigate the values music educators apply to the selection of wind band literature. Specifically, the purpose was to examine twelve classified objective elements of quality and suitability in the wind band field that influence the selection of literature. Participants (n = 237) were selected from educators teaching middle school, high school, or both in the state of Florida during the 2004-2005 academic year. Participants (n = 237) were stratified by level of education, level of instruction, and years taught in career categories to determine subjective elements influence the selection of literature. Twelve perceptible elements, six elements of quality and six elements of suitability, were selected for their relevance when used to determine appropriate literature including instrumentation, the experience level of an ensemble, utilitarian purposes, and external influences. Data were collected in an online survey. The Survey on the Selection of Wind Literature had four sections. The first section was the rating of the twelve objective elements on an individual basis measuring their importance in the selection process using a Likert-type scale. The second section was the ranking of the twelve elements considered as a group to determine their overall relative importance in the selection process. The third section posed several demographic questions. The final section posed three open-ended questions that were optional as disclosed in the email requesting participation in the survey. In both the rating and ranking sections, three elements, experience level of ensemble, instrumentation of your ensemble, and amount of available rehearsal time, in that order, remained the highest in all analyses of the data. In general, the elements of suitability were rated and ranked consistently higher than the elements of quality. The results of the study suggest that elements of suitability are considered more important than elements of quality when selecting literature. Recommendations for future research and implications for music education are discussed.
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Date Issued: 2005
Identifier: FSU_migr_etd-4185
Format: Thesis

Title: An Analysis of Double Bass Vibrato: Rates, Widths, and Pitches as Influenced by Pitch Height, Fingers Used, and Tempo.
Creator: Mick, James Paul, Darrow, Alice-Ann, Punter, Melanie, Geringer, John, Kelly, Steven, College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate the rates, widths, and pitches of university double bass players' vibrato in relation to pitch height, fingers used, and tempo. Forty (N = 40) undergraduate and graduate double bass players were individually recorded performing three music exercises that were used for analyses. Each exercise was comprised of three identical excerpts that were transposed for first, fourth, and thumb positions. Excerpts in first and fourth positions utilized fingers...
Show moreThe purpose of this study was to investigate the rates, widths, and pitches of university double bass players' vibrato in relation to pitch height, fingers used, and tempo. Forty (N = 40) undergraduate and graduate double bass players were individually recorded performing three music exercises that were used for analyses. Each exercise was comprised of three identical excerpts that were transposed for first, fourth, and thumb positions. Excerpts in first and fourth positions utilized fingers 1, 2, and 4, while excerpts in thumb position utilized fingers 1, 2, and 3. The overall mean vibrato rate and width of university double bass students in this study was 5.17 Hz and 19 cents. A comparison of the vibrato rates and widths of participants' 1st and 2nd fingers revealed that the 2nd finger (5.22 Hz, 21 cents) used both significantly faster and wider vibrato than the 1st finger (5.07 Hz, 18 cents). Additionally, the descriptive data from this study revealed that the 3rd and 4th fingers vibrated faster than both the 1st and 2nd fingers, and they had a wider vibrato width than the 1st finger, but a narrower width than the 2nd finger. The 3rd finger had the overall fastest recorded vibrato rate for any finger in any position. Analysis of vibrato data also indicated that university double bassists use significantly faster vibrato rates as they perform in progressively higher registers. When comparing the combined mean vibrato rates of the 1st and 2nd fingers, participants vibrated at 4.88 Hz in first position, 5.06 Hz in fourth position, and 5.50 Hz in thumb position. Vibrato widths also increased with pitch register. Mean vibrato widths in first position (16 cents) were significantly narrower than mean vibrato widths in both fourth position (21 cents) and thumb position (22 cents). Tempo also significantly affected mean vibrato rates and width. Musical examples played with a fast tempo were faster and wider (5.35 Hz, 20 cents) than musical examples played with a slow tempo (4.94 Hz, 19 cents). Additionally, analysis indicated that university double bassists vibrate almost equally above and below the in-tune pitch. Using the descriptive data for all fingers in all position, the total difference found between mean pitches of vibrated and non-vibrated tones was 1 cent. Music educators can use these results to create more consistent descriptions of double bass vibrato, and potentially, more efficient methods for teaching vibrato.
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Date Issued: 2012
Identifier: FSU_migr_etd-5036
Format: Thesis

Title: The Effect of a Music Therapy-Based Social Skills Training Program on Social Competence in Children and Adolescents with Social Skills Deficits.
Creator: Gooding, Lori Fogus, Standley, Jayne M., Mazza, Nicholas, Darrow, Alice-Ann, Geringer, John, Madsen, Clifford, College of Music, Florida State University
Abstract/Description: Strong social skills are vital for successful functioning in life. Social skills enable individuals to interact appropriately with others and impact (a) academic success, (b) peer and family relationships, (c) employment and (d) extra-curricular/leisure activities. Research indicates that deficits in social functioning during childhood are linked to a variety of negative outcomes including: (a) substandard academic performance, (b) high incidences of school maladjustment, (c) expulsions and...
Show moreStrong social skills are vital for successful functioning in life. Social skills enable individuals to interact appropriately with others and impact (a) academic success, (b) peer and family relationships, (c) employment and (d) extra-curricular/leisure activities. Research indicates that deficits in social functioning during childhood are linked to a variety of negative outcomes including: (a) substandard academic performance, (b) high incidences of school maladjustment, (c) expulsions and/or suspensions from school, (d) high dropout rates, (e) high delinquency rates, (f) impaired social relationships, (g) high incidences of childhood psychopathology and (h) substance abuse. Research also suggests that the impact of impaired social functioning in childhood can be long lasting and contribute to (a) a lack of postsecondary education and training, (b) unemployment or underemployment, (c) unstable and unfulfilling personal lives and (d) adult mental health issues. At the same time, research also indicates that programs designed to improve social competence can positively impact an individual's social functioning. The purpose of this dissertation was to examine the effect of a music therapy-based intervention program on improving social skills competence in children and adolescents with social skills deficits. Three separate studies were conducted in educational, residential and after-school care settings to test the effectiveness of a five session social skills training curriculum. Music-based interventions, which were primarily active in nature, were presented in a cognitive-behavioral group format. Specific deficits in the areas of peer relations and self-management skills were targeted. Interventions included a variety of techniques such as music performance, movement to music and improvisation. Data were collected from the participants, from appropriate adult personnel and via behavioral observations before, during and after music therapy intervention. Participants (n=12) in the first study were children aged 11-16 years in an educational setting. All participants were diagnosed with learning disabilities, Attention Deficit Hyperactivity Disorder (ADHD) and/or Asperger's Syndrome. Participants in the second study (n=13) were children aged 8-17 years in a residential treatment program. These participants were victims of abuse and neglect and had been diagnosed with Post Traumatic Stress Disorder, ADHD and/or anxiety disorders. All participants were unable to function within the community. Participants (n=20) in the third study were children aged 6-11 years who attended an inner-city after-school care program. Participants for this study included a mixture of typically developing children and children with generalized social, conduct and/or behavioral deficits. The first study, which took place in an educational setting, used a one-group pretest-posttest design. The dependent variables were: (a) Teacher ratings of the participants' social functioning via a researcher-created social skills rating system, (b) Subject self-report ratings of social functioning using Likert-type ratings, (c) Researcher ratings of social functioning using Likert-type ratings and (d) Behavioral observations of on-task social behaviors in group sessions. Results indicated both a significant difference for subject self-ratings from the first to fifth sessions and a significant difference for researcher ratings from the first to fifth sessions. Additionally, significant increases were found in on-task behavior, while significant decreases were found in both on-task prompted behaviors and off-task behaviors. Teacher ratings of social functioning supported improved social competence but did not show significant improvement from pre to post treatment. The second study occurred at a private residential treatment program. A one-group pretest-posttest design was used at this site. Dependent measures included: (a) Subject self-reported social functioning using the Social Skills Assessment—Adolescents, (b) Subject peer-reported social status via an adapted sociometric scale, (c) Staff social competence ratings via the Home and Community Social Behavior Scales—Social Competence and Antisocial Subscales, and (d) Behavioral Observations of on-task social behaviors in group sessions. Results indicated a significant difference for the case manager's pre and post treatment ratings on the Antisocial Subscale of the Home and Community Social Behavior Scales; however, no significance was found for the Social Competence Subscale. A significant difference for the behavioral observations was also found. No significant differences were found for either of the subject measurements (Social Skills Assessment—Adolescent or the Sociometric Scale), but both measurements did support improvements across time. The third study occurred at an inner-city after-school care program. A pretest-posttest control group design was used for this study with participants randomly assigned to either the control or the experimental group. Social skills functioning in the after-school study was measured via: (a) Subject self-reported social functioning using the Social Skills Assessment—Elementary Age, (b) Staff Social Competence Ratings via the Home and Community Social Behavior Scales, (c) Behavior Scales —Social Competence and Antisocial Subscales and (d) Behavioral observations of on-task social behavior of the experimental group during treatment. Results indicated no significant differences for staff ratings of participants' social competence or antisocial behaviors pre and post music therapy intervention. However, a significant improvement from pre to post treatment in experimental subject self-ratings of social functioning was found, as well as a significant improvement in on-task behavior for the experimental group during music therapy sessions. Benefits of the music therapy-based social skills training program were found in all three settings, suggesting that the program was effective in combating impaired social functioning for children and adolescents with a wide range of deficits and/or disabilities. The fact that significant results were found in all three settings also suggests that the program may be applicable to a wide range of settings. Additionally, it appears that the active music therapy interventions used in a cognitive-behavioral group format were effective in combating social skill deficits. Finally, the fact that behavioral observations were consistently significant could indicate that observations of on-task social behaviors may be the most reliable way to evaluate social functioning. Based on these results, it appears the program has the potential to be an effective vehicle for addressing social skills deficits in children and adolescents.
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Date Issued: 2010
Identifier: FSU_migr_etd-4139
Format: Thesis

Title: The Effect of a Music Therapy Intergenerational Program on Children and Older Adults' Intergenerational Interactions, Cross-Age Attitudes, and Older Adults' Psychosocial Well-Being.
Creator: Belgrave, Melita Jean, Darrow, Alice-Ann, Vinton, Linda, Madsen, Clifford, Standley, Jayne M., Geringer, John, College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the effect of participation in an intergenerational music therapy program on cross-age interactions and cross-age attitudes of elementary-age children and older adults. A secondary purpose was to examine the effect of participation in an intergenerational music therapy program on older adults' psychosocial well-being. Older adults and elementary-age children served as participants (N = 47). Twenty-one children in the 4th grade volunteered to...
Show moreThe purpose of this study was to examine the effect of participation in an intergenerational music therapy program on cross-age interactions and cross-age attitudes of elementary-age children and older adults. A secondary purpose was to examine the effect of participation in an intergenerational music therapy program on older adults' psychosocial well-being. Older adults and elementary-age children served as participants (N = 47). Twenty-one children in the 4th grade volunteered to participate in the experimental (n = 12) or control (n = 9) group. Twenty-six older adults from a retirement living facility also volunteered to participate in the experimental (n = 14) or control (n = 12) group. Ten 30-minute music therapy sessions occurred over 15 weeks at the retirement facility during which participants engaged in singing, structured conversation, moving to music, and instrument playing interventions. The dependent variables in this study were: types and frequency of cross-age interactions, children's attitudes towards older adults, older adults' attitudes towards children, and older adults' psychosocial well-being. All sessions were videotaped for the purposes of analysis and coding of participants' cross-age interactions. Data analysis of cross-age interactions revealed that the interventions "structured conversation" and "moving to music" were more effective in eliciting children's and older adults' interaction behaviors than the interventions "singing" and "instrument playing." Both child and older adult participants exhibited the interaction behaviors "looks at older adult/child," "smiles," and "initiates conversation with older adult/child" more frequently than the behaviors "encourages older adult/child" or "assists older adult/child." Standardized measures revealed that children's attitudes towards older adults improved, though not significantly so, after participation in the intergenerational program. Results of biweekly post-session questionnaires revealed a decrease in negative descriptions of older adults and an increase in positive descriptions of older adults—suggesting a more positive view towards aging. Results revealed that older adults' attitudes towards children improved significantly after their participation in the intergenerational program. Improvements were found for three of four attitudinal dimensions, indicating that older adults perceived children to be more "positive," "mature," and "good" after participating in the intergenerational program. Data analysis of the psychosocial well-being measures revealed that older adults did not perceive a significant improvement in their generativity or sense of self-worth after participation in the intergenerational program. Although pre-posttest results on standardized measures of well-being were not significantly different, older adults' mean scores on the generativity and self-worth measures increased after participation in the intergenerational program. The results of other measures indicated that older adult participants' enjoyed the intervention sessions, and that they perceived personal benefits from their interactions with the child participants. Over the course of the intergenerational program, participants also perceived increased feelings of usefulness. Suggestions for future research, the utility of varied measurement instruments, and implications for music therapy practice are discussed.
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Date Issued: 2009
Identifier: FSU_migr_etd-1303
Format: Thesis

Title: Rehearsal Techniques Used to Build Choral Tone by Four Expert Collegiate Choral Conductors Across Settings.
Creator: Babb, Sandra L., Bowers, Judy, Delp, Roy, Darrow, Alice-Ann, Geringer, John, Thomas, André J., College of Music, Florida State University
Abstract/Description: Rehearsals of four outstanding choral conductors were examined to isolate techniques used and time spent in developing choral tone. Participants included four collegiate choral conductors who have been identified as experts in the field of choral music as evidenced by national and international acclaim. Video data were collected over the course of two semesters in three distinct settings: a state level honor choir, a collegiate choir, and a community choir. Two hours of unscripted rehearsals...
Show moreRehearsals of four outstanding choral conductors were examined to isolate techniques used and time spent in developing choral tone. Participants included four collegiate choral conductors who have been identified as experts in the field of choral music as evidenced by national and international acclaim. Video data were collected over the course of two semesters in three distinct settings: a state level honor choir, a collegiate choir, and a community choir. Two hours of unscripted rehearsals in each setting were recorded, and video footage was edited into five-minute rehearsal segments. Observed rehearsal behaviors were coded into three categories of tone building technique: verbal, nonverbal and vocal model. Video data were analyzed using SCRIBE observation software (Duke & Stammen, 2007) and time spent in each technique was recorded. Additional analysis garnered frequencies of verbal and vocal model types, i.e., technical or figurative language and exemplar or non-exemplar models. Findings indicated significant differences in time spent developing tone between settings as well as between verbal and vocal model types. While Conductors B and C had no statistical differences between time spent in each setting, Conductor A had significant differences between all combinations of settings, and Conductor D had significant differences between the honor choir and community choir settings, as well as between the honor choir and the collegiate choir settings. Significant differences were also found between verbal types for Conductors B and C in the collegiate choir setting, and Conductor D in the community choir setting. No significant differences between vocal model types were found in Conductor A in the collegiate choir or Conductor D in the community choir. However, all other cases yielded significantly more exemplar vocal models. Recommendations for further research were made and implications for practicing choral music educators and teacher certification programs were discussed.
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Date Issued: 2010
Identifier: FSU_migr_etd-0834
Format: Thesis

Title: The Effect of a Single-Session Music Therapy Group Intervention for Grief Resolution on the Disenfranchised Grief of Hospice Workers.
Creator: Wlodarczyk, Natalie Marie, Standley, Jayne A., Madsen, Clifford, Darrow, Alice-Ann, Geringer, John, College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the effect of a single-session music therapy group intervention on feelings of disenfranchised grief as experienced by hospice workers. A secondary purpose was to determine if a group of this type could have a significant positive effect on hospice workers' risk for compassion fatigue and their perception of their work environment one month after participation in the group. Participants in this study (N = 68) were hospice employees who experienced...
Show moreThe purpose of this study was to examine the effect of a single-session music therapy group intervention on feelings of disenfranchised grief as experienced by hospice workers. A secondary purpose was to determine if a group of this type could have a significant positive effect on hospice workers' risk for compassion fatigue and their perception of their work environment one month after participation in the group. Participants in this study (N = 68) were hospice employees who experienced direct patient contact as part of their job. This study used a pretest-posttest randomized control group design with a second posttest administered 30 days after initial data collection. Participants who attended an assigned experimental group (n = 34) completed pretest and posttest measures while participants who attended an assigned control group (n = 34) completed the posttest only. Participants who attended a randomly assigned experimental group participated in an hour-long music therapy group intervention designed for the grief resolution of hospice workers. The music therapy group intervention consisted of three sequential parts: active music making, a songwriting activity and discussion, and participation in a grief ritual. Results of the analysis for the primary dependent variable of grief resolution showed no significant difference between the experimental and control groups overall or for the three subscales of personal sacrifice burden, sadness and longing, and worry and felt isolation. There were also no significant differences between pretest and posttest for the experimental group for the overall measure of grief resolution, nor for the subscales of sadness and longing. However, there was a significant difference between pretest and posttest for the experimental group for the subscale of personal sacrifice burden, with feelings of burden lower after participation in the music therapy group. Results of the analysis for the secondary dependent variables of risk for burnout and compassion fatigue and perception of work environment showed no significant differences between experimental and control groups 30 days after the initial data collection. Additionally, the risk for burnout and compassion fatigue for this sample was found to be low overall. Results of a thematic analysis of participant-written songs for the experimental group revealed eleven recurring themes that pertained to both negative and positive aspects of hospice work. Results of the thematic analysis of participant-written messages to patients following three message prompts during the grief ritual component of the music therapy group revealed thirteen recurring themes overall. Participant-written messages to patients were 100% positive and conveyed a sense of gratitude that participants felt for being able to engage in meaningful work. A brief post-session questionnaire indicated that 97% of participants in the experimental group felt that the music therapy session had been helpful in resolving their grief feelings regarding patients' deaths and that 100% of participants in the experimental group would like to see a similar group continue to be offered at this hospice. Results of this study suggest that music therapy can be an effective intervention for reducing personal sacrifice burden felt by hospice workers. Implications for clinical practice and suggestions for future research are discussed.
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Date Issued: 2010
Identifier: FSU_migr_etd-0884
Format: Thesis

Title: Effects of Gesture Height on Individual and Ensemble Singing: Acoustic and Perceptual Measures.
Creator: Mann, Lesley Maxwell, Geringer, John. M., Okerlund, David, Thomas, André J., Bowers, Judy K., Fenton, Kevin, College of Music, Florida State University
Abstract/Description: In this study, I explored possible effects of gesture height, specifically the location of the horizontal plane, on singer performance. Research questions for the study included: 1) Do singers change intonation, vibrato rate, vibrato extent, vibrato duration, and tone quality in response to gesture? 2) What are singer participants' perceptions of the effects of gesture on singing? 3) How do expert listeners rate individual and group performances in response to high and low gesture heights?...
Show moreIn this study, I explored possible effects of gesture height, specifically the location of the horizontal plane, on singer performance. Research questions for the study included: 1) Do singers change intonation, vibrato rate, vibrato extent, vibrato duration, and tone quality in response to gesture? 2) What are singer participants' perceptions of the effects of gesture on singing? 3) How do expert listeners rate individual and group performances in response to high and low gesture heights? Four stimulus videos were created that featured a conductor directing two verses of My Country, Tis of Thee. Two of the videos incorporated a high conducting plane, with the ictus between the clavicle and the chin of the conductor. The other two used a low conducting plane, with the ictus between the navel and the bottom of the rib cage. For each conducting height condition, the video included instructions for the participants to sing the excerpt on [di] or [dɔ]. Conductor facial expressions and cues were consistent between videos. Participants (N = 48) sang the musical excerpt in all 4 conditions, in a counterbalanced order. Participants were all at least 18 years of age, majoring in music, with voice lesson and choir participation history. Participants were recruited from intact choirs in the College of Music, and signed-up for appointments in groups of 8, two singers per part, SATB. Participants were fitted with a head-mounted microphone apparatus and placed in a semi-circle facing the video screen. Both individual and group audio recordings captured performances in response to all video conditions. Participants completed a post-participation questionnaire regarding their perceptions of gesture in a general sense and in the specific task of this study. From the group performances, recordings were chosen via LTAS plots for analysis by a panel of expert listeners (N = 11). The listeners rated two group recordings; one group evidenced similar responses to the two gestural conditions (according to the LTAS plots), and one group demonstrated different responses to the gestural conditions. Four individual recordings were also rated: (a) a female performance exhibiting similar responses to gesture according to intonation and spectral center of gravity measures, (b) a female performance exhibiting different responses, (c) a male performance exhibiting similar responses, and (d) a male performance exhibiting different responses. Acoustic analysis of individual performances revealed that singers sang slightly less flat in the high condition than the low condition, although there was an interaction with order: Participants sang less flat in response to the second gesture height they saw. No significant differences were seen in measures of vibrato rate or duration between gesture heights. Another order effect was evident in vibrato extent: singers reduced their vibrato extent in the second condition, but by a greater magnitude in the high-low order than the low-high order. No significant differences occurred in tone quality (spectral center of gravity) measures between gesture conditions. Singers' perceptions of the effects of conductor gesture revealed that participants believe that gesture does affect singing, with dynamics, tone quality, and breath being the most frequently cited responses. The expert listener panel did not discriminate tone quality differences between gestural conditions of group performances or the individual female responses. Across the comparisons of male individual recordings, the expert panel rated the low gesture condition significantly higher in tone quality. The present study neither corroborates nor contradicts pedagogical assertions of the effect of gesture on intonation and tone quality. The subjective nature of tone quality, and the difficulty inherent in its quantification, warrants further research. Implications and ideas for future study are discussed.
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Date Issued: 2014
Identifier: FSU_migr_etd-9037
Format: Thesis

Title: Parents and Young Children with Disabilities: The Effects of Home-Based Parent Education in Music on Parent-Child Interactions.
Creator: Yang, Yen-Hsuan, Darrow, Alice-Ann, Hanline, Mary Frances, Madsen, Clifford, Geringer, John, College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate the effect of parent-child dyads' participation in a home-based music education program on parent-child interactions. All participating dyads included children with disabilities or developmental delays between one and three years of age. Secondary purposes of the study were to examine parents' use of education materials within daily routines, and parents' perceptions regarding the benefits of program participation. A pretest-posttest within-subject...
Show moreThe purpose of this study was to investigate the effect of parent-child dyads' participation in a home-based music education program on parent-child interactions. All participating dyads included children with disabilities or developmental delays between one and three years of age. Secondary purposes of the study were to examine parents' use of education materials within daily routines, and parents' perceptions regarding the benefits of program participation. A pretest-posttest within-subject single group design was used for this study. The independent variable was a six-week education program provided to families in their homes. Responsive teaching strategies, proposed by Mahoney and MacDonald (2007), were incorporated into the education program. Responsive teaching strategies refer to affect (using animated expressions), match (adjusting responses according to children's developmental levels, interests and behavior styles), reciprocity (engaging in frequent physical or verbal exchanges), shared control (facilitating children's lead in play), and contingency (responding immediately to children's behaviors). Dependent measures included behavioral observations of parents' positive physical and verbal responses, and children's positive physical and verbal initiations, as well as parent questionnaires. Results indicated parents' positive physical and verbal responses increased significantly pre- to post-intervention. Children's verbal initiations also increased significantly pre- to post-intervention; however, children's physical initiations did not increase significantly. Results also revealed that parent-child synchrony improved significantly pre- to post-intervention. Furthermore, results from parent questionnaires indicated significant post-intervention effects on parents' perceived: music abilities, degree of comfort using music with their children, and parent-child interaction characteristics. Overall parent-child playtime increased pre- to post-intervention, as well as the quantity and quality of musical play. Among the four types of music activities (singing, playing instruments, moving to music, and listening to music), the home-based music education program had the greatest impact on parents' use of instrument-playing activities. Parent-participants identified playing musical games as the most beneficial music activity for their children and the family. Parents reported the most beneficial responsive teaching strategy was matching <—> adjusting their responses according to their child's developmental level, interests, and behavior styles. Lastly, follow-up data indicated 92% of the parent-participants continued to use the music activities and education materials with their children three months after completion of the study.
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Date Issued: 2013
Identifier: FSU_migr_etd-7674
Format: Thesis

Title: Music Therapy Teaching for Transfer of Positive Behaviors in the Psychiatric Population.
Creator: Riley, James E., Standley, Jayne M., Madsen, Clifford K., Gregory, Diane, Geringer, John M., College of Music, Florida State University
Abstract/Description: Little research exists to determine whether group counseling/therapy services impact immediate post-session behavior of psychiatric patients. The objective of this thesis was to research techniques which facilitate transfer of learning for adults with serious mental illness receiving counseling services. Transfer techniques were implemented into music and non-music conditions. Experimental conditions of Music Therapy Songwriting Using Transfer Techniques (MT), Non-Music Discussion Group Using...
Show moreLittle research exists to determine whether group counseling/therapy services impact immediate post-session behavior of psychiatric patients. The objective of this thesis was to research techniques which facilitate transfer of learning for adults with serious mental illness receiving counseling services. Transfer techniques were implemented into music and non-music conditions. Experimental conditions of Music Therapy Songwriting Using Transfer Techniques (MT), Non-Music Discussion Group Using Transfer Techniques (NMT), and General Music Therapy (GMT) groups were compared on male and female psychiatric admissions units. The study wanted to determine if there would be any difference between groups on measures of leisure time behavior and participant perceptions. Behavioral observations were collected 10, 20, and 30 minutes after treatment to quantitatively determine if participants transferred psychoeducational material onto the hospital unit. Results indicate that all participants were generally engaged in positive behavior during leisure time. A two-factor repeated measures ANOVA found no significant differences in behavior, although the MT condition evidenced slightly higher means overall and was the only group which continued to improve over time. Post-test self-report surveys examined participants' perceptions. Likert-type scale items were analyzed with separate Kruskal-Wallis tests; no significant differences were discovered. Participant's qualitative written responses suggest that MT was more associated with social/cooperative, positive mood, and general positive statements, whereas NMT was perceived to be more educational. Although results of this pilot study were small, clinicians are highly encouraged to become more familiar with related fields of research in order to adapt evidence-based findings from related professions into their own practice. Results suggest that if clinicians articulate non-musical purpose, goals, outcomes, and effects of music therapy with patients as well as the multidisciplinary team, greater transfer may occur. Limitation, suggestions for further research, and further clinical implications are discussed. Keywords: transfer of learning, transfer techniques, music therapy, psychiatric population
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Date Issued: 2013
Identifier: FSU_migr_etd-7578
Format: Thesis

Title: The Effect of Music Therapy Interventions with Premature Infants on Their Parents' Stress Levels.
Creator: Vuong, Elaine, Standley, Jayne M., Madsen, Clifford K., Geringer, John, College of Music, Florida State University
Abstract/Description: The aim of this series of case studies is to determine whether music therapy interventions are effective in decreasing perceived stress levels in parents of premature infants in the Neonatal Intensive Care Unit. The principal investigator administered the Parental Stressor Scale: Neonatal Intensive Care Unit (PSS: NICU) and a Music Therapy Questionnaire prior to and following the three-week intervention period or upon discharge, whichever came first to all participants (N=6). During the...
Show moreThe aim of this series of case studies is to determine whether music therapy interventions are effective in decreasing perceived stress levels in parents of premature infants in the Neonatal Intensive Care Unit. The principal investigator administered the Parental Stressor Scale: Neonatal Intensive Care Unit (PSS: NICU) and a Music Therapy Questionnaire prior to and following the three-week intervention period or upon discharge, whichever came first to all participants (N=6). During the intervention period, the music therapists provided the participants with at least one Parent Training session, and provided at least two Multimodal Stimulation sessions to their respective premature infants. Results determined that music therapy was effective in decreasing perceived parental stress levels in the Parental Role Alterations section of the PSS: NICU. However, results were inconclusive for the other two sections: Environment and Infant Appearance of the PSS: NICU. Participants indicated that music therapy helped their stress levels in all three sections. In addition, Music Therapy Questionnaire posttests showed that all participants remained, increased or started using music activities with their infants during their visits.
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Date Issued: 2013
Identifier: FSU_migr_etd-8655
Format: Thesis

Title: The Effect of Music Therapy Interventions on Mood Elevation and Reality Orientation of Patients with Memory Deficits.
Creator: Breland, Kayla R., Standley, Jayne M., Geringer, John, Gregory, Dianne, College of Music, Florida State University
Abstract/Description: The purpose of this study was to conduct a music therapy session to determine the effect of music therapy interventions on mood elevation and reality orientation of patients with memory deficits. The Null hypothesis (H0) stated there would be no significant statistical difference between the conditions. All subjects (N = 30) consented to participate in a 30-minute individualized session to determine the effect of interventions on mood elevation and reality orientation. The subjects consisted...
Show moreThe purpose of this study was to conduct a music therapy session to determine the effect of music therapy interventions on mood elevation and reality orientation of patients with memory deficits. The Null hypothesis (H0) stated there would be no significant statistical difference between the conditions. All subjects (N = 30) consented to participate in a 30-minute individualized session to determine the effect of interventions on mood elevation and reality orientation. The subjects consisted of (n = 24) women and (n = 6) men. The study consisted of an experimental group (n = 15) and control group (n = 15). The experimental group participated in live music therapy interventions in an individualized session that included instrument-playing, lyric analysis and singing with age-appropriate, patient-preferred music. For the control group, the subjects were asked to listen to recordings of the same music in an individualized session. Both the experimental and control groups were asked to complete identical pre-tests and post-tests. For the pre-tests and post-tests, the subjects were asked to rate their mood level based on a 7-point Likert-Type scale and to answer a series of three questions based on an adapted Mini-Mental Examination to assess reality orientation (Folstein, Folstein, & McHugh, 1975). Mann-Whitney U statistical tests were used to analyze the data. The analysis of the pre-tests for reality orientation and mood elevation showed no significant statistical difference between groups. The analysis of the post-tests for reality orientation showed no significant statistical difference between groups and, therefore, the null hypothesis failed to be rejected. The analysis of the post-tests for mood elevation showed a significant statistical difference and therefore, the null hypothesis was rejected.
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Date Issued: 2014
Identifier: FSU_migr_etd-8945
Format: Thesis

Title: Appalachian Folksongs in the Choral Setting: Regional History, Traditional Performance Practice, and Guidelines for Arranging and Performance.
Creator: Kotsonis, Amy, Thomas, André, Gunderson, Frank, Bowers, Judy, Fenton, Kevin, Geringer, John, College of Music, Florida State University
Abstract/Description: The purpose of this study is to provide a conductor's analysis of a specific set of choral arrangements of Appalachian folksongs within a cultural context. The selected works share three common traits: (1) they are folksongs that were collected by Olive Dame Campbell, Cecil Sharp, Maud Karpeles, Robert Winslow Gordon, John Lomax, Alan Lomax, or Jean Thomas; (2) there are multiple field recordings available; and (3) they are in print as of March 2014. The author seeks to facilitate informed...
Show moreThe purpose of this study is to provide a conductor's analysis of a specific set of choral arrangements of Appalachian folksongs within a cultural context. The selected works share three common traits: (1) they are folksongs that were collected by Olive Dame Campbell, Cecil Sharp, Maud Karpeles, Robert Winslow Gordon, John Lomax, Alan Lomax, or Jean Thomas; (2) there are multiple field recordings available; and (3) they are in print as of March 2014. The author seeks to facilitate informed performance and arranging of these works and provide a general resource for conductors who have an interest in performing Appalachian folksongs. The study includes a discussion of the Appalachian region and its history. It examines the changing definition of the region's borders over the last century. The historical narrative also examines the relationship between the people and the land, Appalachian stereotypes, and labor and literacy. Seven significant collectors of Appalachian music, whose bodies of work provided the framework for this study, are highlighted. The narrative includes a brief history of collection in the region and the work of Francis James Child as a catalyst for folk collecting in the United States. This chapter documents key experiences in the collectors' lives that led them to Appalachia as well as their significance in advocacy and dissemination of the music from that region. Information on folksongs and their transmission, musical styles in Appalachia, and importance of instruments within the culture are provided. An overview of popular traditional instruments is given, comprised of the fiddle, banjo, dulcimer, guitar, mandolin, Jew's harp and mouth bow. The study identifies traits in performance practice, including singing style, vocal and instrumental timbre and performance traditions for specific types of songs. Ten Appalachian folksongs, which this study centered around, are discussed in reference to field recordings that were accessed by the author at the American Folklife Center in the Library of Congress in Washington, DC. These songs are "Barbara Allen," "Cindy," "The Cuckoo," "Frog Went a-Courting," "John Henry," "Old Joe Clark," "Paper of Pins," "Pretty Polly," "Pretty Saro," and "Sourwood Mountain." This chapter also includes an analysis of the vocal sound and style characteristics found in the sound recordings. Choral arrangements of the ten selected folksongs are examined with respect to findings from the field recordings. This analysis is placed in a rubric created by the author and includes information from the sound recordings as well as the choral arrangement. The key elements analyzed are meter, tempo, melody, text, accompaniment, dialect and ornamentation. The study concludes with a set of guidelines for future arrangers of Appalachian folksongs. The narrative includes a discussion on what background study is necessary prior to arranging music from another culture. Finally, each of the seven elements from the rubric are discussed with regard to what is traditionally found in Appalachian music to inform the practices of arrangers and conductors of choral music.
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Date Issued: 2014
Identifier: FSU_migr_etd-8826
Format: Thesis

Title: Tone Building Strategies Used for Beginning High School Choirs.
Creator: Fonza, Frances R., Bowers, Judy, Okerlund, David, Thomas, Andre J., Geringer, John, College of Music, Florida State University
Abstract/Description: The purpose of this study was to determine what vocal strategies were used by ten high school master teachers of a beginning choir or with beginning students in a multi-level choir. This study targeted current practices by outstanding high school teachers, via interviews and observational analysis of tone building strategies. Ten master teachers, from Florida, Georgia and Kentucky, were chosen based on (1) membership within professional choral organizations, (2) state festival participation...
Show moreThe purpose of this study was to determine what vocal strategies were used by ten high school master teachers of a beginning choir or with beginning students in a multi-level choir. This study targeted current practices by outstanding high school teachers, via interviews and observational analysis of tone building strategies. Ten master teachers, from Florida, Georgia and Kentucky, were chosen based on (1) membership within professional choral organizations, (2) state festival participation for at least five years - earning superior ratings OR by conducting a state, regional or nationally refereed invited conference OR by serving as adjudicator for district, state or national festivals (3) at least 10 years of successful secondary level teaching experience OR some high school teaching experience and at least 10 years successful university level teaching experience. The master teachers completed interview questions concerning strategies for tone building, followed by teacher demonstration of two vocalizes from each category: breath, resonance, range extension, phonation, and vowel development. The master teachers then explained their goals for each strategy and specified special conditions for male and female singers. Third the interviewer then observed/recorded master teachers performing tone-building exercises with their beginning choir. Interviews and observations were recorded, scripted then analyzed to identify tone-building strategies used by expert high school teachers. The data revealed that these master teachers used similar strategies, but varied in methodology unique to the individual teacher and the students in the classroom. The findings also indicated that these master teachers differentiated instruction for male and female singers when necessary, used modeling, movement, and descriptive language to accompany technical language. Finally, master teachers used strategies that aligned with current practice in pedagogical literature.
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Date Issued: 2014
Identifier: FSU_migr_etd-8780
Format: Thesis

Title: Effects of Participant-Selected Preferred versus Relaxing Music on GSR and Perceived Relaxation.
Creator: Bruestle, Emily R. (Emily Ruth), Geringer, John M., Standley, Jayne M., Gregory, Sarah Dianne, Florida State University, College of Music
Abstract/Description: The purpose of this study was to explore how asking for general music preferences compares to asking for music preferences that relate to the intended objective (in this case, relaxation), and to determine if one of these types of preferred music was more effective than the other in eliciting relaxation. Participants, who were undergraduate non-music majors (N = 71), took part in a music listening study in which their perceived relaxation and galvanic skin response (GSR) levels were recorded....
Show moreThe purpose of this study was to explore how asking for general music preferences compares to asking for music preferences that relate to the intended objective (in this case, relaxation), and to determine if one of these types of preferred music was more effective than the other in eliciting relaxation. Participants, who were undergraduate non-music majors (N = 71), took part in a music listening study in which their perceived relaxation and galvanic skin response (GSR) levels were recorded. Participants were placed in one of three groups: the participant-selected preferred music group (PM), the participant-selected preferred relaxing music group (PRM), or the unfamiliar, non-preferred music group (NPM). Results indicate that participants in the PM and PRM groups experienced significant increases in perceived relaxation and significant decreases in GSR levels, but there was not a significant difference between the two groups in the amount of change. Therefore, preferred music and preferred relaxing music appear equally effective in increasing relaxation responses. These findings provide support for the continued use of patient-preferred music in music therapy settings and offer alternative suggestions for assessing music preferences.
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Date Issued: 2015
Identifier: FSU_migr_etd-9561
Format: Thesis

Title: The Effect of Single-Session Psychoeducational Music Therapy on Response Frequency and Type, Satisfaction with Life, Knowledge of Illness, and Treatment Perceptions in Psychiatric Patients.
Creator: Silverman, Michael Joseph, Standley, Jayne M., Holzman, Bruce, Madsen, Clifford, Geringer, John, College of Music, Florida State University
Abstract/Description: The purpose of this study was to compare group-based psycho educational music therapy to psycho education in measures of satisfaction with life, knowledge of illness, treatment perceptions, and response frequency and type in psychiatric inpatients during a randomized and controlled clinical trial. Participants (N = 105) took part in a single session controlled by treatment manuals and facilitated by a Board-Certified music therapist. No significant differences were found between groups in...
Show moreThe purpose of this study was to compare group-based psycho educational music therapy to psycho education in measures of satisfaction with life, knowledge of illness, treatment perceptions, and response frequency and type in psychiatric inpatients during a randomized and controlled clinical trial. Participants (N = 105) took part in a single session controlled by treatment manuals and facilitated by a Board-Certified music therapist. No significant differences were found between groups in measures of participant perceived helpfulness or enjoyment but there was a tendency for the music therapy group to have slightly higher means than the control group. Although not significant, the music therapy group had higher mean satisfaction with life and psycho educational knowledge scores than the control group, indicating music therapy was more effective than psycho education in these measures. There were no significant differences between groups for the number of therapist questions and validations as measured by a trained observer. However, almost 11 more questions and validations were made by the therapist during the music therapy sessions. Although not significant, there were almost 20 more participant verbalization per session during the music therapy conditions. Additionally, many of these verbalization were categorized as self statements and cognitive insights, indicating participants in the music therapy condition were talking more about themselves and their unique situations. Congruent with this finding, during the music therapy condition, the ratios of participant self statements to therapist questions and participant cognitive insights to therapist questions were higher than in the control condition. Although not significant, the music therapy group had slightly higher social functioning means than the psycho educational control group as measured by a rater blind to conditions at one-day follow-up. Significant correlations were found between participants' perceptions of helpfulness, enjoyment, and comfort and the total number of verbalization they made during the session. Analyses by condition revealed no significant correlations between perceptions of helpfulness, enjoyment, or comfort and total verbal participation for the music therapy group. However, these measures were significantly correlated for the control group, indicating for higher perceived levels of helpfulness, enjoyment, and comfort the control condition had to verbally participate. The music therapy group, however, did not have to verbally participate to have high perceptions of these variables. Significant correlations were also found between satisfaction with life and the total number of participant verbalization but not between psycho educational knowledge and total number of verbalization, indicating that although not verbally active within the session, participants still learned the psycho educational material. This was the first randomized and controlled psychiatric music therapy study using treatment manuals to control independent variables that quantitatively measured therapist and patient verbalization and employed follow-up data measured by a rater blind to conditions. From the results of this study, it seems that music therapy can be effectively used in a psycho educational context. Implications for psycho educational music therapy and suggestions for future research are made.
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Date Issued: 2007
Identifier: FSU_migr_etd-1727
Format: Thesis

Title: The Effect of Viewing Model Performances Posted on the Internet on Expressive Performance Among 7–14-Year-Old Piano Students.
Creator: Payne, Carol Wallace, McArthur, Victoria, Madsen, Clifford, Gainsford, Read, Geringer, John, College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the effect of viewing model performances, which were posted on the Internet, on the expressive performance of young piano students. Participants (N = 43) had a mean age of 9.88 years and a mean of 2.86 years of piano study. Participants were randomly assigned to one of two conditions, either an expressive video performance viewing condition or a static (inexpressive) video performance viewing condition, and were given the appropriate piece to learn by...
Show moreThe purpose of this study was to examine the effect of viewing model performances, which were posted on the Internet, on the expressive performance of young piano students. Participants (N = 43) had a mean age of 9.88 years and a mean of 2.86 years of piano study. Participants were randomly assigned to one of two conditions, either an expressive video performance viewing condition or a static (inexpressive) video performance viewing condition, and were given the appropriate piece to learn by their respective piano teachers (N = 17). After a two-week participation period, recordings were made of participant performances. These recordings were evaluated by a panel of three expert judges, who issued rating scores using a Likert-type scale from 1 to 7. Judges were asked to assign separate rating scores for expression and technique. Resultant scores were examined to determine whether a difference existed between video model conditions. Three factors also examined were the participants' gender, age, and years of piano study. Participants in the expressive video condition received higher rating scores for expression than the participants in the static video condition, but received lower scores for technique, which resulted in a significant interaction, F (1, 41) = 6.79, p < .05, partial eta squared = .14. A plausible explanation is that the students in the static video condition were better able to imitate their assigned video model performances, and that successful imitation might have contributed to performances that were superior in elements such as rhythmic continuity and steadiness, but lacking in expressive qualities. While gender appeared to have had no effect on rating scores, the participants' age and years of piano study seemed to influence their ability to successfully imitate the expressive model. Although the magnitude of the effect of the video model condition on the expression and technique scores was not large, observations are made about the possible relevance of these results to the teaching and learning of expressive music performance.
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Date Issued: 2010
Identifier: FSU_migr_etd-2072
Format: Thesis

Title: The Effect of Four Virtual Wind Ensemble Formations on Auditors' Perceptions of and Preferences for Overall Wind Ensemble Sound.
Creator: Murray, Sean Patrick, Darrow, Alice-Ann, Meighan, Patrick, Dunnigan, Patrick, Geringer, John, Madsen, Clifford, College of Music, Florida State University
Abstract/Description: The primary purpose of the study was to examine the effect of four virtual wind ensemble formations (blocked sections, families, random and center) on listeners' preferences for and perceptions of overall wind ensemble sound. A secondary purpose of the study was to examine participants' responses under two listening conditions: headphones and speakers. Participants were music majors at a large Southeastern university (N = 120). Instrument sections in the university wind ensemble were recorded...
Show moreThe primary purpose of the study was to examine the effect of four virtual wind ensemble formations (blocked sections, families, random and center) on listeners' preferences for and perceptions of overall wind ensemble sound. A secondary purpose of the study was to examine participants' responses under two listening conditions: headphones and speakers. Participants were music majors at a large Southeastern university (N = 120). Instrument sections in the university wind ensemble were recorded separately playing their part to a Bach chorale. Four seating formations were produced in a virtual environment by placing the separate audio tracks at one of five pan settings. The tracks were then mixed to produce four recordings that varied with regard to instrument section placement. Participant preferences for the four formations were determined via paired comparisons. Formation excerpts in each pair were presented simultaneously with a switching device that enabled listeners to alternate between synchronized versions of each excerpt. After listening to each pair of excerpts, participants were asked to indicate their preference for excerpt A or B or whether they heard no difference. If they preferred excerpt A or B, they were asked to indicate their degree of preference, and then the musical factor that most contributed to their response (tempo, volume, balance/blend, pitch/intonation, or tone quality). Frequency of preference responses indicated that three formations (random, families and blocked-section) were preferred significantly more than the fourth formation (center). No significant difference was found between the random, families and blocked-section formations. Results revealed that balance/blend was the musical factor that most significantly contributed to participants' preference responses. Results also indicated a significant difference between preference responses for random and blocked-section formations made under the headphone and speaker listening conditions. Implications for practice suggest that specific formations may contribute to better communication among players, and between the conductor and the ensemble, but do not necessarily influence listeners' preferences for overall sound.
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Date Issued: 2006
Identifier: FSU_migr_etd-2170
Format: Thesis

Title: Influences of Dynamic Level and Pitch Height on the Vibrato Rates and Widths of Violin and Viola Players.
Creator: MacLeod, Rebecca Bowman, Geringer, John M., Morris, Richard, Allen, Michael L., Madsen, Clifford K., College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate possible influences of pitch height and dynamic level on vibrato rates and widths of university and high school violin and viola players. Forty-eight musicians (12 each of university violin, high school violin, university viola, and high school viola students) were recorded individually performing: a scale passage in low and high pitch registers, a musical excerpt in low and high pitch registers, a scale passage performed with piano and forte...
Show moreThe purpose of this study was to investigate possible influences of pitch height and dynamic level on vibrato rates and widths of university and high school violin and viola players. Forty-eight musicians (12 each of university violin, high school violin, university viola, and high school viola students) were recorded individually performing: a scale passage in low and high pitch registers, a musical excerpt in low and high pitch registers, a scale passage performed with piano and forte dynamic levels, and a musical excerpt performed with piano and forte dynamic levels. Analysis showed that pitch height significantly affected the vibrato rates and widths of the performers. Musicians vibrated .32 Hz faster and approximately 26 cents wider during high tones than during low tones. Dynamic level also significantly affected vibrato width. Performers increased vibrato width approximately 4 cents in the forte passages compared to the piano passages. In the scale passages, an increase in dynamic level corresponded to an increase in vibrato rate, but this increase in rate was not present during the musical excerpts. Violinists demonstrated a tendency to vibrate slightly faster and wider than violists. A significant interaction occurred between instrument type and pitch height for vibrato width. In the high pitch register, violinists vibrated 13 cents wider than did violists. No significant differences were found between the vibrato rates of high school and university performers, however a significant difference was found between the high school and university performers' vibrato widths during the piano and forte passages. University performers varied their vibrato width to a greater extent between the piano and forte passages (5 cents) than did the high school performers (2 cents). In the low register musical excerpts, musicians vibrated significantly faster (.26 Hz) than in the low register scale passages. University musicians produced a significantly wider vibrato in the musical excerpts compared to the scale passages (6 cents), while high school musicians' widths did not differ between the two.
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Date Issued: 2006
Identifier: FSU_migr_etd-2808
Format: Thesis

Title: The Effect of Music Assisted Relaxation on Mood Perception in Vietnam Veterans: A Pilot Study.
Creator: Garrison, Diane E. (Diane Elizabeth), Gooding, Lori F. (Lori Fogus), Standley, Jayne M., Geringer, John M., Florida State University, College of Music
Abstract/Description: The Vietnam War is considered to be one of the longest and most controversial conflicts that the United States has ever been engaged in. Veterans from this war experienced a homecoming that was unlike the fanfare awarded to previous military personnel; instead they faced physical ailments, psychological problems, and a lack of support. This war not only impacted the men and women who served in the military, but also their families and communities, resulting in the need for effective and...
Show moreThe Vietnam War is considered to be one of the longest and most controversial conflicts that the United States has ever been engaged in. Veterans from this war experienced a homecoming that was unlike the fanfare awarded to previous military personnel; instead they faced physical ailments, psychological problems, and a lack of support. This war not only impacted the men and women who served in the military, but also their families and communities, resulting in the need for effective and targeted treatment strategies. The purpose of this study was to determine if music-assisted relaxation was effective in altering Vietnam Veterans’ perceptions of relaxation and if this was reflected in the self-assessments and physiological data. Participants were (N = 10) Vietnam Veterans from a local Vietnam Veterans of America Organization, who participated in a music-assisted relaxation intervention facilitated by a board-certified music therapist. Respiratory rate was measured before the intervention began and one minute prior to the end of the session. Participants also completed a posttest questionnaire regarding their perceptions of music and the music therapy experience. Results were not significant, but all participants indicated that they would be willing to participate in the music-assisted relaxation and/or a similar music therapy intervention again.
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Date Issued: 2016
Identifier: FSU_FA2016_Garrison_fsu_0071N_13502
Format: Thesis

Title: The Influence of Genre and Musical Training on Continuous versus Summative Ratings of Listener Enjoyment and Response Times.
Creator: Williams, Matthew, Geringer, John M., Holzman, Bruce, Darrow, Alice-Ann, Kelly, Steven N., Florida State University, College of Music
Abstract/Description: The purpose of this study was to explore continuous and summative ratings of listener enjoyment across a variety of genres and to examine the roles of musical training and familiarity. A secondary purpose of the research was to explore possible relationships between musical training and enjoyment (preference) and estimations of excerpt duration. Specific research questions were 1) Does genre influence ratings of listener enjoyment? 2) Does genre influence initial listener response time? 3) Is...
Show moreThe purpose of this study was to explore continuous and summative ratings of listener enjoyment across a variety of genres and to examine the roles of musical training and familiarity. A secondary purpose of the research was to explore possible relationships between musical training and enjoyment (preference) and estimations of excerpt duration. Specific research questions were 1) Does genre influence ratings of listener enjoyment? 2) Does genre influence initial listener response time? 3) Is there a difference between summative and continuous ratings of enjoyment based on genre? 4) Do patterns in the continuous rating of listening enjoyment emerge as a function of genre? 5) Does musical training influence preference ratings or response time? 6) Is there a relationship between familiarity and preference ratings or response time? 7) Does preference affect estimations of excerpt duration? Twelve musical excerpts were selected such that the genres of classical, popular, and world music were each represented by four unfamiliar and varied excerpts. Excerpts were edited to be 60 seconds in duration and were played for participants (N = 150) in a counterbalanced presentation order. Participants provided preference ratings using the Continuous Response Digital Interface in either a continuous or summative response condition. After each excerpt, participants provided a rating of their familiarity with the excerpt on a pencil-and-paper Likert-type scale and also provided a written estimate, in seconds, of each excerpt's duration. A mixed model analysis of variance revealed significant main effects for genre and major in preference ratings, as well as a significant interaction between genre and major. Participants most preferred the classical genre, followed by popular, and world music. Music majors also tended to rate excerpts significantly higher than nonmajors. The interaction occurred primarily in the popular music category, in which nonmajors rated the excerpts nearly as high as the majors. Majors also responded faster than nonmajors in the continuous response condition. Correlations between preference and familiarity were moderate and uniformly significant, whereas there appeared to be no association between familiarity and response times. Correlations between preference ratings and estimates of excerpt duration also indicated no association. The present study is situated amongst a large body of research on music preference. While some findings support previous research, other findings raise more questions and encourage further exploration. Implications of current results and suggestions for future research are discussed.
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Date Issued: 2016
Identifier: FSU_2016SP_Williams_fsu_0071E_13094
Format: Thesis

Title: Audio Technology for Music Educators: A Practical Manual for Implementation.
Creator: Bridges, Chandler, Gaber, Brian, Madsen, Clifford K., Holzman, Bruce, Geringer, John M., Florida State University, College of Music
Abstract/Description: The realm of education is steadily changing from the influence of ideas, theories, research, and technology. Revisiting theory and practices and reinvigorating them with the knowledge gained in research and the advances in technology continue to improve the opportunities of the students. With increasing expectations for teachers to incorporate and understand audio technology and its use in the classroom, educators must familiarize themselves and feel comfortable in using digital audio,...
Show moreThe realm of education is steadily changing from the influence of ideas, theories, research, and technology. Revisiting theory and practices and reinvigorating them with the knowledge gained in research and the advances in technology continue to improve the opportunities of the students. With increasing expectations for teachers to incorporate and understand audio technology and its use in the classroom, educators must familiarize themselves and feel comfortable in using digital audio, recording and audio production techniques. Digital audio technology is now used ubiquitously for the delivery and distribution of musical compositions. As educators, the understanding of digital audio technology is paramount. This technology can be deployed to enhance both the opportunities and instructional resources available to students as well as an observational tool for teachers. The impetus for this dissertation was to create a comprehensive instructional design for both pre-service and in-service music educators as well as for applied instructors. The method of this instructional design utilizes experiential learning to introduce the theoretical ideas of digital audio theory and techniques. Through this project based, results-driven instruction, the understanding of core concepts is bundled into practical instructions that are of immediate use to an instructor's classroom and students.
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Date Issued: 2016
Identifier: FSU_2016SP_Bridges_fsu_0071E_12645
Format: Thesis

Title: Pedagogical Practices Related to the Ability to Discern and Correct Intonation Errors: An Evaluation of Current Practices, Expectations, and a Model for Instruction.
Creator: Scherber, Ryan Vincent, Fredrickson, William, Jimenez, Alexander, Geringer, John, Dunnigan, Patrick, Madsen, Clifford, College of Music, Florida State University
Abstract/Description: The purpose of this study was to identify current practices and expectations associated with pitch discrimination ability as well as assess the effectiveness of a model intonation training program. Specifically, this study was implemented in two phases. Phase one sought to discern current tuning procedures and intonation training techniques in use by K-12 school directors (n=273) and collegiate band directors (n=55), as well as identify expectations of incoming collegiate music students. Two...
Show moreThe purpose of this study was to identify current practices and expectations associated with pitch discrimination ability as well as assess the effectiveness of a model intonation training program. Specifically, this study was implemented in two phases. Phase one sought to discern current tuning procedures and intonation training techniques in use by K-12 school directors (n=273) and collegiate band directors (n=55), as well as identify expectations of incoming collegiate music students. Two questionnaires were developed and distributed to a national sample to gather information related to the tuning process. In phase two, available teaching texts and empirical literature were reviewed to develop an intonation training program. The program was implemented over six weeks with students enrolled in a middle and high school band program. Two equivalent additional sites were utilized as a control group. All participants (N=47) were assessed using an identical pre- and post-test. The test was comprised of three tasks. The paired-comparison task asked participants to identify if the second note of each pair was in-tune or out-of-tune, the tuning task asked participants to tune their instrument to three stimulus timbres, and the final task was performing a brief melodic example. Reviewing results from phase one, it appeared school directors believed it was somewhat important to tune everyday while collegiate directors felt it was very important to tune everyday. When tuning, most directors appeared to favor a "bottom-up" approach beginning with the tuba. While school directors identified F and Bb as their initial tuning note(s), collegiate directors identified A and Bb as their preferred initial tuning note(s). Often cited in-class teaching techniques included working with a tuner, vocalization, and practicing with drones. Outside of the classroom, directors asked their students to work with a tuner and complete intonation-tendency charts. While a majority of collegiate directors (65%) indicated they taught their ensembles differences between systems of temperament, a majority of school directors (54%) elected not to teach this concept due to time concerns or less-experienced ensemble members. Additional sample-specific questions were utilized. A significant majority of school directors believed intonation instruction should begin in beginning band or earlier as part of an elementary music course. Collegiate directors appeared to expect incoming music students to posses a high-level of pitch discrimination ability and successfully operate the mechanical and physical tuning aspects of their instrument. Phase two results from each task of the pre- and post-test were reviewed to determine the effectiveness of the researcher-designed intonation training program. No significant differences were found between conditions on each task indicating the program was not effective in developing participant's pitch discrimination abilities within the treatment period. However, several findings corroborated prior research. Both latency and accuracy responses to the paired-comparison task significantly improved when stimuli deviated greater than 20-cents. Additionally, an interesting effect was found when comparing results by deviation magnitude and deviation direction. Though a tolerance for sharp intonation has been noted in prior literature, results from the current study indicated sharp stimuli were identified significantly faster than flat stimuli when deviated greater than 20-cents. Reviewing results of the tuning task, participants were significantly more accurate when tuning during the post-test than during the pre-test. As no significant differences were found between conditions on the tuning task, the increased level of tuning accuracy may be the result of musical training or task familiarity. Additional findings in the melodic task indicated unison intervals deviated less than other intervals. Implications for teacher education, as well as suggestions for further research, are discussed.
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Date Issued: 2014
Identifier: FSU_migr_etd-9087
Format: Thesis

Title: The Effect of Purposeful Distractors Placed in an Excerpt of Puccini's La Bohème to Ascertain Their Influence on the Listening Experience.
Creator: Southall, John K., Madsen, Clifford K., Geringer, John M., Standley, Jayne M., Kelly, Steven N., Gregory, Dianne, Drew, John, College of Music, Florida State University
Abstract/Description: The purpose of this study was to determine if superimposed audio distractors would have an effect on the aesthetic experience of undergraduate and graduate music majors listening to an excerpt of Puccini's La Bohème. Subjects (N = 96) were randomly assigned to three groups: one control and two experimental. The Control Group listened to an uninterrupted ten minute and thirty second excerpt of the stimulus. The two experimental groups listened to the identical excerpt with purposeful...
Show moreThe purpose of this study was to determine if superimposed audio distractors would have an effect on the aesthetic experience of undergraduate and graduate music majors listening to an excerpt of Puccini's La Bohème. Subjects (N = 96) were randomly assigned to three groups: one control and two experimental. The Control Group listened to an uninterrupted ten minute and thirty second excerpt of the stimulus. The two experimental groups listened to the identical excerpt with purposeful distractions. In Distraction Group I, a telephone busy signal and a telephone ringing sound were placed at strategic points within two arias as distractions. In Distraction Group II, pink noise distractors were placed at strategic locations within two arias. Subjects participated in the listening activity while manipulating the Continuous Response Digital Interface. A posttest questionnaire was given following the listening activity. Mean ratings of individual and group CRDI data were charted graphically. Results of this study indicated that while all subjects were distracted, almost all subjects evidenced a quick recovery and continued to have an aesthetic experience following the periods of distraction. Results from the questionnaire indicated that subjects in the distraction groups were indeed distracted, that all subjects had what they considered to be an aesthetic experience, and that almost all of the subjects indicated that the movement of the CRDI dial roughly corresponded with variations of their aesthetic experience.
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Date Issued: 2003
Identifier: FSU_migr_etd-1620
Format: Thesis

Title: The Effect of Teacher Nonverbal Expressiveness on Ratings of Teacher Effectiveness and Student Learning.
Creator: Heath-Reynolds, Julia, Darrow, Alice-Ann, Drew, John R., VanWeelden, Kimberly, Geringer, John M., Madsen, Clifford K., College of Music, Florida State University
Abstract/Description: The purpose of this study was threefold: (1) to determine if levels of teacher expressiveness (low, medium, or high) have an effect on ratings of teacher effectiveness, lesson content, and on student learning, (2) to determine if a relationship exists between ratings of teacher nonverbal behaviors and teacher effectiveness, and (3) to determine if a relationship exists between ratings of teacher expressiveness and teacher enthusiasm in the elementary general classroom. Three scripted videos...
Show moreThe purpose of this study was threefold: (1) to determine if levels of teacher expressiveness (low, medium, or high) have an effect on ratings of teacher effectiveness, lesson content, and on student learning, (2) to determine if a relationship exists between ratings of teacher nonverbal behaviors and teacher effectiveness, and (3) to determine if a relationship exists between ratings of teacher expressiveness and teacher enthusiasm in the elementary general classroom. Three scripted videos were created of the same stimulus teacher presenting a music lesson to a hypothetical class of elementary-aged children. In the three videos, the stimulus teacher exhibited low, medium, or high levels of expressive nonverbal behaviors. Participants for the first phase of the study were 160 college students who were randomly assigned to one of three video conditions. Video conditions were based on the stimulus teacher's level of expressiveness: low (n = 55), medium (n = 54), and high (n = 51). After viewing the video, participants provided ratings on the teacher's effectiveness, expressiveness, enthusiasm, nonverbal behaviors, and lesson content. Participants for the second phase of the study were 114 fourth- and fifth-grade students who were randomly assigned to the same video viewing conditions: low (n = 42), medium (n = 37), or high (n = 35) teacher expressiveness. Following the video viewing, participants completed a 10-question Student Learning Assessment based on the video lesson content. Results of this study revealed that levels of teacher expressiveness had a significant effect on ratings of teacher effectiveness, with higher levels of teacher expressiveness resulting in higher ratings of teacher effectiveness. Levels of teacher expressiveness did not have an effect on ratings of lesson content, or on student learning. Results also revealed that (1) higher ratings of teacher nonverbal behaviors were significantly related to higher ratings of teacher effectiveness, and (2) participants equated teacher expressiveness with teacher enthusiasm.
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Date Issued: 2014
Identifier: FSU_migr_etd-9002
Format: Thesis

Title: The Influence of Social Intelligence on Effective Music Teaching.
Creator: Juchniewicz, Jay, Kelly, Steven N., Madsen, Clifford K., Drew, John, Dunnigan, Patrick, Geringer, John M., College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate the influence of social intelligence on effective music teaching. A panel of music education experts, comprised of music education faculty members and music supervisors from large county public school systems in the State of Florida, were asked to list up to five teachers and their schools from "exemplary programs" and up to five teachers and their schools from "more challenging programs" for each of the areas of band, chorus, orchestra, and...
Show moreThe purpose of this study was to investigate the influence of social intelligence on effective music teaching. A panel of music education experts, comprised of music education faculty members and music supervisors from large county public school systems in the State of Florida, were asked to list up to five teachers and their schools from "exemplary programs" and up to five teachers and their schools from "more challenging programs" for each of the areas of band, chorus, orchestra, and general K-12 Florida public school music programs. The top five most frequently listed teachers from each category within each area of music were selected, resulting in a total of 40 teachers (N = 40). Each of the 40 teachers was administered the Interpersonal Perception Task (IPT-15), a performance-based instrument that assesses an individual's ability to "decode" information perceived in human interaction and an accurate way to assess a level of social intelligence within individuals. Additionally, 12 teachers, randomly selected from the original group of 40 teachers, agreed to participate in the videotaping of their instruction. These 12 teaching excerpts were viewed by 84 external evaluators, comprised of equal number of inservice music educators (n = 42) and undergraduate preservice music teachers (n = 42). External evaluators rated the overall effectiveness of the teacher for each teaching excerpt on a 7-point Likert-type scale (1 = not effective at all to 7 = highly effective). Further, evaluators were asked to list the main attribute that influenced their evaluation of each teaching excerpt. Results showed that "exemplary" teachers scored higher than "challenged" teachers on the IPT-15. However, these differences were not significant. No significant differences were found between the experienced music educators and undergraduate preservice music teachers when evaluating the overall effectiveness of music teacher participants. Additionally, the external evaluators concurred with the recommendations of the panel of music education experts, rating teachers identified as "exemplary" or effective significantly higher than teachers labeled as "challenged" or ineffective. The majority of attributes that influenced external evaluators' ratings of overall teacher effectiveness were social, constituting over 85% of all responses. Further, with the exception of one teaching excerpt, the percentage of effective and ineffective social attributes reflected the teacher's overall effectiveness ratings given by the external evaluators. Ineffective Classroom Management was the most cited attribute as rationale for why teachers were rated as ineffective. Effective communication skills, including both categories of Effective Instructional Communication and Effective Non-instructional Communication were the most frequently cited attributes for "exemplary" teachers. More specifically, Effective Instructional Communication constituted the highest percentage of attributes listed for six of the seven teachers rated effective by external evaluators. Implications for music educators and suggestions for future research are made.
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Date Issued: 2008
Identifier: FSU_migr_etd-3715
Format: Thesis

Title: A Preliminary Investigation into the Effects of a Brief Mindfulness Induction on Perceptions of Attention, Aesthetic Response, and Flow during Music Listening.
Creator: Diaz, Frank Michael, Madsen, Clifford K., Jiménez, Alexander E., Chapo, Eliot, Geringer, John M., Allen, Michael, College of Music, Florida State University
Abstract/Description: The purpose of this study was to investigate the effects of a brief mindfulness induction technique on subjective reports of attention, aesthetic response, and flow during music listening as measured by Continuous Response Digital Interface (CRDI) and questionnaire. Additionally, differences between aesthetic response and flow were explored in the context of verbal and CRDI responses. Participants were undergraduate and graduate students enrolled in music classes or ensembles at the College...
Show moreThe purpose of this study was to investigate the effects of a brief mindfulness induction technique on subjective reports of attention, aesthetic response, and flow during music listening as measured by Continuous Response Digital Interface (CRDI) and questionnaire. Additionally, differences between aesthetic response and flow were explored in the context of verbal and CRDI responses. Participants were undergraduate and graduate students enrolled in music classes or ensembles at the College of Music at Florida State University (N=132), and were randomly assigned to one of four groups: mindfulness induction paired with aesthetic response (n=34), mindfulness induction paired with flow response (n=35), aesthetic response (n=32), and flow response (n=31). For all groups, a questionnaire was used to gather data on self-reported measures of attention, and all participants were asked to manipulate a CRDI which registered either their aesthetic or flow response to a 10 ½ minute audio excerpt of Giacomo Puccini's opera, La Bohème. In groups in which a mindfulness induction was used, participants were asked to listen to a previously recorded fifteen minute guided mindfulness audio presentation and report on their experiences. Responses to Likert-type questionnaire items suggests that participants experienced a subjective "heightening" of attention during music listening compared to baseline in all conditions, with no specific modification attributable to the mindfulness task. A majority of respondents in the mindfulness groups, however, reported that the task had modified their listening experience by increasing their ability to focus on the music without distraction. Composite CRDI graphs suggest unique response patterns between groups based on both the presence of a mindfulness task as well as the construct for focus of attention (flow or aesthetic response). In general, composite graphs for flow indicated less decrease in response magnitude between the end of peak responses compared with aesthetic response, and longer and higher magnitude plateau responses. For aesthetic response groups, mindfulness increased the overall magnitude of peak responses, and decreased the depth of valley responses. In flow response groups, mindfulness attenuated both peaks and valleys and increased plateaus. Additionally, verbal accounts imply phenomenological differences between flow and aesthetic responses, with each accounting for a unique type of heightened and positively valenced psychological experience.
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Date Issued: 2010
Identifier: FSU_migr_etd-0736
Format: Thesis

Title: The Effect of Performance Medium on the Emotional Response of the Listener as Measured by the Continuous Response Digital Interface.
Creator: Plack, David Scot, Madsen, Clifford K., Ohlsson, Eric, Geringer, John, Gregory, Diane, Dunnigan, Patrick, Standley, Jayne M., College of Music, Florida State University
Abstract/Description: The primary purpose of this study was to determine whether participants from varied performance-media backgrounds experience a felt emotional response through performance media different from their own. Specifically, how does this emotional response compare to the emotional response shown through their own performance medium? Secondarily, the study examined whether the response patterns over time of the Continuous Response Digital Interface (CRDI) dial show a relationship between listening...
Show moreThe primary purpose of this study was to determine whether participants from varied performance-media backgrounds experience a felt emotional response through performance media different from their own. Specifically, how does this emotional response compare to the emotional response shown through their own performance medium? Secondarily, the study examined whether the response patterns over time of the Continuous Response Digital Interface (CRDI) dial show a relationship between listening groups and/or performance media. Volunteer participants (N = 143) consisted of graduate and undergraduate music majors, non-music majors, and non-musicians at a large comprehensive university. Recordings were presented using the following performance media: (1) voice, (2) wind ensemble (non-marching), (3) marching band (non-music major), (4) piano, and (5) popular dance music (non-musicians). Based on primary performance area, participants were assigned to one of the five groups: voice (n = 31), wind ensemble (n = 25), marching band (n = 27), piano (n = 33), and non-musicians (n = 27). Participants in each group were asked to manipulate the CRDI dial corresponding to their felt emotional response to the music. All participants listened and responded to five performance media renditions of Giacomo Puccini's Nessun Dorma from the opera, Turandot. Means and standard deviation were determined and graphically displayed. Graphs include separate composite means and ongoing standard deviation response graphs for each excerpt and one composite response graph detailing overall mean and overall mean standard deviation by group for each excerpt. Visual inspections of the composite graphs demonstrate both large as well as subtle differences among and between groups and that participant responses differentiated across the musical stimuli. Ongoing changing responses of participants within participant groups provide the most important description of responses. Further analysis of the composite response graphs demonstrates a strong relationship between responses of the music major groups (voice, piano, and wind ensemble) and their respective corresponding excerpts. There was also a strong relationship between the responses of the non-music major groups and their respective corresponding excerpts (DCI/marching band and popular dance music).
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Date Issued: 2006
Identifier: FSU_migr_etd-0648
Format: Thesis

Title: Emotion and Meaning in La Bohème: An Application of the Aesthetic Constructs of Leonard B. Meyer.
Creator: Clark, Robert Henry, Madsen, Clifford K., Holzman, Bruce, Bugaj, Kasia, Geringer, John M, Fredrickson, William E., Florida State University, College of Music, College of Music
Abstract/Description: Leonard B. Meyer proposed unique metaphysical constructs of the aesthetic experience in music in his 1956 book Emotion and Meaning in Music. These constructs posited a causal nexus for affective response to music based upon the absolute-expressionist viewpoint that structural variations in a work of music give rise to human affect. The primary hierarchical constituents of Meyer’s theory include his inhibition thesis, deviation thesis, and violation of the Gestalt principles of continuity,...
Show moreLeonard B. Meyer proposed unique metaphysical constructs of the aesthetic experience in music in his 1956 book Emotion and Meaning in Music. These constructs posited a causal nexus for affective response to music based upon the absolute-expressionist viewpoint that structural variations in a work of music give rise to human affect. The primary hierarchical constituents of Meyer’s theory include his inhibition thesis, deviation thesis, and violation of the Gestalt principles of continuity, closure, and shape. The study of Madsen, Brittin, and Capparella-Sheldon (1993) was part of a series of studies that examined the aesthetic experience in music according to continuously measured affective response. Participants recorded affective response via Continuous Response Digital Interface (CRDI) while listening to Act I of Giacomo Puccini’s La Bohéme. The purpose of this study was to analyze the Puccini according to the constructs of Meyer, and then compare those results to the “aesthetic footprint” generated by the empirical study. Results indicated a correlation between affective response and delays or violations of continuity, closure, and shape. A case is presented for the validity of Meyer’s constructs. Additionally, future research and applications to teaching expressivity are discussed.
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Date Issued: 2018
Identifier: 2018_Sp_Clark_fsu_0071E_14469
Format: Thesis

Title: The Comprehensive Conductor: A Supplemental Text to the Instrumental Conductor Curriculum.
Creator: Baumanis, Julia L. (Julia Lauren), Madsen, Clifford K., Dunnigan, Patrick, Bish, Deborah, Clary, Richard, Geringer, John M., Fredrickson, William E., Florida State University,...
Show moreBaumanis, Julia L. (Julia Lauren), Madsen, Clifford K., Dunnigan, Patrick, Bish, Deborah, Clary, Richard, Geringer, John M., Fredrickson, William E., Florida State University, College of Music
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Abstract/Description: Since the 1940s, conducing has been a mainstay in the undergraduate instrumental music education curriculum in the United States. One of the purposes of instrumental conducting courses is to prepare students for the occupation of band director after graduation. While these courses are offered in most music education degree programs, they often mainly focus on baton technique and score study, leaving topics important to the education of future band directors out of the curricula. Much of the...
Show moreSince the 1940s, conducing has been a mainstay in the undergraduate instrumental music education curriculum in the United States. One of the purposes of instrumental conducting courses is to prepare students for the occupation of band director after graduation. While these courses are offered in most music education degree programs, they often mainly focus on baton technique and score study, leaving topics important to the education of future band directors out of the curricula. Much of the research on conducting class curricula cites one main cause of above- there are many topics to cover in conducting class curricula, and simply not enough time to cover them all. Therefore, the purpose of this document is to offer focus on topics important to but often left out of the conducting class curricula. This supplemental text is divided into three parts, 1) verbal communication in rehearsal techniques, 2) nonverbal communication in conducting, and 3) technology in the conducting classroom. Each part offers a brief overview of the literature on that specific topic, as well as focuses on one, measurable pinpointed topic in that area, including teaching verbal communication in rehearsal techniques through observation and a systemized methodology for conductor nonverbal communication instruction. Resources for implementing pinpointed topics are also provided. The result of this document offers multiple ways in which to incorporate each topic into existing conducting class curriculum, thus providing a more comprehensive conducting education.
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Date Issued: 2019
Identifier: 2019_Summer_Baumanis_fsu_0071E_15409
Format: Thesis

Title: A Description of Older Adults' Participation in a Technology-Based Piano Program and Their Musical Skill Development, Perceptions of Personal Fulfillment, and Attitudes Toward Music Learning.
Creator: Mitak, Kirsten Nora, Darrow, Alice-Ann, McArthur, Vicki, Gerber, Larry, Bowers, Judy, Geringer, John, College of Music, Florida State University
Abstract/Description: The purpose of this study was to determine the feasibility of Piano WizardTM as a viable technological and instructional tool for older adults. Piano Wizard's applicability for seniors was determined by participants' musical skill development, perceptions of personal fulfillment, attitudes toward music learning, and opinions about the software program Piano WizardTM. Secondary purposes of the study were: (1) to identify participants' motivation for enrolling in a music skills program and (2)...
Show moreThe purpose of this study was to determine the feasibility of Piano WizardTM as a viable technological and instructional tool for older adults. Piano Wizard's applicability for seniors was determined by participants' musical skill development, perceptions of personal fulfillment, attitudes toward music learning, and opinions about the software program Piano WizardTM. Secondary purposes of the study were: (1) to identify participants' motivation for enrolling in a music skills program and (2) to examine differences in participants' attitudes, perceptions, and skill development based on their: age, previous musical experience, socio-economic status, or participation in individual vs. partner lessons. Six 30-minute weekly sessions were offered to residents at two retirement communities of contrasting socio-economic status (SES). Thirty older adults volunteered to serve as participants, and twenty-five (N=25) completed the six weeks of instruction. Musical skill development was determined by participants' average accuracy scores, the number of pieces learned, and `song-level' achieved at the end of the six weeks. Results revealed that participants met two of the three pre-determined criteria indicating musical progress, and that there were no significant differences in musical skill development based on participants' previous musical experience, SES, or participation in individual vs. partner lessons; however, significant differences were found based on participants' age. Older participants achieved significantly lower accuracy scores, learned significantly fewer songs, and achieved significantly lower song levels than younger participants. Participants' perceptions of personal fulfillment were examined using a questionnaire, with "escape from routine" and "play and fun" ranked as the highest-rated benefits of the lessons. Ratings of social benefits were not significantly different between participants taking individual and partner lessons. Attitudes toward music learning were measured through participants' weekly journals. Analysis of journal entries revealed a ratio of approximately 7:1--positive to negative comments concerning the Piano WizardTM program and the piano lessons. Almost three-fourths of the participants reported that they would continue lessons using Piano WizardTM if given the opportunity, with indicated partiality towards the rich accompaniment, colored notation, and multi-sensory features of the program. The highest ranked reason for participating in lessons was "to expand my mind." Although further research is warranted, the findings of this study suggest that Piano WizardTM is a viable technological and instructional tool for older adults wishing to study piano.
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Date Issued: 2012
Identifier: FSU_migr_etd-5407
Format: Thesis

Title: Music Therapy as Procedural Support for Young Children Undergoing Immunizations: A Randomized Controlled Study.
Creator: Yinger, Olivia Swedberg, Standley, Jayne M., LaPointe, Leonard L., Darrow, Alice-Ann, Geringer, John M., Madsen, Clifford K., College of Music, Florida State University
Abstract/Description: Children undergoing medical procedures frequently experience severe distress, which may be ameliorated through procedural support music therapy. Parent and nurse behaviors have been noted to influence child behaviors during medical procedures, yet no prior studies were found which examined the impact of procedural support music therapy on caregiver behaviors. The purpose of the present study was to examine the effects of a live, cognitive-behavioral music therapy intervention on the distress...
Show moreChildren undergoing medical procedures frequently experience severe distress, which may be ameliorated through procedural support music therapy. Parent and nurse behaviors have been noted to influence child behaviors during medical procedures, yet no prior studies were found which examined the impact of procedural support music therapy on caregiver behaviors. The purpose of the present study was to examine the effects of a live, cognitive-behavioral music therapy intervention on the distress and coping behaviors of young children undergoing immunization, as well as the behaviors of parents and nurses. Participants were children between the ages of 48 and 72 months (N = 58) who underwent immunizations, as well as their parents and the nurses who administered the immunizations. Each parent completed a demographic inventory describing their child's previous medical experiences. The researcher classified children as "high distress" or "low distress" based on parents' responses to the demographic inventory. Parent/child dyads were then randomly assigned to receive music therapy (n = 29) or standard care (n = 29) during their immunization, with an equal number of high distress (n = 10) and low distress (n = 19) children assigned to each condition. Afterward, each parent rated their child's distress compared to previous medical experiences and rated the level of pain their child experienced on a scale from 0 to 10. All procedures were videotaped. Research assistants created transcripts from the videotapes of procedures. Trained observers watched the videos and labeled each child and adult behavior using the categories of the Child-Adult Medical Procedure Interaction Scale-Revised (CAMPIS-R). Child behaviors were classified as coping, distress, or neutral. Parent and nurse behaviors were classified as coping-promoting, distress-promoting, or neutral. Rates and proportions of child and adult behaviors were calculated. A series of Mann Whitney U tests revealed that, compared to children in the control group, children in the music therapy group showed significantly higher rates and proportions of coping behaviors during the preparation phase of the immunization (prior to the first needle injection) and during the procedure phase, p < .05. The two groups did not differ significantly in rates and proportions of child coping behavior during the recovery phase (after the final needle injection). Children in the control group showed significantly higher rates of distress behaviors during the procedure phase and during the recovery phase and higher proportions of distress behaviors during the procedure phase. The two groups did not differ significantly in rates of child distress behaviors during the preparation phase or in proportions of child distress behaviors during the preparation or recovery phases. Parents of children in the control group showed significantly higher rates and proportions of distress-promoting behaviors during all three phases of the procedure compared to parents of children in the music therapy group. The two groups did not differ significantly in the rates or proportions of parent coping-promoting behaviors during any of the three phases. Nurses who treated children in the music therapy group showed significantly higher proportions of coping-promoting behaviors during the procedure phase compared to nurses who treated children in the control group. The two groups did not differ significantly in the rates or proportions of nurse behavior during any other phases. There were no significant differences between groups in the lengths of phases of treatment, nor were there significant differences in parents' ratings of their children's pain. Parents of children in the music therapy group reported that their child's level of distress was less than during previous medical experiences, while parents of children in the control group reported that their child's level of distress was greater than in the past. Results indicate that a live, cognitive-behavioral music therapy intervention has potential benefits for young children, their parents, and their nurses during immunizations.
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Date Issued: 2012
Identifier: FSU_migr_etd-5292
Format: Thesis

Title: Influence of Aural and Visual Expressivity of the Accompanist on Audience Perception of Expressivity in Collaborative Performances of a Soloist and Pianist.
Creator: Sasanfar, Justine Karmel, Geringer, John M., McArthur, Victoria, Holzman, Bruce, Darrow, Alice-Ann, Gibson, Don, VanWeelden, Kimberly, College of Music, Florida State University
Abstract/Description: The purpose of this study was to examine the influence of accompanist expressivity, both aural and visual, on perception of overall expressivity in collaborative performances of a soloist and pianist. Audio-visual performances were created of two soloists, a vocalist and cellist, performing musical excerpts with a piano accompanist who played either aurally expressive or unexpressive, and appeared either visually expressive or unexpressive. The soloists maintained a stylistically appropriate...
Show moreThe purpose of this study was to examine the influence of accompanist expressivity, both aural and visual, on perception of overall expressivity in collaborative performances of a soloist and pianist. Audio-visual performances were created of two soloists, a vocalist and cellist, performing musical excerpts with a piano accompanist who played either aurally expressive or unexpressive, and appeared either visually expressive or unexpressive. The soloists maintained a stylistically appropriate level of expressivity throughout. The aural and visual accompanist conditions were combined to create congruent and incongruent versions, resulting in 16 experimental stimuli. Three groups of participants (music majors with keyboard backgrounds, music majors with non-keyboard backgrounds, and non-music majors) rated the overall expressivity of each collaborative performance using an 11-point rating scale. Listener attention was purposefully not directed toward the accompanist or soloist, but instead toward the collaborative performance of both contributors. Participants (N = 72) also completed a survey that addressed perception of accompanist expressivity in collaborative performance, both in general and in reference to the research task. Statistical analysis showed significant differences for both the aural and visual expressivity of the accompanist (p < .01). Performances with aurally expressive accompaniment were rated higher than those with aurally unexpressive accompaniment across both visual conditions. Likewise, performances with visually expressive accompaniment were rated higher than those with visually unexpressive accompaniment across both aural conditions. There were differences between the groups of participants according to background. Ratings of participants with music major backgrounds (keyboard and non-keyboard) were similar, while those of the non-music majors were found to be significantly different from the responses of music majors with keyboard backgrounds. There were also differences between participants with regard to the influence of accompanist aural and visual expressivity. Participants of all backgrounds perceived the contrast in the accompanist's presentation of the two visual conditions. However, while non-music majors' responses were similar between the aural expressivity conditions, ratings of both groups of music majors differed by more than two rating scale points between the expressive and unexpressive aural conditions. Survey responses indicated that participants based expressivity judgments on a variety of factors, including specific musical elements, degree of physical movement, and whether or not they perceived collaboration between performers. More than half of the participants reported that they divided their attention equally between the soloist and pianist. Participants also indicated that in collaborative performance, the musical expressivity of the soloist was regarded as more important than any other rated factor (which included soloist physical expressivity, pianist musical expressivity, and pianist physical expressivity). Research questions for the present study were: 1) Are there differences in perceived expressivity between performances with aurally expressive and aurally unexpressive piano accompaniment? 2) Are there differences in perceived expressivity between performances with visually expressive and visually unexpressive piano accompaniment? 3) Are there differences in perceived expressivity between the background areas of participants (music major with keyboard background, music majors with non-keyboard background, non-music majors)?
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Date Issued: 2012
Identifier: FSU_migr_etd-5165
Format: Thesis

Title: The Effect of a Music Exercise and Healthy Eating Habits Program on Children's Weight Loss.
Creator: Mori-Inoue, Satoko, Standley, Jayne M., Illich-Ernst, Jasminka, Madsen, Clifford, Geringer, John M., Darrow, Alice-Ann, College of Music, Florida State University
Abstract/Description: A low amount of physical activity paired with frequent consumption of fatty foods has been reported to increase childhood obesity in the United States to epidemic proportions. Researchers have further concluded that many of the problems associated with obesity continue into adulthood, leading to serious nationwide health problems. The purpose of this study was to determine the effect of a music exercise and educational program across 6 weeks on (a) BMI-for-age percentile, (b) waist...
Show moreA low amount of physical activity paired with frequent consumption of fatty foods has been reported to increase childhood obesity in the United States to epidemic proportions. Researchers have further concluded that many of the problems associated with obesity continue into adulthood, leading to serious nationwide health problems. The purpose of this study was to determine the effect of a music exercise and educational program across 6 weeks on (a) BMI-for-age percentile, (b) waist circumference, and (c) attitudes about exercise in elementary school aged children in the normal, overweight and obese weight ranges. Changes in attitude about school, knowledge of nutritional education and off-task behavior were also explored. Blood pressure and heart rate were measured to aid monitoring for safety. A music-based curriculum designed to increase children's physical activities and to provide nutrition education was created for this study. The music intervention program met 3 times a week for 6 weeks. A pilot study was conducted to test the protocols for effectiveness. Upon completion of the pilot, twenty-nine 3rd and 4th grade students (Female=25 and Male=4) who attended a local elementary school consented to participate in the current study. The research used an ABA design and results were analyzed graphically. Dependent variables included: (a) physiological measures for BMI-for-age and waist circumference, (b) a researcher-created Likert-type scale assessing participant attitudes about school and the music intervention, (c) a researcher-created questionnaire assessing participants' nutritional knowledge, and (d) behavioral observations of off-task behavior. Graphic analysis suggested that some changes in the children's physiological measurements occurred. Overall, the mean BMI-for-age percentile from baseline to the music intervention decreased 1.7 percentile. Analysis of mean BMI-for-age percentile by category from baseline to the music intervention indicated that obese children's BMI percentile decreased 0.3 percentile, while children in the overweight category showed a mean decrease of 1.8 percentile and normal range children showed a mean decrease of 3.6 percentile. Given that majority of participants were female, these were considered moderately successful short-term results since children are still growing and CDC growth charts for females aged 9 to 11 show a 6-week mean BMI percentile increase of 0.07 percentile. Results for mean waist circumference showed no change between baseline and treatment. However, analysis of mean waist circumference by category showed a slight decrease for normal and overweight children. The children's mean attitude toward school increased 0.33 points in a negative direction, however the children consistently expressed a positive view of the music intervention. Additionally, the results for participants' eating habits showed a mean improvement toward healthy eating habits of 0.16 points and an increase of 0.83 points for information on food taught in the intervention. Finally, the behavior analysis indicated a mean decrease in off-task behavior of 2.1% during the intervention.
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Date Issued: 2010
Identifier: FSU_migr_etd-2266
Format: Thesis

Title: A Historical and Analytical Survey of the Missa Brevis Genre from 1490 to Modern Times.
Creator: Bernarducci, Anthony, Thomas, Andre J. (Andre Jerome), Stebleton, Michelle, Bowers, Judy K. (Judy Kay), Geringer, John M., Florida State University, College of Music
Abstract/Description: This dissertation presents a historical and analytical survey of the Missa Brevis genre from the year 1490 to modern times. As with the evolution of all genres of music, natural changes occurred throughout the centuries. Chapter 2 traces the progression of the Missa Brevis as it defines salient characteristics, influential composers, and other factors that contributed to the genre during the Renaissance, Baroque, Classical, and Romantic periods. Chapter 3 examines compositional trends and...
Show moreThis dissertation presents a historical and analytical survey of the Missa Brevis genre from the year 1490 to modern times. As with the evolution of all genres of music, natural changes occurred throughout the centuries. Chapter 2 traces the progression of the Missa Brevis as it defines salient characteristics, influential composers, and other factors that contributed to the genre during the Renaissance, Baroque, Classical, and Romantic periods. Chapter 3 examines compositional trends and prominent features of the genre since 1900. Two modern composers, Jonathan Dove and Alessandro Kirschner, are highlighted in Chapter 4 through biographical sketches and explanations of their influences and musical styles. Chapter 5 focuses on a formal analysis of their respective Missae Breves with regard to form, harmony, choral texture, and treatment of text. Additionally, Appendix A outlines an extensive list of modern Missae Breves with regard to the composer, title, length, voicing, instrumentation, and publisher. This research seeks to expand the Missa Brevis repertoire selected for use in both the church and concert hall. In addition, it provides historical and analytical knowledge for incorporation into score study, rehearsal, and performance.
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Date Issued: 2015
Identifier: FSU_migr_etd-9292
Format: Thesis

Title: The Effects of a Media-Based versus Live Song Lyric Analysis Life Review on Levels of Therapeutic Exploration, On-Task and Participation of Individuals with Dementia.
Creator: Selvarajah, Indra V., Standley, Jayne M., Amsler, Eva M., Geringer, John M., Darrow, Alice-Ann, Madsen, Clifford K., College of Music, Florida State University
Abstract/Description: Dementia is a chronic disease that is considered to be one of the world's fastest growing problems. Estimates from the World Health Organization (WHO) indicate that approximately 35.6 million people worldwide lived with dementia in 2011. This figure was projected to double to 65.7 million by 2030, and triple to 115.4 million by 2050 (WHO, 2011). Current treatment of dementia centers round pharmacological management. Research has shown, however, that overreliance on medication exposes patients...
Show moreDementia is a chronic disease that is considered to be one of the world's fastest growing problems. Estimates from the World Health Organization (WHO) indicate that approximately 35.6 million people worldwide lived with dementia in 2011. This figure was projected to double to 65.7 million by 2030, and triple to 115.4 million by 2050 (WHO, 2011). Current treatment of dementia centers round pharmacological management. Research has shown, however, that overreliance on medication exposes patients to high levels of risk-taking and various adverse effects including an escalation of behavioral and psychological disturbances (BPSD) (Alzheimer's Association, 2012; Prince, Bryce & Ferri, 2011). Discontinuation of medication is a huge problem in dementia care due to some patients' lack of tolerance of the adverse effects of prescribed medication (Simard & Samson, 2008). Not surprisingly, non-pharmacological interventions are being increasingly promoted as a non-invasive treatment alternative to improve cognitive functioning, manage symptoms of BPSD, and address psycho social needs in older adults with dementia (Sadovoy, Lanctot & Deb, 2008; Spijker, Vernooij-Dassen, Vasse, Adang, Wollersheim & Grol, 2008).The purpose of this dissertation was to examine the effects of a media-based versus live song lyric analysis life review intervention on levels of therapeutic exploration and on-task/ participation behaviors of individuals with mild to moderate dementia. A posttest only two independent group randomized control design with single-session intervention was employed in this study. Participants were 72 older adults (M = 32, F = 40) from a large nursing home community in the South Eastern part of the United States. Gender and dementia severity level were controlled across groups. Measurement of dementia severity level was obtained via the Mini-Mental State Examination (MMSE). The independent variables were 2 music stimulus conditions: (1) an iPad-based music therapy song lyric analysis and life review (experimental) condition; and (2) a "live" music therapy song lyric analysis and life review (control) condition. The 2 dependent variables were 2 areas of assessed behavior: (i) level of therapeutic exploration adapted from Hill's Exploration Stages (2007) [1 = no exploration stage (participant was silent or provided an unrelated/confused response); 2 = acceptance (participant indicated that (s)he felt, understood, supported and comfortable); 3 = awareness (participant demonstrated awareness of what was being asked/participant was cognitively aware or emotionally sentient of any problems/current life realities); 4 = expression (participant was actively exploring/expanding upon his/her thoughts or feelings); 5 = beyond exploration stages (participant's response demonstrated that (s)he had surpassed the 4 previous explorations stages)], and (ii) level of on-task and participation behaviors during the music and counseling portions of the intervention. Results of the levels of therapeutic exploration analysis found significant differences in participants' responses based on group (iPad or live), dementia level (mild or moderate), and gender (male or female). A significant interaction for levels of therapeutic exploration was discovered by dementia level and group. No significant interaction was found for the effects of gender by group, or for gender by group by dementia level on participants' levels of therapeutic exploration. Results of the mean exploration stage score analysis found significant differences for the effects of group and dementia level, but not gender. However, there were significant effects for both groups by dementia level, and gender by dementia level, on mean exploration stage scores. No significant difference was found for the effect of gender by group on mean exploration stage scores. Results of the levels of on-task/participation analysis discovered that females with mild to moderate dementia from the live group displayed the highest levels of on-task verbalization during music. Results comparing levels of on-task eye gaze among groups during music were also statistically significant. Post-hoc analysis revealed that levels of on-task eye gaze for the mild dementia iPad group (M = 47.83 %) were significantly different from the mild dementia live group (M = 31.33 %, p < .01), and moderate dementia live group (M = 21.33 %, p < .01). Results comparing levels of on-task verbalization among groups during counseling were statistically significant. Post-hoc analysis demonstrated that levels of on-task verbalization for the mild dementia iPad group (M = 56.28%) were significantly different from the moderate dementia live group (M = 19.47%, p < .01), as well as the mild dementia live group (M = 33.19%, p < .01). Results comparing levels of on-task eye-gaze among groups during the counseling interview also found a significant difference. Post-hoc analysis indicated that the levels of on-task eye-gaze for the mild dementia iPad group (M = 55.11 %) were significantly different from the mild dementia live group (M = 26.56%, p < .01), and moderate dementia live group (M = 27.36%, p < .01). The results of this dissertation demonstrate that both the iPad and "live" singing song lyric analysis life review interventions were able to functionally elicit verbal responses from older adults with mild to moderate dementia that reflected the various stages of exploration defined by Hill (2007) via a single session counseling intervention. Both interventions were also able engage older adults' participation during the music and counseling portions of the session. However, between the two, the iPad intervention was more effective. Based on these results, it appears that the iPad-based music therapy and counseling intervention introduced in this study has potential for development into an effective non-pharmacological intervention to cater specifically to the oft-neglected communication and counseling needs of older adults with mild to moderate dementia. Keywords: live music therapy applications, counseling, iPad, media-based interventions, older adults, dementia, song lyric analysis, life review, reminiscence.
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Date Issued: 2013
Identifier: FSU_migr_etd-8634
Format: Thesis

Theses and Dissertations (60)	+ -
Digitized Theses and Dissertations (1)	+ -

Music (58)	+ -
Instruction and study (12)	+ -
Aesthetics (1)	+ -
Aging (1)	+ -
Audiology (1)	+ -

Dance (1)	+ -
Education (1)	+ -
Education, Music (1)	+ -
Educational psychology (1)	+ -
Gerontology (1)	+ -
Music theory (1)	+ -
Psychology (1)	+ -
Psychology, Experimental (1)	+ -
Psychophysiology (1)	+ -

text (59)	+ -
doctoral thesis (8)	+ -
master thesis (1)	+ -

Florida State University (59)	+ -
College of Music (58)	+ -
Geringer, John M. (32)	+ -
Madsen, Clifford K. (27)	+ -
Geringer, John (23)	+ -

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