thesis on music production

Honors Thesis in Music

An opportunity for expression and exploration.

The honors thesis in music allows the student to explore their creative and academic interests at an advanced level. In addition to research-based theses, the Harvard Department of Music supports performance-based theses, compositions, recordings, and creative projects that motivate the student to expand their relationship with the arts. Students are encouraged to think imaginatively and work with their advisors in developing their thesis topic, making use of the department resources available. 

Honors thesis projects follow a timeline that begins during the student’s junior year, culminating in their senior year with a final thesis project. Students wishing to pursue the honors thesis track should consider the Thesis Timeline and Guidelines carefully and understand their responsibility for meeting the deadlines described. Music Department advisors and administrators will work closely with students in navigating these benchmarks and will provide regular updates on upcoming deadlines. 

Students pursuing a joint concentration are required to complete an honors thesis, researching a topic that is inclusive of both concentrations. This option requires approval from both concentrations. Not all concentrations participate in joint concentrations . Students should schedule advising appointments with both departments before proceeding. For more information, please refer to the Joint Concentration information with the Registrar’s Office . 

Thesis Categories

The Music Department supports a variety of these types that allow students to showcase their artistic interests and talents. The categories below are designed to provide guidance and define support levels and requirements associated with each thesis type. Students are encouraged to be creative in their thesis planning, and to consider projects that either combine the definitions below, or expand beyond them.

A research-based thesis that culminates in a written academic document. 

• Written research-based academic document. 

A thesis based on original composed works, showcasing your compositional and creative voice. The student may include recordings (live or computer generated,) but these are not required. Fully drafted scores must be submitted for final review.  

• Approval by DUS and thesis advisor on proof of concept. 
• Composition pre-screening requirements as listed below.
• Written summary of compositional concept, inspiration, or other conclusions. 
• Portfolio of fully drafted scores. 

A thesis centered on a final recorded product. This may take the form of a recording session, concept album, podcast, or other unique format, and may be paired with original compositions as explained above. The final recording should showcase the student’s skill, technique, creativity, and relationship to music.  

• Approval by UPC and event management on production needs.  
• Recording project requirements as described below.
• Written summary of recording concept, inspiration, or other conclusions. 
• Full recording of final project. 
• Venue access for recording space.*
• Recording engineering support.* 

A performance-based thesis designed to showcase the student’s instrumental or vocal talent. This thesis takes the form of a typical performance recital, requiring an advanced program of works that highlight the student’s skill and experience. This format assumes a traditional performance setting with small to medium production requirements. A final recording is required.  

• A statement of support from the student’s priavte teacher recommending the student’s program for a thesis recital.
• Approval by UPC and Manager of Events on production needs.  
• Written summary of program choices, relationship with instrument/voice and program of study, or other summary of experience. 
• Formal performance of program in a professional performance setting, including secondary performers, collaborative artists, and ensembles. 
• Full recording of performance. 
• Venue access for performance space.* 
• Performance staffing support.* 
• Recording engineering support*. 

We invite students to define a thesis project that is guided by the student’s interests, aptitudes, experiences, and creativity. This format assumes (but does not necessarily require) the need for performance space, recording services, and production engineers. A thesis of this kind might include many, or even all the concepts listed above, and may culminate in a self-composed, self-performed event that includes audio/visual presentations and/or other advanced needs. It may also result in a fully recorded end-product. Students pursuing this thesis type should feel free to suggest creative elements that expand beyond these boundaries. Students who opt to pursue a creative thesis will need to work closely with their thesis advisor, the DUS, the UPC, and the Manager of Events to ensure that their thesis will be achievable within the  Thesis Timeline , based on the resources available.* 

• Approval by UPC and Manager of Events on production needs.  
• Additional approvals, based on creative elements. 
• Written summary of creative concept, including discussion of the creative elements included in the final product. 
• Where appropriate, a formal performance of works in a professional setting, including secondary performers, collaborative artists, and ensembles. 
• Where appropriate, a full recording of performance event and/or final product. 
• Support materials (as needed) in the form of audio/visual information, presentation slides, written materials, etc. 
• Other deliverables as defined by creative elements. 
• Venue access for performance space (if needed.)* 
• Performance staffing support (if needed.)* 
• Recording engineering support (if needed.)* 

Thesis Proposal

Due in April of the student’s junior year, the honors thesis requires the student to submit a detailed proposal describing their project concept. This proposal must include the thesis title, type of thesis, and a detailed description. Proposal descriptions should establish the rationale for research, define proof-of-concept for creative events, and begin to identify basic support needs where appropriate. The student must also finalize their faculty thesis advisor at this time, and both the advisor and the DUS are required to sign off on this proposal to approve the student’s thesis plans. If the student is pursuing a joint thesis, then a signature from the advisor in both departments is required, and a Primary concentration and Allied concentration must be identified. The topic of a joint thesis must be inclusive of both concentrations. ( More information on Joint Concentrations .) Before a proposal is submitted, students are required to meet all pre-screening requirements as described in the Thesis Timeline and Guidelines . 

2024-25 Thesis Proposal Form [PDF]  

The thesis proposal is due to the Music Department in April of the student’s junior year, based on the dates described in the Thesis Timeline and Guidelines . 

Thesis Prospectus

Due in September of the student’s senior year, students are required to submit a thesis prospectus. The prospectus should be a significant expansion of the initial proposal and should include a detailed summary of what you hope to accomplish through further research or creation. It should outline goals, purpose, and the scope of your work, and it should describe your methodology and critical approach. It should also establish your project framework and describe the timeline to project completion. Where applicable it should include a bibliography, cited references, or examples.

Students should work closely with their thesis advisor to define prospectus definitions that align with their specific thesis type. 

The thesis prospectus is due to the thesis advisor in September of the student’s senior year, based on the dates described in the Thesis Timeline and Guidelines . 

Thesis Timeline and Guidelines

It is the responsibility of the student to follow the timeline, deadlines, and guidelines listed below as they navigate their thesis project. It is important to maintain close contact with thesis advisors, the Director of Undergraduate Studies, the Undergraduate Program Coordinator, and the Manager of Events throughout this process. 

NOTE TO OFF-CYCLE STUDENTS WISHING TO PURSUE THE HONORS THESIS TRACK : please reach out to the Undergraduate Program Coordinator to receive off-cycle thesis timeline and deadline dates. 

IMPORTANT NOTE FOR JOINT CONCENTRATORS: Thesis deadlines may vary between departments. The Allied department will typically defer to the Primary department with regard to all deadlines, requirements, and formats. Students should schedule advising appointments with both departments before proceeding.

All current juniors are required to attend this event to receive an overview of the honors thesis process, requirements, and timeline. Students will be introduced to the music faculty and will gain a basic understanding of the thesis advising process. This event will take place on Tuesday, October 17, 2023, 3pm-4pm . Location to be announced.     Attendance at this event is required for all current juniors, regardless of honors thesis plans. Your spring semester advising hold will not be released unless you have participated in this event. If you are unable to attend for any reason, it is the student’s responsibility to schedule an advising appointment with the DUS to review thesis details before your hold will be lifted. 

Students wishing to pursue performance, recording, composition, or creative theses must submit to pre-screening to determine readiness to continue. 

Students are required to schedule a meeting with the Undergraduate Program Coordinator in advance of the deadline above to review pre-screening requirements and to submit a formal description for evaluation. 

Additonal pre-screening requirements are listed below:

• Students must have taken at least one advanced composition course within the Music Department prior to beginning their thesis trajectory. 
• Students must submit a portfolio of recent work for consideration by the composition faculty. Portfolio should consist of 3–5 compositions showcasing your compositional and creative voice. Compositions must be submitted in score form. Students may submit live or computer-generated recordings in addition to your scores, but not in lieu of them. If students have audio-only electronically produced works, audio or digital files may be submitted via your preferred software platform, accompanied by a short statement outlining any compositional technique and/or technology used and inspiration behind the composition.  
• A description of anticipated recording needs including instrumentation, ensemble size, and musical styles. 
• A general expectation for audio engineering and editing needs. 
• A description of venue needs or preferred location for recording. 
• A resume of training and performance history (including music coursework.)  
• An audition video of at least 15 minutes with three contrasting pieces.  
• Where appropriate, a letter from the student’s primary teacher recommending the student’s program for a thesis recital.  
• If composition related, see Composition pre-screening above. 
• If recording related, see Recording pre-screening above.  
• If performance related, see Performance/Recital pre-screening above. 
• For all other projects, it is required that you meet with the Undergraduate Program Coordinator to review pre-screening expectations based on your project expectations. 

Students will be reminded about the upcoming April deadline for thesis proposals and will be prompted to connect with thesis advisors, if they have not already done so. If students have not confirmed a thesis advisor by this date, then they should schedule an advising session with the DUS to strategize.

Students who have been successfully pre-screened for performance, composition, creative, or recording-based theses must submit any significant changes to their plans at this time. 

All thesis proposals must be submitted to the Undergraduate Program Coordinator by this deadline using the provided Thesis Proposal Form [PDF]   . Thesis advisors must be confirmed at this time, and both advisor and DUS must sign off on student proposals. Students considering a creative, performance, composition, or recording-based thesis must have met all pre-screening approval requirements to continue with a thesis in these categories. 

Students must register for MUS99 Senior Tutorial for both semesters of their senior year.

2024-25 Thesis Proposal Form [PDF]  

Thesis candidate is required to submit a detailed prospectus to their thesis advisor by this date.  

A reminder that students must register for MUS99 Senior Tutorial for both semesters of their senior year.

Students are required to schedule a meeting with the Undergraduate Program Coordinator and the Manager of Events prior to this date to confirm production support needs and venue confirmation for performance-track or recording-based theses. Students are required to submit a detailed Tech Rider at this time to formally request support services. 

Students are required to submit 50% of their final thesis to their thesis advisor. Students should coordinate with their thesis advisor to confirm requirements for all non-written thesis elements. 

Students must communicate any significant updates for production needs with the Undergraduate Program Coordinator and Manager of Events in advance of this date. Any updates to the Tech Rider must be finalized at this time. No further production updates will be permissible without the express consent of the Manager of Events. 

A complete thesis draft must be submitted to advisors by this date. Students should coordinate with their thesis advisor to confirm draft requirements for all non-written thesis elements. 

All theses must be completed on or before this deadline for both performance and non-performance track theses. All final documents, support materials, and/or digital media must be completed and submitted by email to the Undergraduate Program Coordinator . All performance-based events must be complete by this deadline. All theses that include a recorded element (including final editing and engineering , ) must be completed and submitted by email to the Undergraduate Program Coordinator before this deadline. 

All thesis candidates are required to take part in the Thesis Colloquium. This event is an opportunity for the student to present a summary of their thesis to Harvard’s music community and to celebrate their well-earned achievements with their colleagues. Taking place at the Learning Lab at the Derek Bok Center for Learning , students are encouraged to consider how your thesis can be presented using this creative space. 

All final thesis revisions and updates are due to the Music Department by this date and should be submitted via email to the Undergraduate Program Coordinator . This includes all final support materials, recordings, edits, or updates. No further updates will be accepted after this date. 

WINTER BREAK Students are strongly advised to use the winter break period to make significant progress on their thesis work in advance of spring semester deadlines.  

23-24 Thesis Timeline (PNG)

Thesis Production Acknowledgement

All theses requiring any form of department production support or resources as defined above must provide the following information and/or adhere to the guidelines set below. A request for production needs should be sent to the Undergraduate Program Coordinator by submitting a comprehensive Tech Rider that outlines detailed production needs and expectations. 

Students commit to meeting these requirements and/or working within the established guidelines. All thesis support will be provided at the discretion of the Department of Music.

• Thesis performances of any kind are limited to 90 minutes total, including intermission. 
• Performances, recordings, or any theses requiring venues, services, and staffing must take place during the dates and times offered by the Music Department at the time of the Support Approval and Venue Deadline (November.) Event dates must be confirmed in advance and approved by thesis advisors and DUS prior to the point of scheduling. 
• Venues, equipment, and production support and services are offered at the discretion of the Music Department. It is the student’s responsibility to articulate their needs to the best of their ability by submitting a Tech Rider where necessary and adhering to the deadlines for information as defined in the established Thesis Timeline and Guidelines . Students may opt to supplement department resources with external funding. External funding is the responsibility of the student. 

Performances, recordings, or any theses requiring venues, services, and staffing require the student to submit a Tech Rider to the Undergraduate Program Coordinator for evaluation by the Music Department. The Tech Rider should include the following information with as much detail as possible: 

• Venue requirements and/or preferences.
• Ensemble instrumentation. 
• Stage diagram, including both performers and equipment. 
• NOTE: Extended techniques, prepared piano, atypical tunings, and other modifications (including removal of lid) are offered only at the discretion of Music Department staff. These atypical needs should not be assumed. Please visit Piano Services for more information.
• Audio/visual recording needs. 
• Audio amplification needs. 
• Visual projection needs. 
• Other details as required. 

Support services are available in the areas below at the discretion of the Music Department, based on resource availability, and based on the guidelines provided above. Requests for the services below should not be assumed. All requests for support be included in the student’s Tech Rider . All thesis support will be provided at the discretion of the Department of Music.   Available department resources include: 

• Audio/visual recording services or staffing. 
• Recording editing or engineering. 
• Audio amplification. 
• Video projection. 
• Front of house and/or stage crew for public performances. 
• Use of piano. 

*A Word About Thesis Support Levels…

The Music Department is committed to supporting theses that require department resources in the areas of venue access, equipment use, staffing services, recording services, and audio/visual engineering. Thesis support must be carefully coordinated with Music Department administration for approval, based on the Thesis Timeline and Guidelines , and based on available resources. All thesis support will be provided at the discretion of the Department of Music.

Students interested in pursuing recording, performance, or creative theses of any kind commit to working closely with Music Department administration to ensure that any department resources needed are reasonable, clearly articulated, and approved by the department in advance. Students may opt to supplement department resources with external funding. External funding is the responsibility of the student. Students agree to meet the terms described in the Thesis Timeline and Guidelines . 

Loeb Music Library Research Support

Librarians with the Loeb Music Library are available to provide research assistance for student thesis projects. During a one-on-one research consultation, librarians can assist with defining topics, developing search strategies, identifying and locating new sources, organizing research, working with unique materials, and obtaining items external to Harvard.

Students are encouraged to sign up for a one-on-one research consultation here . For further questions, please contact Kerry Masteller .

Home > USC Columbia > Music, School of > Music Theses and Dissertations

Music Theses and Dissertations

Theses/dissertations from 2023 2023.

Comprehensive Method for Clarinet Latin American Music Heritage Case Study – Venezuela , Carmen Teresa Borregales

Contemporary Vocal Pedagogy in the Choral Ensemble Rehearsal: A Guide for Secondary Educators , Luke Lee Browder

A Pedagogical and Analytical Study of the Carnatic Saxophone Performance Tradition of Kadri Gopalnath , Caleb James Carpenter

Symphony No. V: Elements (Julie Giroux, 2018); An Overview Of Programmatic Elements and Performance Devices , Zackery Augustus Deininger

A Conductor’s Guide to Lucrecia Roces Kasilag’s Misang Pilipino (1965) , Denise Ysabel Ellis

The Theory of Intonation: Boris Asafiev and the Russian Piano School Tradition , Polina Golubkova

A Comparative Analysis of Samuel Barber’s Third Essay for Orchestra, Op. 47 , David Abrams Gordon

Injury Prevention Exercise Guidelines for Flutists , Ziqing Guan

Luis Abraham Delgadillo: A Rediscovery of His Piano Music , Fanarelia Auxiliadora Guerrero López

A Holistic Approach for Neurodivergent Learners In the High School Choral Classroom , Peter Allen Haley

Creative Insights on the Commissioning, Analysis, and Performance of Four New Works for Saxophone , Andrew Joseph Hutchens

An Analysis of Selected Vocal Works by George Walker , Ginger Sharnell Jones-Robinson

Bohuslav Martinů’s Eight Preludes For Piano H. 181: Style Analysis and Pedagogical Approaches In Piano Performance , Jinkyung Kim

An Investigative Analysis of Fernando Sor’s Introduction and Variations on “O Cara Armonia” From Mozart’s The Magic Flute , Luke James Nolan

The Film Score Music of John Williams: A Guide to Selected Works for the Principal Percussionist , Andrew Charles Crozier Patzig

Appalachian Dreams: Traditional Folk Songs in Concert Literature for Classical Guitar , Jackson Douglas Roberson

“Everything Old Is New Again”: The Rise of Interpolation in Popular Music , Grayson M. Saylor

How Do They Do It: A Narrative of Disabled Public School Instrumental Ensemble Conductors and Their Positive Working Relationships With Their Administrators , Lia Alexandria Patterson Snead

The Impact Of Incorporating Self-myofascial Release Into Voice Lessons: A Six-week Study , Benjamin Stogner

The Post-Tonal Evolution of David Diamond: A Theoretic-Analytical Perspective , William John Ton

Fourth-Grade and Fifth-Grade Cover-Band Classes: An Action-Research Project Inspired By Popular Music Education and Music Learning Theory , Julia Turner

Theses/Dissertations from 2022 2022

Social Music Interactions and Vocal Music Improvisations in a Serve and Return Music Community , Kathleen Kaye Arrasmith

Comfort Food for the Ears: Exploring Nostalgic Trends in Popular Music of the Twenty-First Century , April K. Balay

A Performance Guide to “Four Piano Pieces, Opus 1” By Evgeny Kissin , Andrew Choi

Timeless Light: A Singer’s Compendium of Art Songs for Tenor By Black Composers , Johnnie J. Felder

Negotiating Nationalism: Camille Saint-Saëns, Neoclassicism, and the Early Music Renaissance in France , Joshua Arin Harton

An Analysis of the Compositional Technique and Structures Of Nikolai Kapustin’s Piano Sonata No. 6, Opus 62 , Hyun Jung Im

Adapting North American Fiddle Bow Technique to the Double Bass , Spencer Jensen

Approaches to Teaching Music Counting to Piano Students with Autism Spectrum Disorder , Sunghun Kim

Redefining Ornamentation as Formal Functions in 21 st -Century Popular Music , Matthew Kolar

Lost in Translation: The Largely Unknown Life and Contributions of Johann Joachim Quantz , Kayla Ann Low

Broadway Quodlibets as Hybrid Music , Spencer Ann Martin

Redistributing Cultural Capital: Graduate Programs In Wind Conducting at Historically Black Universities; Toward an Alternate Future , Jamaal William Nicholas

Analysis of Selected Pieces Influenced by Taiwanese Aboriginal Music for Solo Violin and String Quartet , Isabel Hsin-Yi Ong

Margaret Rowell: Pedagogical Approach and Teaching Style , Robert-Christian Sanchez

A Performance Guide to Hyo-Geun Kim’s Art Pop for Korean Art Songs , Taeyoung Seon

Examining Sixth-Grade Students’ Music Agency Through Rhythm Composition , Robert Zagaroli Spearman

Theses/Dissertations from 2021 2021

Pedagogical Solo Piano Nocturnes: A Progressive Leveling With Annotations on Stylistic, Technical, and Musical Challenges and Benefits , Michaela Anne Boros

Disparities in Programming African American Solo Vocal Music On College Campuses Across the United States , Ramelle Brooks

Quantitative Data Collection on the Fundamental Components Of Saxophone Tone Production , Matthew Troy Castner

Music as Complementary and Alternative Medicine (CAM) Therapy: An Exploratory Literature Review , Amy Arlene Clary

The Music Festival: A Case Study on the Establishment, Development, and Long-Term Success of an Instrumental Music Education Event From a Logistical Perspective , Dakota Corbliss

An Orchestral Conductor’s Guide to the James/Daehler Edition Of The Hinrichs and Winkler Compilation Score to the 1925 Silent Film The Phantom of the Opera , Hayden Richard Denesha

An Annotated Bibliography of Flute Repertoire by Iranian Female Composers , Roya Farzaneh

Composers and Publishers of Parlor Songs and Spirituals from Civil War Richmond: 1861 – 1867 , Michael Gray

A Comparison of Approaches to Pianoforte Technique in the Treatises of Lhevinne, Leimer, and Neuhaus , Louis S. Hehman

The History and Influence of Tim Zimmerman and The King’s Brass , Eric Tyler Henson

A Stylistic Analysis of Edvard Grieg’s Slåtter , Norwegian Peasant Dances, Op. 72 , Zhiyuan He

Transcribing Baroque Lute to Marimba: Viability, Techniques, and Pedagogical Possibilities , Cory James High

One Elementary General Music Teacher’s Uses of and Experiences With Gordon’s Music Learning Theory: A Case Study , Allison Elizabeth Johnson

Cancion Y Danza, Fetes Lointaines, Paisajes By Federico Mompou: A Stylistic Analysis , Qiaoni Liu

The Apprenticeship Structure and the Applied Pedagogical Methods Of the Holy Roman Empire Imperial Trumpeters’ Guild During The 17 th and 18 th Centuries , Noa Miller

Survey of Four North American and Malaysian Theory Methods for Young Pianists , Wen Bin Ong

A Conductor’s Guide to J. N. Hummel’s Forgotten Oratorio: Der Durchzug Durchs Rote Meer , Rebecca J. Ostermann

A Practical Approach for the Applied Voice Instructor Utilizing Limited Piano Skills in the Studio Setting , Lee Whittington Ousley

Adele Aus Der Ohe: Pioneering Through Recital Programming At Carnegie Hall, 1895 , Grace Shepard

Ten Years of Japanese Piano Pedagogy (2009-2018) Through a Survey of Educational Resources , Natsumi Takai

A Comparative Analysis of Selected Works by Chen Qigang: Wu Xing, L’éLoignement, and Luan Tan , Isaac Ormaza Vera

A Pedagogical Analysis of Henglu Yao’s Microkosmos From Chinese Nationalities , Yanting Wang

A Stylistic and Pedagogical Analysis of Select Classical Pieces In Alicia’s Piano Books by Ananda Sukarlan , Karen Kai Yuan Yong

Co-Constructive Music Improvisers: An Ethnographic Case Study , Emma Elizabeth Young

Theses/Dissertations from 2020 2020

Performance History of Mahler’s Das Lied Von Der Erde Focusing on Bruno Walter and Leonard Bernstein , Nisan Ak

The Mathematics of Rubato: Analyzing Expressivetiming in Sergei Rachmaninoff’s Performances of Hisown Music , Meilun An

Electronic Learning: An Educator’s Guide to Navigating Online Learning in a Collegiate Horn Studio , Michelle Beck

The Clarinet Music of Dr. Austin Jaquith: A Performance Guide , Zachary Aaron Bond

Young Children’s Behaviors During Favorite-Music Repertoire And Other-Music Repertoire , Vanessa Caswell

Five Pieces for Piano by Isang Yun and Piano Etude No.1 by Unsuk Chin: An Analysis , Inhye Cho

Natural Reed Enhancement: Establishing the First Universal Reed Break-In Process Through Hydro-Stabilization , Steven Isaac Christ

Performance Edition of Franz Simandl’s 30 Etudes for the String Bass With Critical Commentary , Austin Gaboriau

A Legacy Preserved: A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister , Peter M. Geldrich

An Index of Choral Music Performed During the National Conventions of the American Choral Directors Association (1991-2019) , Jonathan Randall Hall

A Stylistic Analysis of Reinhold Glière’s 25 Preludes for Piano, Op. 30 , Sunjoo Lee

The Singing Voice Specialist: An Essential Bridge Between Two Worlds , Rebecca Holbrook Loar

A Pedagogical Analysis of DvořáK’s Poetic Tone Pictures, Op. 85 , Nathan MacAvoy

Focal Dystonia Causes and Treatments: A Guide for Pianists , Juan Nicolás Morales Espitia

Cultivating Socially Just Concert Programming Perspectives through Preservice Music Teachers' Band Experiences: A Multiple Case Study , Christian Matthew Noon

The Clarinet Repertoire of Puerto Rico: An Annotated Bibliography of Compositions Written for the Clarinet During the Twentieth and Twenty-First Centuries , María Ivelisse Ortiz-Laboy

A Stylistic Analysis of Alexander Tcherepnin's Piano Concerto No. 4, Op. 78, With an Emphasis on Eurasian Influences , Qin Ouyang

Time’s Up: How Opera Is Facing Its Own Me Too Reckoning , Craig Price

A Trumpet Player’s Performance Guide of Three Selected Works for Trumpet, Cello, and Piano , Justin Wayne Robinson

The Early Piano Music of Richard Wagner , Annie Rose Tindall-Gibson

A Conductor’s Guide to the Da Vinci Requiem by Cecilia McDowall , Jantsen Blake Touchstone

Composition of Musical and Visual Devices to Create Moments of Resolution in Marching Arts Production Design , Ryan John Williams

Romanticism in Nineteenth-Century Russian Nationalistic Music: Case Studies of Glinka’s Ruslan and Lyudmila and Cui’s Mystic Chorus , Jeffrey Crayton Yelverton Jr.

Theses/Dissertations from 2019 2019

Communicative Language in the Compositional Output of Kirke Mechem , Kirstina Rasmussen Collins

Vladimir Pleshakov: A Historiography And Analysis of his Liturgy of St. John Chrysostom , Andrew Cameron Pittman

An Analysis of the Compositional Technique and Structures of Howard Hanson's Symphony No. 1 in E Minor, Op. 22 “Nordic” , Eunseok Seo

Theses/Dissertations from 2018 2018

Serial Techniques in Works for Unaccompanied Trumpet , William Anonie

Examining Professional Music Teacher Identity: A Mixed Methods Approach with Stringed Instrument Teachers , Elizabeth A. Reed

Guided Music Play Between 2-Year-Old Children and a Music Play Facilitator: A Case Study , Kathleen Kaye Arrasmith

Parents’ Observations Of Their Young Children’s Music Behaviors During Music Classes After Completing The Children’s Music Behavior Inventory , Julia Beck

A Theoretical and Stylistic Analysis of Paul Ben-Haim’s Five Pieces for Piano, Op. 34 and Piano Sonata, Op. 49 , Rachel Bletstein

The Influence Of Mindful Movement On Elementary Students’ Music Listening Enjoyment And Comprehension , Jean Louise Boiteau

Delphine Ugalde: Defying Gender Norms Both On And Off The Stage In 19th Century Paris , Michael T. Brown

A Guide for Playing the Viola Without a Shoulder Rest , Chin Wei Chang

Tertian Relationships In Three Choral Selections By Dan Forrest: A Conductor’s Analysis , Lindsey Cope

Translucent Voices: Creating Sound Pedagogy And Safe Spaces For Transgender Singers In The Choral Rehearsal , Gerald Dorsey Gurss

Seventeen Waltzes For Piano By Leo Ornstein: A Stylistic Analysis , Jared Jones

The Kingma System Flute: Redesigning The Nineteenth-Century Flute For The Twenty-First Century , Diane Elise Kessel

The Effects Of Learning By Rote With La-Based Minor Solmization On Memory Retention For Pre-College Piano Students , Duong Khuc

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Sound practice: a relational economic geography of music production in and beyond the recording studio

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Masters Thesis: SCORING FOR FILM AND VISUAL MEDIA // PRODUCING MUSIC; SETTING FOOT IN THE GLOBAL FILM INDUSTRY

This thesis addresses the issues of seeking out film scoring and music production collaborations, expanding one’s network and working with no or an extremely low budget. How can a new and young film composer and music producer find his or her way in and build lasting, global (international) relationships? Just one connection can get a career started, but how does one find that one connection. On a case-by-case study I will describe my process of finding a new project, communicating, setting a budget, spotting, composing, orchestration, instrumentation choices, recording, and I will compare my process to those of established composers. Furthermore, in my opinion, it is very important to look at our future, the possibilities, and how the music and film industries are constantly evolving. I will therefore examine the issues of piracy, new technologies, and differences between how audiences consumed their media in former times versus today.

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Robert Ellis-Geiger

Within the context of contemporary Hollywood film music production; this thesis explores the use and application of technology for orchestral composition, orchestral music recording, through to the final delivery and integration of music on the dubbing stage. It also looks at the impact of technology on the entire post-production process and explores alternative ways for a more integrated filmmaking experience between director and composer. This empirical research was successfully applied to the production of two Hong Kong feature film scores for Election 2 (2006) and After This Our Exile (2006) and the production of the first Hong Kong film orchestral scoring session at Shaw Studios on the 22nd of February 2007.

Marcio Landi

Isabel da Rocha

University of Adelaide

Peter Handsworth

The project aims to create a definitive set of performances of Alfred Uhl’s 48 Etüden für Klarinette (1938), one that sheds new light on the nexus between the composer’s aesthetic and philosophical beliefs, and the ways in which the studies – both individually and collectively – impact directly on the performer’s technical command, analytical acumen and musical development. The study takes the form of a set of CD recordings of the 48 Etüden supplemented by additional works by Uhl that demonstrate the ways in which the etudes unlock the technical, interpretative and expressive potential of the performer. The recordings are supported by a 15,000 word exegesis that illuminates the research methodology undertaken, and its potential future applications.

Kenn McSperitt

Historically, the creation of new music has mirrored technological advances, leading to discoveries in the fundamental nature of sound, language, and music. Integrating these disciplines, this thesis proposes methods of orchestrating speech sounds for the conventional orchestra in an original composition entitled Perigee and Apogee. The methods developed in this thesis employ modern spectrogram analysis techniques, current speech research by leading scientists, sonic principles suggested by the harmonic series, and concatenative methods to produce human-like speech sounds using standard orchestration practices. New approaches to orchestration of consonants and noise sources are central to this process. The timbres, rhythms, and inflections of speech production are evident in this work. New concepts of melodic phrasing, tone color applications, pointillistic techniques, and sonic textures are introduced as a result of the methods discussed in this thesis. The inclusion of phonetics into standard orchestration offers a decidedly dynamic array of new compositional tools.

In the Baroque era, the violino piccolo was the highest and smallest member of the violin family. Claudio Monteverdi wrote for the instrument in his L’Orfeo (1607), and Michael Praetorius mentioned it in his Syntagma musicum (1619). Surviving piccolo violins include one by Girolamo Amati from 1613 and another by Antonio Stradivari from 1734. They demonstrate that while thebody of the instrument is essentially quarter-sized, its neck is as thick as a standard violin. The instrument became extinct by the nineteenth century; new playing techniques on the standard violin resulted in an extended range that precluded the need for the smaller instrument, thus eliminating the unique timbre of the piccolo violin. Surviving compositions suggests that the instrument was especially prevalent in the Leipzig orbit. The list of Thomaskantoren who wrote for it includes Sebastian Knüpfer, Johann Schelle, and Johann Sebastian Bach, as well as Bach’s successors Johann Gottlob Harrer and Johann Friedrich Doles. This dissertation includes annotated editions of cantatas by Knüpfer and Schelle as well as a concerto by Johann Pfeiffer, who studied in Leipzig and worked in Weimar as the Konzertmeister, a position Bach once held. The most well-known works for the instrument are Bach’s Brandenburg Concerto No. 1, BWV 1046, and Wachet auf, ruft uns die Stimme, BWV 140; he also employed the instrument in two additional cantatas. Bach’s works for the piccolo violin demonstrate that this aspect of his oeuvre is the culmination of a long tradition that his contemporaries also maintained.

Ronaldo Pereira

Carl-Henrik Buschmann

The music of science fiction. Why did it become to sound the way it does and how does the musical mechanisms work? How are space, the extraordinary, the fantastic and the outer-worldly depicted in western science fiction filmography? This thesis takes a historical and analytical perspective as it looks closer on the musical constructions we find in the music of the movies of Star Trek. Using conventional music analytical tools combined with neo-Riemannian theory (nRT) and transformational theory this thesis hopes to shed light on the inner workings in the music of Jerry Goldsmith, James Horner and Michael Giacchino in the iconic lms: ``Star Trek: The Motion Picture'', ``Star Trek: The Wrath of Khan'', ``Star Trek: First Contact'', ``Star Trek: Nemesis'', ``Star Trek'' and ``Star Trek: Into Darkness''.

Ethan Cayko

Network music performance is no longer in its infancy. In recent years, researchers have made strides toward a more seamless approach to distributed, multi-site, realtime music performances. However, interaction over vast distances comes at the cost of latency. Today’s fiber optic infrastructure transmits data close to the speed of light, but even at light speed, our acuteness to sounds in time makes synchronous planetary-scale music performance a physical impossibility. This research proposes a method that calibrates latency to a rhythmic unit of time, which allows for novel restructuring of pulse-based network music. The technique, called toporhythm, creates a rhythmic topology between performers that can be utilized to create distributed patterns. These patterns unfold differently in each performance space, resulting in a manifold music. This thesis presents historical context for the work, outlines the toporhythmic technique, describes the latency calibration software tool, and surveys a selection of music composed toporhythmically.

David Bennis

This paper is structured in five parts. After an introduction which outlines the research and its motivations, there follows some analytic background which positions the specific source work to be considered in the transcription project. Section three introduces in more detail the research methods used for the creative process, which is then executed and documented in section four. The new complete transcription score is presented in the final section of the paper. Abstract: This paper will present a new transcription for the classical guitar as the product of a documented creative process which is informed by experimental, mixed-mode approaches to transcription. The guiding philosophical tenets of the creative process, which here in this paper confronts a complex original work as its source material, embrace the transcription ideals of simplification in order to more readily facilitate performer accessibility to the final transcription object. Use is made of aural transcription methods in this simplification process at particular points of un-resolvable complexity in the source work's translation to the guitar. The transcription techniques used find resonance with the philosophical groundings of the avant-garde spectralist school of composition, which values the phenomenological or experiential elements of sound. Keywords: Transcription, Classical Guitar, La Vida Breve, Manuel de Falla, Phenomenology, Heuristics, Spectralism, Ethnomusicology, Flamenco.

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Home > Open Access Dissertations > 820

Open Access Dissertations

The Political Economy of Cultural Production: Essays on Music and Class

Ian J. Seda Irizarry , University of Massachusetts Amherst Follow

Date of Award

Document type.

dissertation

Access Type

Open Access Dissertation

Degree Name

Doctor of Philosophy (PhD)

Degree Program

First advisor.

Richard D. Wolff

Second Advisor

Mwangi wa Githinji

Third Advisor

Agustin Lao-Montes

Subject Categories

Economics | Music

As an activity that produces wealth, musical production and its effects have largely been neglected by the economics profession. This dissertation seeks contribute to a small but growing literature on the subject by analyzing musical production through a particular class analytical lens of political economy.

A first problem that has encountered many within political economy, specifically within its radical variant of Marxism, is how to understand music in relation to the social totality. In the first essay of this work I provide a critical review of the literature that approaches music through the "base-superstructure metaphor", a tool of analysis well known within the Marxian theoretical tradition. In it I show how assigning elements to either one or the other of these spheres and understanding the forces of production in terms of its technical dimension (i.e. technology) limits the analytical possibilities provided by Marx's original insights.

In the second part of this essay I review the ways the concept of class has been ued to analyze topics related to music within the Marxian tradition. I highlight how the essentialist moments of those particular class concepts lead to analyzes that obscure and sometimes contradict one of the main purposes Marx's original intent: to show the various guises that exploitation might take in a capitalist society.

In the second essay of the dissertation I theorize musical production with the aid of a class qua surplus analysis that highlights the process of the production, appropriation, and distribution of surplus labor in relation to the production and dissemination of meaning associated with music as a cultural process. I identify various musical scenes and show the dialectic of aesthetics and musical labor.

In the third and final essay, I compare and contrast two discourses of theft: those of exploitation and of piracy. I focus my attention on the music recording industry and show how the adoption of a discourse of exploitation by musicians that are not exploited and their support in anti-piracy campaigns hamper, marginalize, and contribute to eliminating none-exploitative class structures. This result is important to the literature that explores how intellectual property poses constraints to economic growth and development in the so-called Third world where most of the pirate production takes place.

https://doi.org/10.7275/n4qy-zh06

Recommended Citation

Seda Irizarry, Ian J., "The Political Economy of Cultural Production: Essays on Music and Class" (2013). Open Access Dissertations . 820. https://doi.org/10.7275/n4qy-zh06 https://scholarworks.umass.edu/open_access_dissertations/820

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Music Dissertation Topics

Published by Carmen Troy at January 4th, 2023 , Revised On May 16, 2024

Music is one of the most beautiful forms of art that involves an organized and hierarchical sound and silence. It is generally performed in terms of pitch, rhythm, and sound quality. Music is a passion that many enthusiasts aspire to pursue. While the art of music can be an innate ability, it can be pruned with proper learning. Therefore, musicology is an academic field that offers the teaching of music.

Suppose you are an avid music learner, you have chosen musicology for higher studies. Then, you need to complete your degree with a final dissertation. If you are unsure what dissertation to write about, you can check out some of the topics suggested by experienced, professional experts in music.

You may also want to start your dissertation by requesting a  brief research proposal  from our writers on any of these topics, which includes an  introduction  to the problem,  research question , aim and objectives,  literature review , along with the proposed  methodology  of research to be conducted. Let us know if you need any help in getting started.

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Latest Music Dissertation Topics

Topic 1: examining the benefits of using music therapy for curing mental health patients – a study on the hospitals under nhs foundation trust..

Research Aim: The aim of this study is to identify the benefits of using music therapy for curing mental health patients. The study will mainly focus on the use of music therapy in hospitals under the NHS Foundation Trust.

Objectives:

• To figure out the key advantages of using music therapy to cure mental health patients.
• To elaborate on how music therapy is being used by the hospitals under NHS Foundation Trust aims to cure mental health patients.
• To share a stringent set of recommendations for the hospitals under the NHS Foundation Trust to strategically use music therapy for curing mental health patients.

Topic 2: A detailed study on the transformation of British electronic dance music (EDM) over the last 10 years.

Research Aim: The study aims to conduct research on the transformation of British electronic dance music (EDM) over the last 10 years.

• To share knowledge about the key aspects and specifications of British electronic dance music (EDM).
• To provide a comprehensive analysis of the transformation of British electronic dance music (EDM) in the last decade.
• To develop an understanding of how overall EDM practices can be improved and led towards advancement thereby aligning with the British culture.

Topic 3: Examining the growing influence of electronic and digital technology on music education in the UK.

Research Aim: The present research study aims to examine the growing influence of electronic and digital technology on music education in the UK.

• To shed light on the changes in modern-age music education alongside the increasing dominance of advanced technologies.
• To demonstrate how the growing use of electronic and digital technologies is redefining music education in the UK.
• To recommend how electronic and digital technologies can be used in the best possible way to influence music education in the UK.

Topic 4: Describing the benefits of using music for children’s learning specifically during the stage of early development – a study on the UK government's changing perspective and investment in children's music and art.

Research Aim: The aim of this research study is to describe the benefits of using music for children’s learning specifically during the stage of early development. The UK government’s changing perspective and investment in children’s music and art will be emphasised in this study.

• To identify the key benefits of using music in children’s learning, especially during their early development.
• To exemplify the changing perspective of the UK government and how the government is investing in children’s music and art.
• To recommend strategies that can help in the use of music in the best way to support children’s learning at their early development stage.

Topic 5: Investigating the impacts of removing gender disparity on music composition and performance in the British music industry.

Research Aim: The aim of this study is to investigate the impacts of removing gender disparity on music composition and performance in the British music industry.

• To contextualise the importance of maintaining gender equality for maintaining healthy practices in music composition and performance.
• To describe how the removal of gender disparity may help in music composition and performance in the British music industry.
• To suggest strategies to eliminate gender discrimination and inequality in the British music industry.

More Music Dissertation Topics

Topic. 1: major music platforms in the world:.

Research Aim: There are many channels through which we can stream music. Each of the platforms has its perks and flaws that either excite or infuriate the users. The aim of the research will be to critically analyze the major music platforms in the world. 

Topic. 2: Impact of music talent shows on music:

Research Aim: Almost all countries around the world produce music talent shows usually aimed to find out new, young, emerging talent. The music talent shows have significant effects on the music, musicians, and music industry. Now, whether the impact is good or bad, the research will aim to find it out. The focal purpose of the study will be to identify the positive and negative repercussions of music talent shows. 

Topic. 3: Health benefit of music:

Research Aim: We all have heard that music is the food for the soul, but it is yet to find out if it is any good to our body. However, it is true that music cheers us up and helps us unwind things. It is significant to study if it aids an ailment. The research will aim to find out if music has health benefits and explore the details about the ailments and the remedy.

Topic. 4: Pop music in the contemporary world

Research Aim: Pop music was the undisputed king in the back times. Today, although we get to see the spark of pop in music, it is not truly pop. The research will analyze and evaluate the nature of pop music today and how it is amalgamated with contemporary music all around the world. 

Topic. 5: Role of technology in music

Research Aim: Technology is a crucial determiner that cannot be overlooked. It has affected all of the significant aspects of our lives, and music is no exception. The music that existed without technologically driven machines used to be different from what it is today. The aim of the research is to make a comparison and contrast between the nature of the two products of music and understand their similarities and differences under the light of technology. 

Topic. 6: Music in Hollywood

Research Aim: The main aim of the research would be to make a standard music format that is followed in Hollywood. The type of music produced in Hollywood is different from other major film industries. The researcher will analyze and evaluate the music and create a generic algorithm of music production followed by music composers in Hollywood. 

Topic. 7: The obsolete music instruments

Research Aim: Today, not all musical instruments are in their original shape. In fact, most of them have been buried inside a land do a lack of marketing and usage. The researcher will conduct thorough research to investigate the obsolete musical instruments that are unfamiliar to most people of a specific area. 

Topic. 8: pros and cons of legal music sharing platforms

Research Aim: The aim of the research will be to find out and highlight the advantages and disadvantages of legal music-sharing platforms. It will also investigate their impact on the music itself and discover the user’s inclination or motivations for using the platforms.   

Topic. 9: Music piracy in the age of the internet

Research Aim: Music piracy has always existed, but in the age of the internet, it has become predominant. The aim of the research will be to explore and find out how easy or difficult it has become to pirate music because it has significant outcomes in both ways. 

Topic. 10: Role of music in human life

Research Aim: When we are happy, we listen to music. When we are sad, we listen to music. Music has something to offer to each of our moods, and therefore, it is an integral part of our lives. This research will deeply analyze the role of music in human life and in what ways it affects our feelings, mood, actions, behaviors, and mundane activities. 

How Can ResearchProspect Help?

ResearchProspect writers can send several custom topic ideas to your email address. Once you have chosen a topic that suits your needs and interests, you can order for our dissertation outline service which will include a brief introduction to the topic, research questions , literature review , methodology , expected results , and conclusion . The dissertation outline will enable you to review the quality of our work before placing the order for our full dissertation writing service !

Topic. 11: How does music therapy work:

Research Aim: Music therapy is practiced in a large proportion of the world. The researcher will monitor people taking music therapy and identify its level of effectiveness. 

Topic. 12: Music and economy:

Research Aim: Good music transcends boundaries and therefore gets most disseminated and widespread. As a result, it is able to generate more money. The counties whose music is listened around the world have music as a key contributor to their Gross domestic product. The aim of the research is to survey and find out the statistics of music and its contribution to the economy. 

Topic. 13: music and culture

Research Aim: There are different kinds of music produced around the world, much of which depends on the culture of the respective area. The research will study the influence of culture on music and vice versa. 

Topic. 14: Role of music in spirituality

Research Aim: Music has a unique and close relationship with spirituality. Music is an instrument used to invoke feelings of spirituality. The researcher will study different religions and their way of connecting to God through music. 

Topic. 15: Music bands- their relevance today

Research Aim: The popularity and craze of music bands were very high in the 90s than what it is today. The aim of the research is to find out the potential of music bands in the contemporary music industry in different ways. 

Topic. 16: Music and patriotism

Research Aim: Music and poetry are used all around the world to boost the patriotism and nationalism of the inhabitants. The researcher will broadly study and investigate the instrumentation of music for patriotism and how music is used for political gains and at avenues. The researcher can do case studies and find accurate answers to the research questions. 

Topic. 17: Understanding the music market

Research Aim: The music market is just like any other product market: it is vast and diverse. You cannot make an audience persona for music, but you can make audience personas for different genres of music. And this research will do that. The research will aim to make audience personas of varying music genres understand the music market. 

Topic. 18: Most influential musicians today

Research Aim: The main aim of the research would be to explore and understand the current trends in music and pinpoint the most influential musicians today. Different musicians will be evaluated against different variables such as music they have produced, outreach, and followers, etc. 

Topic. 19: Music in the 21st century

Research Aim: Music has evolved significantly over the period of time, and there is no doubt that it will keep on transforming in the coming years. The aim of the research is to study and evaluate the current nature of music produced in the world and, more particularly, about the taste of people. 

Topic. 20: The evolution of music:

Research Aim: The researcher will delve into the history of the music to learn about its roots. The main aim of the research is to find and evaluate the evolution of music than how it developed over time and the phases that it went through to reach its current position. 

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To find a music dissertation topic:

• Explore genres, history, or cultural aspects.
• Analyze music theory, composition, or performance.
• Investigate technology’s impact on music.
• Consider social or psychological dimensions.
• Review recent research in musicology.
• Select a topic that resonates with your passion and expertise.

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Digital Commons @ USF > College of The Arts > School of Music > Music Education > Theses and Dissertations

Music Education Theses and Dissertations

Theses/dissertations from 2015 2015.

Origins of Music Programs in Liberal Arts Institutions: The Story of Three Florida Catholic Universities , Cynthia S. Selph

Theses/Dissertations from 2010 2010

A Philosophical Inquiry on the Valuation and Selection of Musical Materials for Culturally Diverse Learners in Global Environments , Jonathan Bassett

Upper Elementary Boys’ Participation During Group Singing Activities in Single-sex and Coeducational Classes , Zadda M. Bazzy

An Examination of the Influence of Band Director Teaching Style and Personality on Ratings at Concert and Marching Band Events , Timothy J. Groulx

Empowered for Practice: The Relationship Among Perceived Autonomy Support, Competence, and Task Persistence of Undergraduate Applied Music Students , Julie F. Troum

Theses/Dissertations from 2009 2009

An Exploratory Study of the Use of Imagery by Vocal Professionals: Applications of a Sport Psychology Framework , Patricia Louise Bowes

Theses/Dissertations from 2008 2008

Perceptions of Effective Teaching and Pre-Service Preparation for Urban Elementary General Music Classrooms: A Study of Teachers of Different Cultural Backgrounds in Various Cultural Settings , Lisa J. Lehmberg

Theses/Dissertations from 2006 2006

Teaching strategies of successful college trombone professors for undergradute students , Matthew T. Buckmaster

The influence of performance background on instrumentalists' ability to discriminate and label cornet and trumpet timbre , Gary Compton

Theses/Dissertations from 2005 2005

The Effect of Conducting Gesture on Expressive-Interpretive Performance of College Music Majors , Ronald Wayne Gallops

Effect of Age on 11- to 18-Year-Olds’ Discrimination of Nuances in Instrumental and Speech Phrase Interpretations , Andrew Sioberg

Theses/Dissertations from 2003 2003

Choral Music Education: A Survey of Research 1996-2002 , Amber Turcott

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Music Thesis Statements

Music has been shown to have a profound effect on the human brain. It can alter our mood, relieve stress, and even boost our immune system. Music therapy is an increasingly popular treatment for a variety of conditions, including Alzheimer’s disease, autism, and depression.

While the exact mechanisms by which music exerts its effects on the brain are not fully understood, there is no doubt that it has a powerful impact. In some cases, music may even be more effective than medication. If you are struggling with a mental health issue, consider giving music therapy a try.

Music stimulates brain development and productive function. In humans, music is an instinctive desire to create and enjoy, it is not forgotten by diseases such as Parkinson’s or dementia, and it has been shown to assist kids with ADHD and ADD focus. Charles Darwin, together with other experts, believes that music was used to aid human evolution and bonding over time.

There are different types of music for different purposes, such as: for relaxation, concentration, to increase productivity or creativity, to improve sleep quality, to boost energy and mood, to reduce stress levels and anxiety. Music can also be used as a form of therapy to help treat various conditions such as: Alzheimer’s disease, dementia, depression, stroke recovery and more.

A study done at the University of Southern California found that when people with Alzheimer’s disease listened to personalized music, it activated regions of their brain that were otherwise inactive. The music helped the patients reconnect with lost memories and improved their verbal skills.

In another study done at Stanford University School of Medicine, it was found that music can help reduce stress hormones and inflammation in the body. The study was done on rats, but the findings can be translated to humans as well.

So, what is it about music that has such a powerful effect on the brain and body?

Music affects different areas of the brain, which in turn affects our emotions, behavior and physical state. When we listen to music, our brains release dopamine, which is a feel-good chemical that makes us happy and motivated. Dopamine also helps to improve memory, focus and concentration.

In addition to releasing dopamine, music also activates the autonomic nervous system, which controls things like heart rate and blood pressure. This is why music can have such a profound effect on our physical state – it can make us feel more relaxed or energized, depending on the type of music we’re listening to.

Music is a language that people can use to better communicate emotions, sentiments, thoughts, and motivation than words can. It has almost the same effect as our natural language; it seems to be our native tongue. There are many instances in this essay where music’s impact on our mental processes cannot be denied or overlooked. It is written into our DNA to be affected by music, powered on its emotional energy, and to stimulate our brains in order for us to acquire knowledge and enhance natural mental operations.

Studies have found that music:

– Aids in focus and concentration

– Reduces stress and anxiety

– Helps with memory recall

– Encourages creativity

– Increases productivity

– And even promotes healing.

Music therapy is an ever growing field which uses music as a form of treatment for physical, emotional, mental, and social needs. This type of therapy has been shown to be helpful for those suffering from:

– Alzheimer’s disease and dementia

– chronic pain

– depression

– heart disease

– posttraumatic stress disorder (PTSD)

There is no denying the power of music. It is an integral part of our lives, capable of affecting us on a physical, mental, and emotional level. It has the ability to improve our focus and concentration, reduce stress and anxiety, help with memory recall, encourage creativity, increase productivity, and promote healing. With all of these benefits, it is clear that music is a powerful tool that should not be underestimated.

Music has long been a part of our family’s history, and we’ve employed it as a means of communication before there was even language. Darwin believed that humans first utilized music to attract mates because a peacock flaunts its feathers. Dean Falk of the School for Advanced Research in Santa Fe, New Mexico, and Ellen Dissanayake of the University of Washington at Seattle think that music was used to calm babies in addition.

The act of making music activates many different areas of the brain. The auditory cortex is responsible for processing sound, and the motor cortex controls movement. But music also engages the parts of the brain that control emotion, memory, and even social interaction.

Because it engages so many areas of the brain, music has a unique ability to affect our emotions. Studies have shown that music can lower anxiety levels and blood pressure, and it can also help to reduce symptoms of depression. Music therapy is now being used to treat a wide range of mental and physical health conditions, including Alzheimer’s disease, autism, and even cancer.

So there you have it, the power of music is undeniable! It has been part of our history since the beginning, and it continues to have a profound impact on us today. Whether you’re using it to relax, or you’re using it to treat a health condition, there’s no doubt that music can have a real and lasting effect on our lives.

The term “motheresing” refers to this natural process, which is exactly what it sounds like. Just as contemporary moms perform lullabies for their children, primordial humans sang quiet songs to calm them. The method by which mothers motherese are similar in all societies: a softly sung song with a higher than usual tone and tempo. These professionals believe that grown-ups began creating music for their own pleasure after the fundamental elements were established and understood.

In other words, music is older than language. While the date of the first musical performance is lost to history, we do know that music has been an integral part of human culture for tens of thousands of years. The power of music is far-reaching and undeniable. It has the ability to affect our emotions, physiology, and even our behavior.

Numerous studies have shown that music can have a positive effect on the human brain and body. For example, music can:

– Lower blood pressure

– Slow heart rate

– Decrease levels of stress hormones

– Increase production of feel-good chemicals in the brain

– Boost immunity

– Improve sleep quality

– Enhance cognitive functioning and memory

In addition, music therapy is an evidence-based clinical use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. Music therapy is an established mental health profession that uses music to address physical, emotional, cognitive, and social needs of individuals of all ages.

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What Six Senior Music Majors’ Say About Their Theses

As the Spring semester concludes and in anticipation for the Class of 2024’s graduation, the Music Department asked six Senior Music Majors to expand on their creative theses and offer advice to future students preparing their own. The Music Department is proud to share the results of each Music Major’s cumulative work at Princeton, which highlights scholarly research and true mastery of their disciplines. 

Jared Bozinko

Thesis: SIN PHONY for two soprano clarinets, two auxiliary clarinets, two saxophones, and two horns

Jared:  In the process of writing  SIN PHONY , I found inspiration in seemingly twee places. Poulenc’s  Sonata for horn, trumpet and trombone,  Prokofiev’s  Romeo and Juliet , a 1995 clarinet quartet by Met Opera clarinetist Sean Osborn, and Ligeti’s  Six Bagatelles , a quirky wind quintet version of his  Musica ricercata .  SIN PHONY  is a chamber piece, technically an octet, for clarinets, saxes, and horns. My advisor, Dr. Dmitri Tymoczko, has been indispensable to the process, guiding me all fall semester in writing short chamber music sketches, which became the basis of the material that makes up my thesis. The process was so smooth and, at points, genuinely fun, and it was a great challenge as a composer to blend disparate thematic material from sketches written completely separately into cohesive, compelling music that had cohesion and let my compositional voice shine through.

Tanaka Dunbar Ngwara

Thesis: Paivapo ’76: A New Musical 

Tanaka:  My thesis was an original musical entitled Paivapo ’76 and set in Domboshava Zimbabwe in 1976, during the Zimbabwean Liberation War. The show deals with the conflict between traditional practice/spirituality and Christianity, and explores themes of community, first love and grief. I received the Alex Adam ’07 Award to conduct research for this project over the summer and since the musical also served as independent work for my theater and music theater certificates, I was able to premiere the piece on May 3rd, 4th and 5th in the Wallace Theater in the Lewis Center Complex. 

Thesis: Flung Into Space: A Collection of Songs

Nina:   My thesis is a collection of six songs titled  Flung Into Space . It consists of three story heavy songs about my life, along with an electronic counterpart for each which explores the same topic from a new perspective. 

Rupert Peacock

Thesis: John Farrant’s “O Lord Allmighty (ca. 1570):  The English Anthem at Ely Cathedral With Critical Edition

Rupert:  My thesis is a critical edition and history surrounding a piece of unpublished English choral music. The piece is called “O Lord Almighty” by John Farrant. I went to the library at Cambridge University and looked through manuscripts from Ely cathedral, which is about 10 minutes from where I live in the UK. I found lots of great and famous choral works, but stumbled across this piece by Farrant almost by accident. Professor Wendy Heller taught me everything I needed to know to get this done. She’s an expert in critical editions and this kind of research. I couldn’t have done it without her.

Molly Trueman

Thesis: Angels & Aliens: The Making of an Album

Molly:  For my thesis, I wrote and recorded my debut full-length album entitled  Angels & Aliens . Based around acoustic guitar and vocals, the album has an alternative indie-folk feel. This is a milestone I’ve been working towards for a few years now, so I’m incredibly grateful that this album ended up being my thesis.

Gabriela Veciana

Thesis: Breaking the Sound Barrier: Investigating Latine Racial Bias Through Reggaetón Music

Gabriela:  For my thesis, I researched colorism within Latine communities through reggaetón music. I knew I was interested in looking at identity and Latin music, but it wasn’t until I heard my advisor, Lisa Margulis, present her work in music cognition that I saw a potential connection with psychology fields. 

If you were to describe your thesis in one word, what would it be?

Jared :  Darksided (hehe)

Tanaka:  Fusion

Nina:  Honest

Rupert:  Difficult!

Molly:  Extraterrestrial

Gabriela:  Interdisciplinary!

What advice would you give to future seniors on creating a successful thesis?

Jared:  Don’t be afraid that your thesis isn’t going to materialize in time, instead, always try to remember just why you chose this amazing department, and to remember your likely lifelong personal devotion to music. There’s a lot to love about being able to share your art as the capstone of your work at Princeton. 

Tanaka:  If you can, use the thesis as an opportunity to work on something that you’ve always wanted to do, but never had the time to do! It’s amazing to have the excuse of a thesis project to give you the drive and space to complete it. 

Nina:  Try to start without judgement. The hardest part of writing my thesis was my own expectations of what my thesis should look like. 

Rupert:  It has to be something you care about and/or are passionate about. It got to the point where I was actually looking forward to the next steps in my thesis and enjoyed working on it. That was crucial for motivation!

Molly:  In terms of creating a thesis, my biggest piece of advice is to find a topic that you’re truly passionate about. Don’t settle for something you don’t care about.

Gabriela:  You don’t always have to have a topic and then find an advisor, you can start by finding an advisor you are interested in working with and craft your topic from there.

What are your plans after graduation?

Jared:  Still figuring it out, though I’m certain I want music to be a core component of my everyday life. I am trying to move to Philadelphia and get involved with their variety of music scenes, from DIY punk basement shows to chamber orchestras to early music groups. I also want to continue composing and am eager to hone my craft even further wherever I go. 

Tanaka:  I’m going to attend the Royal Academy of Music for Music Theater vocal performance! I’m very excited to be in a new city, and get to do another music degree in a conservatory.

Nina:  I’m moving to Nashville, TN and pursuing a career as a performing musician. I’ll also be releasing music soon as a part of the band Upwhirl, as well as later this year releasing my thesis. 

Rupert:  I am going to split my time between singing and construction!

Molly:  After graduation, I’m going to McGill University to study in the Sound Recording program.

Gabriela:  I hope to work in theater administration in New York!

In Other News

Student Perspectives: The Musical Odyssey of Princeton’s Adrian Thananopavarn

Jan 18, 2024

Adrian P. Thananopavarn ’24, Math major with certificates in Computer Science and Music Composition, premieres “March of Dusk” with Princeton University Sinfonia

How 3 Princeton Students Spend a Monday at the Royal College of Music

Dec 7, 2023

Dorothy Junginger ’25, Kyle Tsai ’25, and Audrey Yang ’25 are currently participating in Princeton’s immersive abroad program this semester at the Royal College of Music in London.

Music Major Kasey Shao Named 2024 Gilmore Young Artist

Sep 18, 2023

The Department of Music congratulates Kasey Shao (Class of 2025), a Music Major who is pursuing Minors in Piano Performance and Engineering Biology, who was one of two students named 2024 Gilmore Young Artists. We caught up with Kasey this summer following the official announcement to discuss how she found out she’d been selected, what she has planned for her 2024 Gilmore recitals and piano commission, and what’s on the docket for her final two years at Princeton.