Melbourne Conservatorium of Music - Theses
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ItemThe accumulative effects of music therapy on dementia-related speech deficits in a sub-acute hospital setting( 2011)A single blinded randomised control trial was conducted to determine the accumulative effects of Music Therapy on dementia-related speech deficits. The hypotheses to be tested whether a programme of MT will result in greater improvement in dementia-related spontaneous speech deficits (in particular naming), than a programme of DT and 2) whether a programme of either MT or DT will result in a reduction in dementia-related spontaneous speech deficits (in particular naming) compared to a non intervention (control) group. Fifty-one participants with moderate to severe dementia, were randomised into 3 groups, one being the control group, the other two groups receiving either Music Therapy (MT) or Diversional Therapy (DT) (referred to as Recreational Therapy in the USA). The 45 to 60 minute Music Therapy and Diversional Therapy sessions were run concurrently every Monday, Wednesday and Friday morning for 3 weeks by the author, a Registered Music Therapist or a Diversional Therapist. The Music Therapy sessions consisted of MT techniques previously used in Music Therapy dementia-related language studies, which included singing familiar songs, word cueing, instrument playing, music and reminiscence and music and movement. The Diversional Therapy activities were based on cognitive activities, physical stimulation and creative expression through arts and crafts activities. Data was collected at baseline and within 48 hours of the final session by the chief investigator and the research assistant. Data was generated by the following validated and standardised tools for the field of dementia: the Boston Naming Test Short Form (Mack, Freed, Williams, & Henderson, 1992), the Animal Naming Test (Spreen & Strauss, 1998), the Mini Mental State Examination (Folstein, Folstein, & McHugh, 1975), Geriatric Depression Scale, short version (Sheikh, 1986; Yesavage et al., 1983) and the Digit Span Test (Hunsley, Hanson, & Parker, 1988). Using a one-way repeated ANOVA the changes in the scores of the MT group were compared to the DT group (hypothesis 1), and score changes in both the MT and DT group were compared to the non-intervention (NI) group (hypothesis 2). Results of the one way repeated ANOVA did not support the two hypotheses. Changes in the scores of the secondary outcome measures using a one way repeated ANOVA also did not support the two hypotheses. Possible reasons for the null hypotheses are discussed including the research design, choice of research tools, and the challenges faced when conducting research studies within the dementia population. This study, with its large participant numbers and stringent research design significantly contributes to MT research literature. This study is also the first of its kind to define the MT technique of “word cueing”. Recommendations for future MT and dementia-related language deficits are discussed.
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ItemIssues of indeterminacy, metric modulation and “interference” in an individual compositional practice( 2011)This thesis consists of a folio of compositions and a dissertation. The folio comprises eight works that range in forces from full orchestra to piano trio: the largest piece is a (mostly wordless) song cycle for string quartet, electric guitar, spoken word and samples which spans fifty minutes, and is followed by two multi-movement works each of approximately twenty minutes in length. The remaining five compositions are shorter, single-movement pieces. The folio contains the scores to these compositions, accompanied by two CDs containing recordings of the works. The introduction to the dissertation presents an overview of the primary issues of indeterminacy, metric modulation and “interference”, and the secondary concerns of borrowing and allusion, Jewishness and septuple metre as aesthetic elements in the new works composed for this PhD project; following this is an overview of five of the compositions from the folio. The dissertation is then divided into two parts: Part I addresses the issues, Part II introduces and discusses each of the five compositions in detail. Each primary issue is discussed in a discrete chapter, beginning with definition, followed by a review of the literature, in addition to examples from my own work. The secondary concerns of borrowing, Jewishness and septuple metre are discussed in a composite chapter and are each treated similarly to the primary issues in tone and format. Musical examples, figures and tables are used throughout the dissertation to clarify, explicate and strengthen argumentation. The dissertation addresses the creative work itself, forming with the folio interdependent, mutually supportive constituents of the one argument. As a composer who is Australian, Jewish and a global citizen of the twenty-first century, I am part of a compositional continuum that is addressing the aforementioned problems now, and attempting to design relevant and meaningful solutions that may lead to a contribution to the literature and advancement in the field of music composition. Although certainly not the first, I am part of a burgeoning area of research investigating the nexus between jazz and Jewish music.
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Item'In tune with the times': the history of performing pitch in Melbourne( 2011)On 6 March 1909, Nellie Melba (1861–1931) presented a set of French diapason normal (a1=435) woodwind and brass instruments, known as the ‘Melba Gift’, to the Marshall-Hall Orchestra in Melbourne. Although she would benefit from use of the instruments in her later Australian opera tours, Melba made the gift primarily to help establish the French diapason normal as the uniform standard of performing pitch in Melbourne. At the beginning of the twentieth century, orchestral playing in the city was marred by tuning problems, and Melba’s gift formed part of a wider movement to standardise pitch in Melbourne. Melba’s set of instruments draws attention to an aspect of music making in the city, the frequency at which musical instruments are tuned, that, although fundamental to musical practice, has not yet been the subject of scholarly investigation. The aim of this PhD thesis is to explore how issues of performing pitch have shaped musical life in Melbourne. Focussing on the pitch of local pipe organs, orchestras, military bands, and civilian brass bands, this thesis traces the various standards of pitch used in Melbourne from the mid nineteenth to late twentieth centuries. It examines local discussion on pitch, and shows how practice has been driven by practical needs, economic considerations, aesthetics, and cultural attitudes. The thesis highlights local concern to keep up to date with international practice.
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ItemThe impact and effect of group music therapy on anxiety, depression, quality of life and coping with women with breast cancer: a mixed methods study( 2011)This mixed method study investigated the impact and effect of group music therapy on anxiety, depression, coping and quality of life, and the experience of music therapy for women with breast cancer. Four groups of women received 6 weekly music therapy sessions that incorporated various music therapy methods. Eighteen women at different stages of the disease trajectory took part in the study. A decision tree was developed to determine the most appropriate intervention to use each session. The pre and post program measures were the Depression Anxiety Stress Scale (DASS), the Coping Orientation to Problems Experienced Inventory (COPE), the European Organisation for Research and Treatment for Cancer Quality of Life Questionnaire (EORTC QLQ-C30) and the European Organisation for Research and Treatment for Cancer Quality of Life Questionnaire Breast Cancer Module (QLQ-B23 (breast cancer). Visual Analogue Scales (VAS) measured mood, anxiety, coping and quality of life, pre and post each session. Qualitative data was gathered through focus group interviews which were held post music therapy program. A statistically significant improvement was found on one item of the EORTC QLQ-B23 (breast cancer) inventory, but there were no other notable changes. There were trends on two items of the COPE inventory, but no other changes, and no detected changes on the DASS. Statistically significant improvement was found on all four items on the VAS across all four groups, indicating that the music therapy sessions had a significant impact during the course of the six week program. The themes emerging from the qualitative analysis evolved from discussions about the music therapy sessions, the group experience and living with breast cancer. These were: a) music was heard and appreciated differently, b) the sessions allowed reflection, c) playing the chord harp was a voyage of discovery, d) songwriting was meaningful, e) listening to songs, singing and song writing were very moving experiences, f) confusion over the questionnaires, g) experiencing challenging moments, h) not enough time in the sessions and there were too few people, i) sharing experiences, j) it was a special space, k) the feeling endured, l) appreciation of the music therapist, m) it was a discrete experience, n) wanting to join a choir, o) the need to discuss the effects of treatment, p) silence of breast cancer, q) the impact on others of the diagnosis, r) seeing the funny side, s) it was a dual process coping with many things, and t) travelling similar but different paths. Individual distilled essences were generated from the focus group data, depicting the women’s distinctive experiences. Group essences were also developed from the data, illustrating the different group experiences. This study is one of only a few to examine a group music therapy model for women with breast cancer. Even though the study was small the findings make an important contribution to the research literature on the effect of group music therapy for women living with breast cancer.