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There are many people who have researched and written on the topic of technology in corporate musical worship. The research reveals eight biblical principles for the use of technology in those contexts as follows: technology in corporate musical worship is meant to be practical; is meant to help the Church communicate; is meant to be driven by the Holy Spirit; is meant to be intentionally efficient; is meant to encourage a unified heart of worship to God; is meant to communicate the gospel; is meant to reflect and amplify God; and is meant to be done with hearts pleasing to God. In this study, three interviews were conducted and the data were analyzed to determine if those principles were reflected in how churches applied technology in corporate musical worship settings. After analysis, the eight principles articulated in the literature were found to be reflected in the interviews as well.

Christian lament songs play an important role in the context of the local church. There are several key differences between Christian lament and secular “sad songs” that are due to Christianity’s perspective of suffering that revolves around the hope of Jesus Christ. Christian songwriters have been writing lament songs through the lens of biblical hope in Christ throughout church history. Due to the nature of lament songs and how they give voice to negative emotions, which can help people to process their grief, and the communal nature of corporate worship, it is important that local churches ensure they use lament songs as often as needed to meet the needs of their congregations.

Despite the fact that music is commonly described as free therapy with easily accessible content in the modern age of streaming, most people do not realize that music they already listen to contains many legitimate, psychologically tested therapy. This creative artistic research study examines the role that music therapy processes and techniques play in affecting the form, songwriting and creative processes of the modern music industry. These foundational aspects of songs elicit neurological responses, the emotional effect of which is discussed and incorporated through creative research and implementation through a creative artifact. This study explores songwriting techniques found in various music therapy approaches like group-write, improvisation, and chord progression analyses. Each of these techniques uniquely impact songs and how they shape the music industry and creative connection with audiences. Songwriting styles and modern industry trends are discussed, as well as their popularity and impact on audiences over the last several years. The project culminates in a creative artifact of a six-song album in singer-songwriter-demo-style utilizing various aspects of the music therapy processes analyzed in this study as well as popular music styles that have proven popular and impactful in the modern industry. This artifact demonstrates the effects and influence these techniques have on the modern music industry.

Exemplary prospectus for an Audio/Music Project written collaboratively by students from SAE Institute.

Facilitating an inclusive pedagogy to close the gap that exists within the teaching of Indigenous Knowledge in Australia is a tall order for many teachers. This paper draws on responses to a national study and explores how music educators include Aboriginal and Torres Strait Islander music and culture into their practice. An online survey (December 2022-February 2023, N=109) informed the findings. Using thematic analysis, two themes (teaching challenges and opportunities, and bridging the gap) are discussed and key recommendations offered. Findings suggest that walking carefully towards bridging the gap is an opportunity for educational change in contemporary Australian classrooms.

Past projects involving musical software have been completely virtual, while these software do well in entertainment and education, there is the question of whether these software are playable to the same extent as physical musical instruments. The software presented in this paper, "AR Jam", utilizes various software and hardware tools to form a networked mixed reality system for the users to play music on. The intention of this project is to seek new ways to explore more playable musical instruments in the digital world. The paper presents the software's implementation, challenges such as optimization problems of the synthesizer, and the proposal of new ways to improve various aspects of this system in the future.

As spiritual warfare wages on and battles are constantly fought, the worship leader must understand the power of worship the Church wields in the love and strength of the Lord. In order for the role of the worship leader to be fully recognized and understood as a significant part of the body of Christ, its unique history must also be examined. It can be seen in the appointment of the Levites to the ministry of the Israelite tabernacle and their leadership on the battlefield. It can be found in first-century Christian leaders who persisted to praise the one true God even while facing persecution. It can be realized in the reformers who combated the unbiblical church practices of their day by putting God’s Word into the hands of the people and putting forth forms of worship centered back on the Scriptures. As Christian churches expanded across the West, the role of the worship leader continued to hold precedence, even when liturgy, form, or style would change from one generation to the next. Even today, this position within the body of Christ exhorts the believers to worship God and glorify His name, and all the more as the days grow darker and the end draws nearer; not that the Church should function in fear, but rather in steadfast hope in a Sovereign who goes before and behind them in the trials of life.

Dance/movement therapy (DMT) was developed as a tool to aide in therapeutic healing. A foundational aspect of DMT is attunement, the emotional/kinesthetic connection between two people that allows for meaningful and healing bonds to emerge. Lindy Hop is a partnered dance that fosters an environment of attunement, as it is accessed both subconsciously and consciously. This research explores Lindy Hop as a possible method of therapeutic treatment. The literature indicates the physiological need for attunement and how safety plays a key role in strengthening senses of self-identity, nervous system development, and worldview. Four experienced Lindy Hoppers were recruited to engage in a project via Zoom where the investigator analyzed participant movement and attunement before and after dancing Lindy Hop. Afterwards, participants shared their thoughts and opinions about attunement and its connection to the Lindy Hop. The investigator discovered that attunement played a role among dance participants and that Lindy Hop can function as an intervention in which attunement can be cultivated. A recommendation is made for practicing Lindy Hop as a therapeutic treatment for bolstering attunement of individuals on the autism spectrum.

Barbershop harmony refers to a unique style of arrangement and performance for voice that is strictly in four parts and acapella. There is much untapped potential in this close harmonic genre that could be explored in instruments other than the human voice. This paper set out to explore and establish a method of arranging and performing music of the barbershop style for the saxophone quartet. To achieve this transference of the style from voices to saxophones, the harmonic conventions and arranging rules of barbershop from the existing literature were established, along with a review of the literature pertaining to effective saxophone ensemble writing. An exegetical process was adopted utilising the Action Research Model. This detailed the processes of rearranging barbershop standards for a quartet of saxophones, drawing on the accepted traditions of the barbershop style. Specific aspects of instrumentation, dynamics, intonation, and the expression of text were considered throughout the process, resulting in the production of considered rearrangements of barbershop music for saxophone quartet, along with observations as to how to perform them in an authentic manner. This research aimed to show that the saxophone quartet is an effective medium through which to perform the music of barbershop quartets and that barbershop is a genre that should not just be restricted to voices; its unique style could be enjoyed by many different arrangements of instruments.

During the late eighteenth century, the piano was the dominant musical instrument for musical composition, performance and instrument making. There were many innovations in the design, sound and touch of the piano, fuelling the emergence of a large body of idiomatic repertoire. Two distinct traditions of piano design emerged at the same time during the late eighteenth century, one in England and the other in Austria. The focal points of these traditions were, respectively, London and Vienna where resident composers in each of these locations wrote for the instruments made in these cities. Traditions of grand piano design in London and Vienna were exemplified in the instruments of John Broadwood (in London) and Anton Walter (in Vienna). This study focusses on the design principles underlying the scaling, striking points and dampers in late eighteenth-century grand pianos together with technical data associated with these design elements. Furthermore, the sonic result of the realisation of these design principles in grand pianos by Broadwood and Walter are discussed, and the compositional response of selected late eighteenth-century composers in London and Vienna to the grand pianos of John Broadwood and Anton Walter

Praised for his non-traditional approach to improvised music, his idiosyncratic chordal voicings and strong sense of time, Wayne Krantz has become a touchstone in modern jazz and a unique voice on the guitar. In 1999, Krantz self-released Greenwich Mean, an album comprising of small vignettes spliced together from a year’s worth of recorded live improvisation from his weekly residency gig at the esteemed 55 Bar in New York’s Greenwich Village. This album marks a fundamental shift in Krantz’s approach to composition from through-composed works to smaller, novel arrangements with a strong emphasis on group improvisation. Using a practice-led research strategy, this study investigates the circumstances, philosophy, and production methods used to create Greenwich Mean, and explores ways they might be reapplied to generate new works for my own guitar/electric bass/drums trio. The methodology involved borrowing methods familiar to my musical practice (such as musical transcription and analysis, composition, improvisation, practise, rehearsal, performance, audio recording/editing, and scoring and charting) and supporting these with literature review and an insightful semi-structured interview with Wayne Krantz. The research has uncovered that a key musical principle of the album and Krantz’s music more broadly is ‘balancing improvisation and composition’. Analysis and interview have shown that this is achieved in several ways: in live performance, through four-, eight-, and sixteen-bar forms, cueing, and ‘germs’, meaning short motivic ideas that have been repurposed from older Krantz compositions; on the album, it is achieved through composite takes, looping, and constructing melodies from brief audio fragments. The consequences of this principle include a variety of effects, such as new cues, novel and malleable arrangements, and new improvisational and compositional language. The production methods used by Krantz were then explored in my own practice, leading to the crea

The research completed in this thesis is designed to review the historical role of the music producer and track its evolution into the modern era. Focus on the history of the producer will include formal research from the time and a review of individuals who pioneered significant change in the industry. The thesis will then explore the role of the contemporary record producer and raise questions about the impact of modern technology and practice.

The dissertation research explored the lived experiences of music therapists who are performing musicians. A conceptual foundation of music therapists as musicians, a “musician-therapist” who is deeply versed in the unique properties of music can be identified in the literature (Ansdell & Verney, 2008; Nordoff & Robbins, 1973). The objectives of this study were to explore three topics: 1) deeper understandings of music therapists’ musical improvisation both in clinical and nonclinical settings, 2) the connection between music therapists’ personal and professional musical growth, and 3) identity formation. A qualitative method was chosen for this research including reflexive/embodied/interpretative phenomenology, and arts-based research. Data gathering relied on semi-structured in-depth interviewing, observation, narrative description of a reflexive journal, and reflective arts. There were eight main themes (three subthemes) from the data analysis, 1) Continuous perspectives in music and music therapy worlds, 2) The advantages of being a performing improviser, 3) The advantages of being a music therapist, 4) Reciprocal growth of being performing musicians and music therapists, 5) Performance as an outlet for music therapists’ self-expression and well-being, 6) Embodiment: developing improvisational musicality, 7) Challenges to pursuing both careers, 8) Gender perspectives. By building a better understanding of the performing musician-therapists’ perspectives, it is hoped that this research will lay the ground work for the applicability of the field of music therapy in terms of music therapists’ clinical presence and skills in conducting effective clinical improvisation, and for implications for music performance education.

The purpose of this project is to research and investigate the effect music and sound effects have on horror films, specifically, the natural phenomena known as infrasound will be explored in depth. Just outside our range of hearing at 20 Hz, infrasound may not be audible, but can still cause physical reactions such as anxiety, uneasiness, and extreme sorrow (Morrow, 2017). I am looking to create a horror comic in the form of a video that heavily relies on musical cues and the incorporation of infrasound to build up parts of the story told in the form of a comic. In the case of horror films, the usage of infrasound combined with musical scores contributes to viewers’ unease and naturally puts them more on edge as they begin to anticipate the next scare. Many horror films are known to have used infrasound with both the 2007 film Paranormal Activity and 2002 French psychological-horror film Irréversible heavily utilizing infrasonic sound to create chilling sound effects. This project will explore creative ways to incorporate the usage of musical cues and infrasound in horror to illustrate the vital role this phenomenon has on the effectiveness of horror films. In addition, I hope that by incorporating sound into a visual project, this will provide a more immersive experience for the audience.

The solo piano sonatas (Op. 1, 3, and 4) of once eminent English pianist/composer Cipriani Potter (1792-1871) are a collection of works that have for the most part fallen into obscurity. Potter produced three such sonatas in his lifetime, each at approximately the same time during his educational trip to Vienna between 1817 and 1818. Potter was much celebrated in his own time as a virtuoso pianist, teacher, and eventual principal at the Royal Academy of Music, and as an editor of the works of Mozart and Beethoven amongst others. This study examines Potter’s sonatas in light of both modern and eighteenth- and nineteenth-century methods of analysis, as well as in the light of his two greatest influences: Joseph Wölfl (1773-1812) and Ludwig van Beethoven (1770-1827). The study comprises an analysis, reception history, critical reappraisal, and historical performance. It applies three analytical frameworks: the stylistic taxonomy (sublime, beautiful, and ornamental) of contemporaneous commentator and teacher of Potter, William Crotch (1775-1847); late-eighteenth and nineteenth-century key characteristics (largely drawn from Rita Steblin’s History of Key Characteristics); and the analytical approach of James Hepokoski and Warren Darcy’s Elements of Sonata Theory. The analysis, alongside historical performance concerns, informs and influences the interpretive decisions in a complete public recital of Potter’s sonatas using a replica fortepiano after Conrad Graf (ca. 1819). The analysis also informs a critical reappraisal of the significance of Potter’s works, which (as shown through a reception history) have not been fully appreciated. The aim of this project is to produce an effective analytical method for application to the remainder of Potter’s piano output and serve as a stepping-stone for further research into Potter’s music.

The artists “Bethel” and “Hillsong” are frequently recognized by Christians living in America. But what about the names “Bridge Music India” or “Sinach”? These names would be most likely unknown in the states but celebrated in India and Nigeria. While each stems from vastly different cultural backgrounds, they all serve the purpose of creating a space for people to connect with God and each other through musical worship. Drawing on four different pieces of worship music and their use in live services, this article analyzes the effects of worship music, specifically their lyrical and musical content, on the individuals participating in these services. We will see that, on a personal level, individuals experience an awareness of the presence of a higher power, an ability to release current emotional burdens as well as celebrate the unchanging character of God. On a corporate level, people experience a powerful uniting with those around them as they declare the presence and love of this God. I will also argue that this practice can look different within various communities. Thus, the various environments and socio-economic standings of these individuals will also be taken into account when considering how worship music impacts them. From these experiences, I will argue that worship music is more than just singing songs on a Sunday morning for individuals - it is a form of individually and communally practicing awareness and interaction with God.