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Music Therapists' Perceptions and Practices Regarding University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE Nora Bryant Veblen University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.491 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Veblen, Nora Bryant, "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE" (2018). Theses and Dissertations--Music. 129. https://uknowledge.uky.edu/music_etds/129 This Master's Thesis is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Nora Bryant Veblen, Student Dr. Olivia Yinger, Major Professor Dr. Michael Baker, Director of Graduate Studies MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE THESIS A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music in the College of Fine Arts at the University of Kentucky By Nora Bryant Veblen Lexington, Kentucky Director: Dr. Olivia Yinger, Director of Music Therapy Lexington, Kentucky 2018 Copyright © Nora Bryant Veblen 2018 ABSTRACT OF THESIS MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically. KEYWORDS: Musical Authenticity, Authenticity, Technology, iPad, Electronic Instruments Nora Veblen 11/26/2018 MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE By Nora Bryant Veblen Olivia Yinger, PhD Director of Thesis Michael Baker, PhD Director of Graduate Studies 11/26/2018 Date ACKNOWLEDGEMENTS To my dad, whose support and caregiving nature are unparalleled; thank you for always looking out for me and for reminding me to enjoy my life. To my mom, who taught me to be authentic and honest; thank you for making me laugh harder than anyone else in the world. To my husband, Jacob, who inspires me to learn more and gives me confidence that I can achieve great things; you are my rock and my encyclopedia. Thank you for being my teammate. To Laura, the best writing buddy I could have asked for; thank you for sharing this experience with me, for being a thought-provoking conversation partner, and for empowering me to face my fears at open mic and beyond. And to the rest of my cohort, Chris, Madelyn, Marissa, Rachel, and Taylor. I am so lucky to have met you all and I can’t wait to be colleagues in the professional world. To my internship supervisors and music therapy mentors, Jessy, Jennifer, Katie, and Cheryl, who saw something in me that I didn’t know was there and figured out how to help me find it. Thank you for giving me the chance to work with you, for challenging me to fulfill my potential, and for teaching me to trust myself. To Dr. Vasil, who taught me that research can be fun. Thank you for holding me to a high standard so that I could learn what I am really capable of. And to Dr. Yinger, who has mentored me through my mistakes and helped me recognize my successes. Your dedication to your work and your compassion for people in need is inspiring to me. Thank you for the invaluable gift of your time, for recognizing when I needed structure and when I needed freedom, and for being there for me as a grad student and as a person. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF TABLES ............................................................................................................. vi LIST OF FIGURES .......................................................................................................... vii CHAPTER ONE: INTRODUCTION ................................................................................. 1 Operational Definitions ................................................................................................... 4 Purpose ............................................................................................................................ 6 CHAPTER TWO: REVIEW OF LITERATURE ............................................................... 7 Markers of Authenticity .................................................................................................. 7 Textual ........................................................................................................................ 8 Technology and Mediation ....................................................................................... 16 Subject Position ........................................................................................................ 26 Function .................................................................................................................... 32 Authenticity in Music Therapy ..................................................................................... 34 Conclusion .................................................................................................................... 37 CHAPTER THREE: METHODOLOGY ......................................................................... 39 Participants .................................................................................................................... 39 Instrumentation ............................................................................................................. 40 Survey ....................................................................................................................... 40 Procedures ..................................................................................................................... 42 Survey ....................................................................................................................... 42 Qualitative Analysis .................................................................................................. 43 Data Analysis ................................................................................................................ 43 Quantitative ............................................................................................................... 43 Qualitative ................................................................................................................. 43 CHAPTER FOUR: RESULTS ........................................................................................
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