Effects of Duration of Selected Music As an Intervention on Postoperative

Total Page:16

File Type:pdf, Size:1020Kb

Effects of Duration of Selected Music As an Intervention on Postoperative Eastern Michigan University DigitalCommons@EMU Master's Theses, and Doctoral Dissertations, and Master's Theses and Doctoral Dissertations Graduate Capstone Projects 2010 Effects of duration of selected music as an intervention on postoperative pain in open-heart surgery patients during chair rest on the first postoperative day Tzu-Ting Shu Follow this and additional works at: http://commons.emich.edu/theses Part of the Music Therapy Commons, and the Rehabilitation and Therapy Commons Recommended Citation Shu, Tzu-Ting, "Effects of duration of selected music as an intervention on postoperative pain in open-heart surgery patients during chair rest on the first postoperative day" (2010). Master's Theses and Doctoral Dissertations. 321. http://commons.emich.edu/theses/321 This Open Access Thesis is brought to you for free and open access by the Master's Theses, and Doctoral Dissertations, and Graduate Capstone Projects at DigitalCommons@EMU. It has been accepted for inclusion in Master's Theses and Doctoral Dissertations by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. EFFECTS OF DURATION OF SELECTED MUSIC AS AN INTERVENTION ON POSTOPERATIVE PAIN IN OPEN-HEART SURGERY PATIENTS DURING CHAIR REST ON THE FIRST POSTOPERATIVE DAY By Tzu-Ting Shu, BSN, RN Thesis Submitted to the School of Nursing College of Health and Human Services Eastern Michigan University In partial fulfillment of the requirement for the degree of: MASTER OF SCIENCE IN NURSING Thesis Committee: Lorraine M. Wilson, PhD, RN: Chair Tsu-Yin Wu, PhD, RN: Committee Member December 16, 2010 Ypsilanti, Michigan i THESIS APPROVAL Effects of Duration of Selected Music as an Intervention on Postoperative Pain in Open-heart Surgery Patients during Chair Rest on the First Postoperative Day Tzu-Ting Shu APPROVED: _________________________________ _______________________ Lorraine M. Wilson, PhD, RN Date Thesis Chair _________________________________ _______________________ Tsu-Yin Wu, PhD, RN Date Committee Member _________________________________ _______________________ Betty Beard, PhD, RN Date Director, School of Nursing _________________________________ _______________________ Deb DeLaski, PhD Date Interim Dean, Graduate School ii Dedication This study is dedicated to God, first of all. Without him, I would not have been able to finish this. This study is also dedicated to my dad, who encouraged me to pursue nursing as my career and had taught me to persevere but cannot share this joy with me, and my mom, who supports me in many ways to complete advanced nursing degree. I would like to dedicate this study to my church, King of Love. They have encouraged me and been walking with me through difficult times with grace and love. iii Acknowledgement I would like to express my sincere gratefulness to several people. This study would not have been possible without their help. First of all, I would like to give thanks to Dr. Ruth Moore at St. John Providence IRB; Administrative Nursing Director, Julie Gorczyca; Clinical Practice Manager of SICU, Brooke Johnson; and all staff members of SICU at St. John Providence. Many thanks and appreciation to my advisors: Dr. Lorraine Wilson and Dr. Tsu-Yin Wu, who have supported me and given me guidance throughout my years at Eastern Michigan University. iv Abstract The purpose of this study was to test the effects of selected music on reducing postoperative pain and use of pain relief medications in open-heart surgery patients during chair rest on the first postoperative day. This study was conducted using a pretest-posttest experimental design. A convenience sample of 13 open-heart surgery patients from a metropolitan hospital in southeastern Michigan were randomly assigned to the music group (n = 6) and the control group (n = 7). T-test analysis showed that pain scores (numeric rating scale, NRS = 0-10) were lower in the music group than the control group after 30, 45, and 60 minutes of chair rest, and sense of well- being rated by using the visual analog scale (VAS = 0-100) was also higher in the music group at 60 minutes than the control group although the difference was not statistically significant. Optimal duration of music to reduce postoperative pain and the frequency of the use of pain medication could not be determined due to the small sample size. A replication study with a larger study group is recommended to ensure greater statistical power to test the usefulness of music as an adjuvant therapy in reducing postoperative pain. v TABLE OF CONTENTS Dedication………………………………………………………………………………………...iii Acknowledgement..........................................................................................................................iv Abstract……………………………………………………………………………………………v List of Tables……………………………………………………………………………………..ix List of Figures……………………………………………………………………………………..x Chapter I: Introduction……………………………….……………………………………………1 Background and Significance of the Study……………………………………………….1 Research Purpose…………………………………………………………………………2 Research Questions……………………………………………………………………….3 Chapter II: Review of Literature………………………………………………………………….4 Theoretical Research Literature…………………………………………………………..4 Empirical Research Literature………………………………………………….………...6 Summary………………………………………………………………………………….8 Chapter III: Framework…………………………………………………………………………...9 Framework Development…………………………………………………………………9 Definitions……………………………………………………………………………….10 Formulation of Hypotheses……………………………………………………………...11 Chapter IV: Method and Procedures……………………………………………………………..12 Research Design…………………………………………………………………………12 Rationale for Research Design…………………………………………………………..13 Sampling Design and Setting……………………………………………………………14 Rationale for Sampling Design………………………………………………………….14 vi Ethical Consideration……………………………………………………………………15 Measurement Method…………………………………………………………………...16 Data Collection………………………………………………………………………….17 Data Analysis...………………………………………………………………………….19 Chapter V: Results……………………………………………………………………………….21 Description of the Sample………………………………………………………………21 Possible confounding Variables…………………………………………………………21 The effect of Music as an Intervention on Pain and Well-being of First Day Post Open- heart Surgery Patients.…………………………………………………………...27 The Effect of the Duration of Music as an Intervention on Pain of First Day Post Open- heart Surgery Patients…………….……………………………………………...32 The Use of Pain Medications during Chair Rest………………………………………..34 Chapter VI: Discussion…………………………………………………………………………..35 Sample Profile………………………………………………………………………......35 The Effect of Music as an Intervention on Pain and Well-being on First Postoperative Day in Open-heart Surgery Patients…………………………………...…35 The Effect of the Duration of Music as an Intervention on Pain of First Day Post Open- heart Surgery Patients……..…………………………………………………......36 The Use of Pain Medications during Chair Rest………………………………………..38 Study Limitation………………………………………………………………………...38 Implications for Research and Clinical Use of Music Therapy…………………………39 Conclusion………………………………………………………………………………39 References………………………………………………………………………………………..41 vii Appendices……………………………………………………………………………………….44 Appendix A: Letters……………………………………………………………………..44 Appendix B: The Pain Numeric Rating Scale and Visual Analog Scale…………….....49 Appendix C: Oral Explanation of the Study to Potential Participants…………………..51 Appendix D: Consent to Participate in a Clinical Research Study and Authorization to Use or Disclose Protected Health Information for Research……………..52 Appendix E: Data Collection Sheet……………………………………………………..57 viii LIST OF TABLES Table Page 1 Characteristics of the Sample……………………………………………………………...23 2 Between Groups Comparison on Use of Cardiovascular Medications 8 hours prior to Chair Rest………………………………………………………………………………..25 3 Between Groups Comparison on Use of Pain Medications 4 hours prior to and during Chair Rest………………………………………………………………………………..26 4 Comparison of the Mean Pain Scores for the Music and Control Groups during 0 (pre- test), 15, 30, 45, and 60 minutes of Chair Rest………………………………………….28 5 Comparison of the Mean Pretest and Posttest Scores on the VAS for the Music and Control Groups…………………………………………………………………………...29 6 Comparison of the Mean Difference of Pain Scores between Pretests and Posttests and in each 15-Minute Period…………………………………………………………………...33 ix LIST OF FIGURES Figure Page 3-1 Conceptual Map…………………………………………………………........................10 4-1 The Intervention of the Control Group and the Experimental Group..…………………12 4-2 The Study Procedure……………………………………………..……………………..19 5-1 Comparison of the Mean Pain Scores on a Numeric Rating Scale (NRS) for the Music and Control Groups……………………………………………………………………...30 5-2 Comparison of the Mean Pretest and Posttest Scores for Well-being on a 100 mm Visual Analog Scale (VAS) for the Music and Control Groups………………………………..31 x 1 CHAPTER І Introduction Pain, the most common problem for patients after coronary artery bypass grafting or valve replacement, is caused by the stimulation of peripheral nerve endings in the muscles and tissue that have been cut and traumatized during surgery (Complementary and alternative medicine, 2005). The effective management of acute postoperative pain primarily relies on pharmacologic interventions, such as patient-controlled analgesic devices and spinal analgesics (Miaskowski, 1996). However, the use of nonpharmacologic strategies is considered as an adjuvant intervention for acute postoperative pain management (Miaskowski). Music therapy has
Recommended publications
  • FSU ETD Template
    Florida State University Libraries 2016 Music Therapy and Music Medicine Assessment in Mental Health and Medical Research with Children and Adolescents: An Integrative Review Dawn M. Pufahl Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUSIC THERAPY AND MUSIC MEDICINE ASSESSMENT IN MENTAL HEALTH AND MEDICAL RESEARCH WITH CHILDREN AND ADOLESCENTS: AN INTEGRATIVE REVIEW By DAWN M. PUFAHL A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music 2016 Dawn M. Pufahl defended this thesis on April 15, 2016. The members of the supervisory committee were: Lori F. Gooding Professor Directing Thesis Jayne M. Standley Committee Member Dianne Gregory Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii TABLE OF CONTENTS List of Tables ................................................................................................................................. iv List of Figures ..................................................................................................................................v Abstract .......................................................................................................................................... vi 1. INTRODUCTION ......................................................................................................................1
    [Show full text]
  • Anexo:Premios Y Nominaciones De Madonna 1 Anexo:Premios Y Nominaciones De Madonna
    Anexo:Premios y nominaciones de Madonna 1 Anexo:Premios y nominaciones de Madonna Premios y nominaciones de Madonna interpretando «Ray of Light» durante la gira Sticky & Sweet en 2008. La canción ganó un MTV Video Music Awards por Video del año y un Grammy a mejor grabación dance. Premios y nominaciones Premio Ganados Nominaciones Total Premios 215 Nominaciones 407 Pendientes Las referencias y notas al pie Madonna es una cantante, compositora y actriz. Nació en Bay City, Michigan, el 16 de agosto de 1958, y creció en Rochester Hills, Michigan, se mudó a Nueva York en 1977 para lanzar su carrera en la danza moderna.[1] Después haber sido miembro de los grupos musicales pop Breakfast Club y Emmy, lanzó su auto-titulado álbum debut, Madonna en 1983 por Sire Records.[2] Recibió la nominación a Mejor artista nuevo en el MTV Video Music Awards (VMA) de 1984 por la canción «Borderline». Madonna fue seguido por una serie de éxitosos sencillos, de sus álbumes de estudio Like a Virgin de 1984 y True Blue en 1986, que le dieron reconocimiento mundial.[3] Madonna, se convirtió en un icono pop, empujando los límites de contenido lírico de la música popular y las imágenes de sus videos musicales, que se convirtió en un fijo en MTV.[4] En 1985, recibió una serie de nominaciones VMA por sus videos musicales y dos nominaciones en a la mejor interpretación vocal pop femenina de los premios Grammy. La revista Billboard la clasificó en lista Top Pop Artist para 1985, así como en el Top Pop Singles Artist en los próximos dos años.
    [Show full text]
  • Children's Improvised Vocalisations
    Contemporary Issues in Early Childhood Volume 9 Number 4 2008 www.wwwords.co.uk/CIEC Children’s Improvised Vocalisations: learning, communication and technology of the self JAN SVERRE KNUDSEN Oslo University College, Norway ABSTRACT The intention of this article is to explore, challenge and expand our understandings of children’s improvised vocalisations, a fundamentally human form of expression. Based on selected examples from observation and recording in non-institutional settings, the article outlines how this phenomenon can be understood as learning and as communication. This is supplemented by suggesting a third possible approach which places these vocal forms within the frame of understanding implied by Foucault’s term ‘technology of the self’. This theoretical perspective entails recognising improvised vocalisations as tools used to ‘act upon the self’ in order to attain or reinforce a certain mental state or mood – happiness, satisfaction, anger or longing – in short, as a way in which children learn to know the self as a self. In line with a Foucauldian perspective is also a focus on the negotiation of power and how music serves as an empowering agent in children’s everyday social interaction. Finally, informed by Vygotsky’s approach to understanding the relationship between language and mental development, the author discusses the gradual disappearance of improvised vocalisations. Introduction Spontaneous improvised vocal expressions are something everyone who deals with small children has heard: playful musical doodling, endless repetitions of melodic phrases or creative new versions of known songs. They fascinate and amuse us, irritate and annoy us. They are regarded as noisy behaviour, charming play or beginning musicality.
    [Show full text]
  • Liner Notes, Visit Our Web Site
    Christian Wolff and the Politics of Music David Tudor, with characteristic perspicacity, noticed the influence of children (of being a parent) in Christian Wolff’s music-making. “While working with David Tudor on Burdocks, he said that he could see the results of having small kids around—my music had loosened up.”1 Becoming a parent, bringing a human being into the world, makes one more aware of ideological constraints and pressures. A domestic culture vies with a prevailing dominant culture which is predatory, aggressive, and individualistic, a day-to-day confrontation of irreconcilable attitudes. The informality of Wolff’s indeterminate music-making from the Sixties and early Seventies, culminating in Burdocks (1970–1), is an integral part of that domestic culture and strives to instill and safeguard values that are at odds with those from without which threaten to engulf us. Michael Chant succinctly characterizes the essence of the philosophical issue at hand: Collective work and experience stands against what is being promoted on all fronts as the “me” culture, where the issue, for example, becomes that art has importance because it expresses “my” life, “I” did this first, or it gratifies “me.” This can only contribute to the general crisis of society.2 Music is an integral part of the fabric of our social existence. In the early Seventies raising a family coincided with a political involvement, expressed unequivocally in Wolff’s music, moving (ideologically) from what he characterized as democratic libertarianism (anarchism) toward democratic socialism, which in one way or another was supported and promoted by the use of political songs and texts.
    [Show full text]
  • Marknadsföring Av Begåvningar Inom Musikbranschen
    Företagsekonomiska institutionen STOCKHOLMS UNIVERSITET Magisteruppsats 10 poäng VT 2006 Marknadsföring av begåvningar inom Musikbranschen Författare: Lena Brodin Handledare: Marianne Nilson Per Englund Abstract This thesis handles how record companies choose to market the talent/characteristics that an artist has. It is a qualitative study including six smaller cases. When studying the artist/groups it focuses on marketing, talent and brand building when releasing the first album. All the artists/groups used a planned out marketing approach, which means that they all had a strategic plan for how to run the marketing to get the best effect. To affect the customers record companies put together something called a marketing machine. Depending on whom the artist is, what kind of music he plays, his characteristics and his talent the machine is shaped differently. Different kind of communication channels like radio, live performances, and press are being used. It also includes how record companies are working to create brand names and value to its artists/groups. When doing that the first step is to establish a name for them. When the name is established value can be added to it trough peoples recognition. All our cases have had different ways to establish their brand name. Talent is a hard word to define, all individuals have their own definition of it. A common statement is that talent is something that diverges from the normal, in a positive way. In our cases the artists/groups have all had very different talent, all from writing good songs to having charisma. Record companies use their experience to create a good marketing machine for their artists/groups to become established and create value for them.
    [Show full text]
  • A Theoretical Model of Piano Sightplaying Components A
    A THEORETICAL MODEL OF PIANO SIGHTPLAYING COMPONENTS A Dissertation Presented to The Faculty of the Graduate School University of Missouri-Columbia In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By DNEYA BUNNAG UDTAISUK Dr. Wendy L. Sims, Dissertation Supervisor MAY, 2005 The undersigned, appointed by the Dean of Graduate School, have examined the dissertation entitled A THEORETICAL MODEL OF PIANO SIGHTPLAYING COMPONENTS Presented by Dneya B. Udtaisuk a candidate for the degree of Doctor of Philosophy and hereby certifi that in their opinion it is worthy acceptance. The undersigned, appointed by the Dean of Graduate School, have examined the dissertation entitled A THEORETICAL MODEL OF PIANO SIGHTPLAYING COMPONENTS Presented by Dneya B. Udtaisuk A candidate for the degree of Doctor of Philosophy And hereby certify that in their opinion it is worthy acceptance. __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ ii Thanks to …. My advisor, Dr. Wendy L. Sims for her true inspirations, directions, opinions, advise and encouragement. Your devotion and who you are makes my 10-year journey become a life-long educational and moral nourishment. My dissertation committee, Dr. Martin Bergee, Dr. Rebecca McCathren, and Prof. Karen Larvick, and Dr. Richard Robinson who generously gives me support and guidance. I will always be thankful for your contributions to this work. My proofreaders Dr. Cathi Wilson and Chattavee Numtee who spent their valuable time on perfecting this dissertation. Dr. Deborrah Carr, Teacher Development Program, College of Education and Dr. Melvin Platt, School of Music for granting me a clinical and a teaching position. This financial support ended up as one-of-a-kind experience that fosters me to become a better prepared person in the fields.
    [Show full text]
  • Download?Doi=10.1.1.525.269&Rep=Rep1&Type=Pdf Nigatu, T
    Proceedings of the 27th International Seminar of the International Society for Music Education Research Commission Canadian University Dubai Dubai, United Arab Emirates 8-13 July 2018 Celebrating 50 Years of the ISME Research Commission 1 Proceedings of the 27th International Seminar of the International Society for Music Education Research Commission, Dubai 8-13 July 2018 Hosted by Canadian University Dubai EDITED BY Evelyn K. Orman 2 (c) Canadian University Dubai All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without the written permission of the Canadian University Dubai and consulting authors. ISBN: 978-0-6481219-5-4 (print) ISBN: 978-0-6481219-6-1 (ebook) For inquiries regarding this publication, please contact the Canadian University Dubai representative: Dr. Efthymios Papatzikis Or The Learning and Resources Centre in CUD, [email protected] Editor: Dr. Evelyn K. Orman Cover Design: Arash Behforooz 3 Table of Contents Foreword .......................................................................................................................................... i Efthymios Papatzikis Preface ............................................................................................................................................ ii Evelyn K. Orman Acknowledgements ..........................................................................................................................v
    [Show full text]
  • 1 PHILLIP MURRAY DINEEN CURRICULUM VITAE Address
    P. Murray Dineen, 2010 PHILLIP MURRAY DINEEN CURRICULUM VITAE Address: Department of Music University of Ottawa Ottawa, Ontario CANADA K1N 6N5 [email protected] 613-562-5800 x3818 Degrees: Columbia University, Ph.D., Historical Musicology with a Concentration in Theory, 1988 University of Victoria, M.A., Musicology, 1982 University of Alberta, B.Mus., Theory, 1980 Grant McEwan Community College, Diploma in Music, 1976 Employment History: 2005- Full Professor, Université d'Ottawa 1997-2005 Associate Professor, Université d'Ottawa 1991-96 Assistant Professor, Université d'Ottawa 1989-91 Assistant Professor, University of Western Ontario 1988-89 Lecturer, Music Theory, McGill University 1995- Adjunct Professor, Carleton University, School for Studies in Art and Culture Recent Scholarly and Professional Activities: 2007-10 Editor, Associate Editor, Intersections: Canadian Journal of Music, journal of the Canadian University Music Society (SSHRC funded). 2007-9 Member, Adjudication Committee, Social Sciences and Humanities Research Council of Canada. 2007-9 Member of the Board, Canadian Federation for the Humanities and Social Sciences. 2006 Reader, Aid to Scholarly Publications Programme, Canadian Federation for the Humanities. 2005-8 Member, Academic Panel, Selection Board, Canadian Bureau for International Exchange. 1 P. Murray Dineen, 2010 2005-8 Representative for the Canadian University Music Society, Canadian Federation for the Humanities and Social Sciences. 2005-6 Member, Academic Panel, Selection Board, Ontario Graduate Scholarship Programme. 2004 External Examiner, review of the Baccalaureate in Music at l’Université de Sherbrooke 2003 Organizing Committee for an international conference on the composer Hugo Wolf, SSHRC funding received. Recent Research Funding: 2008-2011 Social Sciences and Humanities Research Council of Canada, Aid to Scholarly Journals Competition, $54,000, for publication of Intersections: A Canadian Journal of Music.
    [Show full text]
  • Capturing-Sound-How-Technology-Has-Changed-Music.Pdf
    ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. This publication has been supported by a subvention from the Gustave Reese Publication Endowment Fund of the American Musicological Society. The publisher gratefully acknowledges the generous contribution to this book provided by the Music in America Endowment Fund of the University of California Press Associates, which is supported by a major gift from Sukey and Gil Garcetti, Michael Roth, and the Roth Family Foundation. CAPTURING SOUND H O W CAPT T U E C R H N I O N L O G G Y S UNIVERSITY OF CALIFORNIA PRESS H A S O C H U A N N G E D D M BERKELEY LOS ANGELES LONDON U S I C tz mark ka University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England “The Entertainer” written by Billy Joel © 1974, JoelSongs [ASCAP]. All rights reserved. Used by permission. © 2004 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Katz, Mark, 1970–. Capturing sound : how technology has changed music / Mark Katz. p. cm. Includes bibliographical references and index. ISBN 0-520-24196-7 (cloth : alk. paper)— ISBN 0-520-24380-3 (pbk. : alk. paper) 1. Sound recording industry. 2. Music and technology. I. Title. ml3790.k277 2005 781.49—dc22 2004011383 Manufactured in the United States of America 13 12 11 10 09 08 07 06 05 04 10987654 321 The paper used in this publication is both acid-free and totally chlorine-free (TCF).
    [Show full text]
  • Music Newsletter Winter 2004
    DEPARTMENT MUSICNE WS [email protected] f 812-488- 2742 Fall 2 010 Vol. 11 Issue 1 LETTER FROM THE NEW CHAIR This fall, as the halls of the Krannert Hall of Fine Arts fill once again with the sounds of musical and academic activities and UE welcomes a new freshman class, the University will also celebrate the inauguration of its twenty-third president. Thomas A. Kazee, PhD, joins UE from Furman University where he served as provost and executive vice president. Kazee’s arrival is already generating energy and excitement on campus. We as a department are looking forward to his vision and leadership as the University moves ahead. There is much to be excited about in the Department of Music this fall as well. The First Tuesday Concert Series enters its third season. This year’s concerts will include the Fall Faculty Gala, an all-octets concert, a performance of Milhaud’s jazz-inspired ballet La Création du Monde , our festive Holiday Pops Concert at The Victory Theatre, a concert of impressionist music, and a celebration of the 200th birthdays of Schumann, Chopin, and Liszt. We will also be anticipating many other outstanding performances by our faculty, students, and guest artists throughout the year. The Wind Ensemble is planning a tour to the Chicagoland Invitational Concert Band Festival in the spring, and the April orchestra concert will be a part of the celebration of UE’s 40-year relationship with Harlaxton College. Ensemble directors and students will enjoy the improved facilities in the large ensemble rehearsal room. The new projection and recording systems will greatly enhance student learning experiences in that much used space.
    [Show full text]
  • The Impact of Exposure to Chaozhou Xianshi Music on Preservice
    The Impact of Exposure to Chaozhou Xianshi Music on Pre-service Teachers’ Development as Music Educators Chun-Hoi Daniel NG B.A., M Phil. A thesis submitted to the University of New South Wales in partial fulfilment of the requirements for the degree Doctor of Philosophy 2006 CERTIFICATE OF ORIGINALITY ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed___________________________ Date_____________________ Chun-Hoi Daniel NG i ACKNOWLEDGEMENTS First and foremost, I would like to express my gratitude to my supervisor, Prof. Gary McPherson, for his unfailing support and advice by guiding my study all the way through from its inception to completion. I am really fortunate to have had Gary as my supervisor who is such an insightful educator and researcher. I am most grateful to my uncle, Mr. Ng Wing Wah whose artistry and enthusiasm in xianshi music has been a constant source of inspirations.
    [Show full text]
  • Royal Musical Association 51St Annual Conference
    Royal Musical Association 51st Annual Conference Wednesday 9 - Friday 11 September 2015 Bramall Music Building, University of Birmingham Contents Acknowledgements……………………………………………………………… 2 Welcome…………………………………………………………………………. 3 Conference timetable at a glance………………………………………………... 4 Conference programme………………………………………………………….. 5 Abstracts…………………………………………………………………………. 12 About the RMA………………………………………………………………….. 54 List of exhibitors and advertisers………………………………………………... 56 Calls for Conference Proposals ………………..………………………………... 57 Acknowledgements University of Birmingham Ben Earle (Lecturer in Music) Charlotte Gill (Events Manager) Royal Musical Association Programme committee Ben Earle Warwick Edwards Pauline Fairclough Andrew Kirkman, Chair Annie Mahtani Deborah Mawer Laura Tunbridge Marketing and Publicity Katy Hamilton RMA Conferences Sub-Group Peter Atkinson Keith Chapin Warwick Edwards, Chair Katy Hamilton Thomas Schmidt Conference programme book edited by Charlotte Gill, abstracts edited by Pauline Fairclough and Deborah Mawer The Royal Musical Association wishes to thank all the above, along with the Ashgate Publishing and Routledge Taylor & Francis Group for sponsorship of the conference receptions 2 Welcome Dear Colleagues, Welcome to the 51st Annual Conference of the Royal Musical Association, meeting at the University of Birmingham. Here we have assembled a programme of around 80 speakers from 12 different countries. The programme includes 10 panel discussions by internationally renowned academics, and individual papers on topics ranging from Dolly Parton to children‟s Beethoven in interwar Britain. The conference also includes the Edward J. Dent medal presentation and Lecture, by Alexander Rehding of Harvard University, and the Peter Le Huray Lecture by Georgina Born of the University of Oxford. In addition to the Annual General Meeting of the Association, there are receptions sponsored by Routledge and Ashgate Publishing and the usual exhibition of books and other materials.
    [Show full text]