On a given night in 2018, over half a million people were experiencing homelessness in the United States, and of those, about 36,000 were youth under the age of 25. Music is an indispensable part of young people’s identities and cultures, and understanding the ways in which homeless youth define their own musical preferences and use of music can help music therapists intervene effectively in youth homelessness as part of an interdisciplinary care team. The purpose of this project was twofold: 1) to conduct a descriptive research project pertaining to homeless young adults’ use of music and 2) to develop recommendations for music therapists based on research findings from the descriptive project and extant literature. Thirty-one homeless young adults (ages 18-26) were recruited for interviews from two resource centers serving homeless youth in a large metropolitan city in a southwestern state. Template analysis was used to systematically analyze and code participants’ verbatim transcripts from the interviews into a codebook. Quotes from the interviews were used to illustrate themes. Findings included that homeless youth used music, especially metal and rap, for coping and mood regulation, and that youth are also engaged in creative music making, especially singing and songwriting for self-expression. For some youth, certain music can be identity-forming (for better or worse) and certain other music can be triggering. Results are integrated with a review of literature and recommendations for practicing clinicians are presented. Music therapy with this population would likely yield best outcomes by using short-term interventions and culturally competent application of clients’ preferred music.

This project is an arrangement of three movements from Igor Stravinsky's most famous and beloved ballets for performance by classical guitar quartet. The movements arranged were "Augurs of Spring" from The Rite of Spring (1913), "Russian Dance" from Petrouchka (1911), and "Infernal Dance of All Kastchei's Subjects" from The Firebird (1910). Because the appeal of this music is largely based on the exciting rhythms and interesting harmonies, these works translate from full orchestra to guitar quite well. The arrangement process involved studying both the orchestral scores and Stravinsky's own piano reductions. The sheet music for these arrangements is accompanied by a written document which explains arrangement decisions and provides performance notes. Select movements from Stravinsky for Guitar Quartet were performed at concerts in Tempe, Glendale, Flagstaff, and Tucson throughout April 2016. The suite was performed in its entirety in the Organ Hall at the ASU School of Music on April 26th 2016 at the Guitar Ensembles Concert as well as on April 27th 2016 at Katie Sample's senior recital. A recording of the April 27th performance accompanies the sheet music and arrangement/performance notes.