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oai:www.ideals.illinois.edu:2142/20912 2023-07-10 col_2142_5131 col_2142_8800 com_2142_5130 com_2142_5132

Tozer, Steven E. Ladanyi, Kay Shuart 2011-05-07T12:52:53Z 2011-05-07T12:52:53Z 10000-01-01 1995 The aim of this study was to provide insight into the processes experienced by high school students who compose music with digital music equipment. Using a qualitative format, the study sought to achieve a better understanding of processes, patterns, structures, and outcomes which emerge during musical composition. Since musical composition is a personal experience, the study also looked for the musical relationships developed between the individual participants and their music. Information in each case study narrative includes: (a) a personal history profile; (b) a description of the essential nature of the student's motivation for composition; (c) a description of the student's compositional process; (d) a description of the student's individual compositional style; (e) the identification of new elements that emerged in the compositional style of the student over the period of observation; (f) a description of individual personality traits while working in the lab; (g) a description of how the student responded to the technology; and finally, (h) a narrative of the student's experience during the final project. Three key issues emerged from the analysis: (a) all of the students in the study did in fact complete musical compositions; (b) while the students appeared to illustrate three different types of compositional enterprise, the processes employed by all four greatly resembled those described by numerous professional composers; (c) opportunities for individualization facilitated by the equipment provided an ideal environment for intrinsic motivation which in turn permitted students to discover through immersion. The phenomena described give reason to seriously reflect on several important issues: (a) the fact that many students seem to have creative potential; (b) the importance of helping students experience self-actualization through creativity; (c) the importance of being open to alternative means for effective learning; (d) the possibility of a changing role for music educators, one which entails more comprehensive training. Made available in DSpace on 2011-05-07T12:52:53Z (GMT). No. of bitstreams: 2 license.txt: 4922 bytes, checksum: 910b249b4beec47e7ab768910c8f966f (MD5) 9543638.pdf: 13468012 bytes, checksum: 0de0e5f545fc253003bd444064553738 (MD5) Previous issue date: 1995 Item marked as restricted to the 'UIUC Users [automated]' Group (id=2) by Howard Ding (hding2@illinois.edu) on 2011-05-07T14:47:09Z Item is restricted indefinitely. Restriction data tranferred 2014-07-01T11:21:16-05:00 Original Data Group with Access UIUC Users [automated] Release Date: none Reason: ETDs are only available to UIUC Users without author permission ETDs are only available to UIUC Users without author permission U of I Only AAI9543638 (UMI)AAI9543638 http://hdl.handle.net/2142/20912 eng Copyright 1995 Ladanyi, Kay Shuart Music Education, Music Education, Secondary Education, Technology of Education, Curriculum and Instruction Processes of musical composition facilitated by digital music equipment text Music Education Education University of Illinois at Urbana-Champaign Dissertation Ph.D.