Listening to the Music: Compositional Processes of High School Composers

2002 ◽  
Vol 50 (2) ◽  
pp. 94-110 ◽  
Author(s):  
Mary A. Kennedy

The purpose of the study was to investigate the compositional processes of adolescents to clarify effective strategies for implementing composition activities in high school music programs. The study charted the progress of four high school music students as they completed two separate composition tasks. Data collection techniques consisted of semi-structured interviews, observation, and document analysis. Analysis consisted of studying the field note and interview texts, making marginal notes, sorting, and coding. A model was constructed that reflected the common processes of composition used by the four student participants. Important features of the model are the role played by listening, the necessity of individual thinking time, and the improvisatory character of the final products. Findings from the study suggest that although there may be common elements in student compositional processes, the nature of the compositional process is idiosyncratic.

1981 ◽  
Vol 1 (1) ◽  
pp. 67-88 ◽  
Author(s):  
Christopher M. Aranosian

This article explores the stream of consciousness as a primary source for the ideas from which music is created. Improvisation and composition are presented as behaviors which deserve attention at all levels of elementary and high school music programs; the cognitive foundations of each are discussed. Also, humanistic methods of teaching music are described in the article as being superior to the traditional behaviorist methods, because the former encourage the development of both representational and creative skills, while the latter reward representational skill development and discourage the skills needed to be a creator of music.


1974 ◽  
Vol 22 (4) ◽  
pp. 270-277 ◽  
Author(s):  
Terry Lee Kuhn

Thirty professional musicians were presented with 12 stimulus examples consisting of beats produced on a metronome. Initial beat tempo rate (60, 90, 120, and 150 beats per minute) and tempo modulation direction (Decrease, Increase, and Same) comprised the independent variables. Two dependent variables, number of correct responses on modulation directions and time required to discriminate a tempo change, measured the effect of tempo rate and modulation. Subjects correctly identified significantly more Decrease and Increase examples than Same examples ( F = 8.92; df = 2,58; p < .01). More Decrease examples were correctly identified than Increase examples; however, that difference was not significant. Decrease examples were identified in significantly less time than Increase examples ( F = 24.09; df = 1,29; p < .01). Time differences attributable to tempo rates and interactions were not significant. A replication of this experiment by Randall S. Moore using high school music students as subjects yielded markedly similar results.


2019 ◽  
Vol 67 (3) ◽  
pp. 323-338 ◽  
Author(s):  
Kenneth Elpus ◽  
Carlos R. Abril

The purpose of this study is to construct a complete demographic profile of high school music ensemble students using nationally representative data for the U.S. graduating high school class of 2013. We make use of restricted-use data from the National Center for Education Statistics High School Longitudinal Study of 2009 (HSLS). Results showed that 24% of the class of 2013 enrolled in at least one year of a course in band, choir, or orchestra at some point during high school. Music students were 60% female and 40% male, and the racial/ethnic composition of music ensemble students was 58% White, 13% Black or African American, 17% Hispanic or Latino, 4% Asian or Pacific Islander, 8% two or more races, and under 1% American Indian or Alaska Native. Students from the highest socioeconomic status quintiles were overrepresented among music students. Fully 61% of music ensemble students participated in some form of arts activity outside of school, and 71% of music students attended a play, concert, or live show with their parents as ninth graders. Complete results presented in the article include disaggregated profiles by type of ensemble and a multivariate logistic regression analysis.


2003 ◽  
Vol 51 (3) ◽  
pp. 190-205 ◽  
Author(s):  
Cecil Adderley ◽  
Mary Kennedy ◽  
William Berz

The purpose of the study was to investigate the world of the high school music classroom. Motivation to join music ensembles and to remain, perception of the musical groups by their members and by the school community as a whole, the meaning and value that music ensembles engender for their participants, and the social climate of the music classroom were explored. Structured interviews were conducted with 60 students—20 each from band, choir, and orchestra. Students joined ensembles for musical, social, academic, and family reasons. Insider views highlighted the importance of labels and identifiers and changing perceptions throughout one's school career, whereas outsider views included the opinion that musicians are talented, intelligent, and underappreciated. Ensemble participation yielded musical, academic, psychological, and social benefits. The social climate emerged as a pervasive element in the study as students noted the importance of relationships for their well-being and growth.


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