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Dissertations / Theses on the topic 'Creative composition'
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1
Morrison, John David. "Group composition and creative performance /." Access abstract and link to full text, 1993. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9315956.
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Wells, Robert. "Musical composition : creative social and educational practices." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/371692/.
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This commentary documents the changes in my compositional practice. It explores the rationale for my move towards collaborative compositional approaches, and the variety of processes that I have used. The work occurs in a range of environments, and involves diverse participants, highlighting the relevance of this work for people of all backgrounds, ages and skill levels. By altering the nature of the composition process and its context new arenas for educational and social practices have emerged. This commentary describes some of the benefits and challenges that arise from working in these new ways.
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Anderson, Jonathan Douglas. "The Creative Process in Cross-Influential Composition." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28386/.
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This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.
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Berg, Danita. "Re-Composition: Considering the Intersections of Composition and Creative Writing Theories and Pedagogies." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1573.
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Maintaining composition studies and creative writing as discrete disciplines may not be in the best interests of either field. But so long as the majority of scholars and practitioners of either field remain largely uninformed about one another, it is unlikely that any progress toward conjoining the two fields will occur. Various important and constructive efforts have been made for more than thirty years to establish a scholarly, interdisciplinary community that dedicates itself to examining points of intersection between composition and creative writing. Initially, such efforts appear to attract the attention from the broader communities of each discipline. Before long, however, participation in such scholarly discussions diminishes, as do most prospects for integrating changes inspired by the collaborative exchange-let alone any prospects for merging composition studies and creative writing into a single discipline.
Critical examinations of commonalities between composition studies and creative writing, while crucially important, cannot lead to a greater alliance between the two fields unless each field incorporates aspects of one another's disciplinary identity into its own. Chapter One introduces my study and considers the disciplinary histories of composition and creative writing, histories that reveal when and how they came to be separated even as they consistently were (and are) situated in the same department, the department of English. Chapter Two investigates how inventional techniques that have been conceptualized primarily in the field of composition studies can assist creative writing students in developing insights about their writing. Chapter Three extends this conversation by considering the social and collaborative techniques that can benefit the creative writing workshop. Chapter Four considers how a writing classroom can integrate genres traditionally associated with either composition or creative writing to allow students to develop a broader writing repertoire and, perhaps, an enhanced commitment to its continued development.
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Chen, Chi Wai, and cwchen@ied edu hk. "The creative process of computer-assisted composition and multimedia composition - visual images and music." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080107.115525.
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This research study investigates how music technology can enhance and develop the musical ideas of students, focusing on the creative processes involved in computer-assisted composition and multimedia composition. The study investigates the Creative Multimedia Music Project, a module of the Associate of Arts (Music) Degree where students are using computers as music workstations. The aims of the study are (a) to evaluate the use of music technology for composing; (b) to describe the creative process of composing and investigate how the students comprehend this; and (c) to analyze the relationship between the creative process of the musical treatment and the visual image in multimedia composition. The study is conducted in an exploratory, self-directed environment where the students make musical decisions about their compositions. From the preliminary survey, 10 out of 45 music-major students (Year Two) from the Associate Degree Music Program at the Hong Kong Institute of Education (HKIEd) were selected. Composition activities took place over 15 sessions. The first phase focused on computer-assisted composition and the second phase focused on multimedia composition. The students attended lectures on alternate weeks. This gave them enough time to compose in the laboratory or at home, allowing them to explore, make decisions, and evaluate decisions. Data were collected from four sources: (1) written reports including a musical analysis of the creative process, (2) one-to-one interviews conducted during and after the creative process (15 questions were asked in each phase), (3) self-reflective journals that students maintained during their creative process, and (4) MIDI file observations after the creative process had occurred. After data collection, commonalities between each of these data sources were analyzed. This highlighted that during the creative process, a developmental pattern emerged that extends Webster's model (2003) of creative thinking in music. The relationships between the findings and the lite rature review were articulated to reinforce the creative thinking model, trends, and perspectives from different sources. Through an analysis of these students' creative processes and the strategies they adopted while composing with music technology, research projects such as this one may provide composers, music technologists, and music educators with insights into how students approach the task of composing using music technology. The findings might prove as a useful guidance to music educators on how to structure computer-assisted composition and multimedia composition programs for different age groups from school to university.
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Marsh, Meredith. "Good Writing: Integrating Creative Writing Elements in Undergraduate Composition." University of Findlay / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1469050437.
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Evans, Kelley E. "Body Composition." View abstract, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3319029.
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Fodrey, Crystal N. "Teaching Undergraduate Creative Nonfiction Writing: A Rhetorical Enterprise." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/319904.
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This project presents the results of a case study of creative nonfiction (CNF) pedagogical practices in undergraduate composition studies and creative writing courses at The University of Arizona, exploring how those who teach CNF at this top-ranked school for the study of the genre are shaping knowledge about it. This project analyzes within a rhetorical framework the various subject positions CNF teachers assume in relation to their writing and teaching as well as the teaching methodologies they utilize. I do this to articulate a theory of CNF pedagogy for the twenty-first century, one that represents the merging of individualist and public intellectual ideologies that I have observed in teacher interviews, course documents, and pedagogical publications about the genre. For students new to the genre, so much depends on how CNF is first introduced through class discussion, representative assigned prose models, and invention activities when it comes to creating knowledge about exactly what contemporary CNF is/can be and how writers might best generate prose that fits the genre's wide-ranging conventions in form, content, and rhetorical situation. Understanding how and why instructors promote certain ideologies in relation to CNF becomes increasingly important as this mode of personally situated, fact-based, narrative-privileging, literarily stylized discourse continues to gain popularity within and beyond the academy.
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Bridgewater, Gillian, and n/a. "Saving Alicia." University of Canberra. Creative Communication & Culture Studies, 1999. http://erl.canberra.edu.au./public/adt-AUC20060609.155229.
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Saving Alicia is a creative thesis written to explore the possibility of
incorporating some non-fictional concepts of neurophysiology into a work of
fiction. The initial component presents the historical and contemporary
context in which such a work is written along with an analysis of the writing
techniques employed by other writers in the field. It sets out the aim of the
subsequent creative composition.
The second, and major, component of this thesis is a work of fiction. A story
is developed in which the protagonist, a young woman, revives her deceased
mother's neurophysiological research work in the hope that it will help her
brain-damaged niece, Alicia, recover. For this she is dependent on two men
who were her mother's colleagues. As they compete for her attention, while
pursuing their own conflicting goals, the protagonist maintains her
determination to keep her mother's work going. She has no prior knowledge
of neurophysiology and, so that she can understand the research, she is keen
to learn some of its basic concepts.
Woven through the story of Saving Alicia are descriptions of neurons and their
physiology. This is presented to the protagonist through the mouths of the
two researchers. In this way, the non-fiction is interspersed with the fiction.
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Sharp, Leta McGaffey. "CREATIVE NONFICTION ILLUMINATED: CROSS-DISCIPLINARY SPOTLIGHTS." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194720.
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Creative nonfiction is abundant and popular. There are many names and definitions for this fluid, multimodal genre, which has played a role in its marginality in academia. This dissertation examines creative nonfiction in composition, creative writing, and journalism. I argue that distinct beliefs and values of each discipline have led to compartmentalized, disciplinary-specific definitions and uses of creative nonfiction. To understand why this is, and to develop and a cross-disciplinary understanding, I use Amy Devitt's rhetorical genre theory to illuminate cultural beliefs and values that influence the names, definitions, subgenres, and views of the genre in each field. A rhetorical understanding of genre reveals the purpose of creative nonfiction, the themes it conveys, and perhaps why it is so persuasive and powerful. In examining composition I analyze the historical development of creative nonfiction, its definitions, and current beliefs and values about teaching composition. I argue composition limits its view of creative nonfiction by too often equating it with the personal essay. A personal-expressive pedagogy would help teach creative nonfiction. In creative writing I analyze the definitions of creative nonfiction and the AWP's statements about creative writing education. I argue creative writing has inclusive definitions, if not rhetorical, but the culture of literature limits the genre for students. A strength of creative writing is the teaching of craft that I argue is beneficial for teaching creative nonfiction. In journalism I analyze the culture of objectivism from which literary journalism emerged. I argue literary journalists have developed definitions that identify the purpose of literary journalism and narrative form. I express concerns about the separation of journalism from composition and creative writing that has limited discussions about creative nonfiction and literary journalism. Finally, I argue each discipline should value one another's views and agree on dissensus instead of focusing on denying one another or trying to find a single name and definition. I suggest narrative nonfiction as a subset of creative nonfiction that would benefit students in composition. Creative nonfiction engages students in writing and examining the sociopolitical world from a personal perspective, which aids them in becoming writers for life.
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McDonald, Zoe Nicole. "Writing Gets Personal: Listening at the Intersections of Creative Writing and Writing Tutoring." ScholarWorks @ UVM, 2018. https://scholarworks.uvm.edu/graddis/842.
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In this thesis, I investigate the extent to which creative writing impacts the ways writing tutors work with student writers on their academic writing. In doing so, I interview five writing tutors with creative writing experiences for their personal definitions of creative writing, and the extent to which drawing on, or ignoring, creative writing impacts their writing tutoring.
Through combining the interviews with reflections into my writer identities, I find creative writing focuses on self-expression and narrative features which strengthen disciplinarity and conventions. Additionally, focusing on creative writing’s influence in the writing center allows tutors to engage as fellow writers able to learn alongside the students they tutor.
Specifically, I notice writing tutors perceive a division between creative and academic writing. Crossing that perceived division requires a willingness to confront assumptions about academic and creative writing, but allows for the opportunity for tutors and the students they tutor to deepen their writing processes.
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Garberich, Mark David. "The nature of inspiration in artistic creativity." Diss., Connect to online resource - MSU authorized users, 2008.
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Wirtz, Jason. "Poets on inventing revisioning invention theory, practice and pedagogy within rhetoric, composition, English education and creative writing /." Diss., Connect to online resource - MSU authorized users, 2008.
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Britt, Cynthia. "Midwife and Mother: Maternal Metaphors in the Composition Classroom." TopSCHOLAR®, 2003. http://digitalcommons.wku.edu/theses/582.
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This study examines the maternal metaphors of midwife and mother used to describe instructors and teaching practices in the composition classroom. In the introduction the author describes her interest in the topic based on her own experiences as a mother and as a beginning composition instructor. The paper explains the initiation of the metaphors, what the metaphors and maternal pedagogy mean in terms of classroom practices and philosophies, criticisms of maternal practices, and the relevancy and legitimacy of the metaphors and maternal pedagogy in classrooms today. Section one explores the development of the metaphors to describe composition teachers related to the composition and literature agendas created in the nineteenth century American university system. Other influences discussed in the metaphors usage and in the development of a maternal pedagogy are the 1970s revitalization of the women's rights movement and of the process pedagogy revolution. Section II surveys literature describing the philosophies of maternal pedagogy and maternal metaphors and their translations into classroom practices. Section III outlines the criticisms developed in reaction to maternal practices. Section IV details the results of surveys completed by freshmen composition students and composition instructors at Western Kentucky University. In the conclusion, the author considers the information and opinions presented and the survey results and draws conclusions about the relevancy of maternal metaphors and maternal pedagogy to the composition field and for her own teaching practices and philosophies.
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Butler, Michele Jean. "Understanding the aesthetic effect of the familiar essay and its importance in the composition class." CSUSB ScholarWorks, 1987. https://scholarworks.lib.csusb.edu/etd-project/406.
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LaGrotteria, Angela. "Feminist Pedagogies in the Creative Writing Classroom: Possibilities and Reflections." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1498598135412239.
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Cofer, Matt Cliff. "Revising muses: Irrationality, creativity, and composition." CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/789.
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Picknett, Michael David. "Devising music : applying creative approaches from dance and theatre to music composition." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17348/.
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My principal research question is: How can the directed devising techniques and principles of practice found in contemporary dance and theatre be adapted to the composition of music? The relationship between fixed material and improvisation within devised projects is often a grey area (see Etchells: 2013b). Some performances are tightly scored with little room for the performers to steer the performances - whereas other performances could be almost seen as free improvisation. The difference between improvisation and devising is always found in the performer’s relationship to the material. Devising processes can generate material whose definition is so elusive that its realisations vary wildly from night to night. But however inexpressible, devising material always has a definite meaning for the performers to which they return in every performance - seeking to generate new interactions and new connections. In every performance we search to find the ephemeral moments that might become a lasting memory. During my research, I have become increasingly interested in developing a performance practice that uses performer freedom to discover and stimulate unique experiences within performances. Although I feel I have made progress in moving towards this, I know that there is much more to explore in this practice.
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McCrary, Robin Micah. "Toward a Cultural Competence in Creative Writing Pedagogies." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1578408835816055.
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Harmon, Thaddeus. "Sky Lifting His Skirts." Digital Commons @ Butler University, 2015. http://digitalcommons.butler.edu/grtheses/415.
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Fennick, Ruth McLennan Fortune Ron. "The creative processes of prose-fiction writers what they suggest for teaching composition /." Normal, Ill. Illinois State University, 1991. http://wwwlib.umi.com/cr/ilstu/fullcit?p9203044.
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Thesis (D.A.)--Illinois State University,Title from title page screen, viewed December 19, 2005. Dissertation Committee: Ronald Fortune (chair), Janice Neuleib, Ray Lewis White, Elizabeth McMahan, Russell Rutter. Includes bibliographical references (leaves 441-479) and abstract. Also available in print.
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Harris, Sarah E. "From the Fictional to the Real: Creative Writing and the Reading Public." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/297049.
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In this project, I argue for the importance of public engagement as a method of scholarship for the discipline of creative writing, in writing studies, and the broader humanities. I do so by using historical study, ethnography and survey data, in order to trace the history of creative writing's disciplinarity, define its contemporary practices as socially collaborative and inventive, and show how those practices align with the goals and methods of public engagement projects. This dissertation contributes to a growing body of work in composition studies calling for collaboration between composition and creative writing, and I argue that though creative writers in the academy often participate in what is variously called "community outreach" or "public engagement" activities, that work can and should be more clearly articulated as part of the work of the discipline. Higher education's recent turn toward public engagement--as evidenced by monographs on the subject but also by real-world changes like the addition of language about public engagement to the tenure and promotion guidelines and ten-year plans of many universities--presents a compelling opportunity to re-articulate what it means to be a writer in the university. Work in public engagement provides new access to institutional prestige and funding, and opens connections between the various areas of writing studies in order to better serve university communities, teachers, and students.
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Swanson, Susan. "Foibles, Follies and Fantastic Occurrences: First-Time Teaching and the Composition Classroom." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/381.
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Foibles, Follies and Fantastic Occurrences: First-time Teaching and the Composition Classroom explores incidents that expectedly—and often, unexpectedly—occur in any instructor's classroom, but especially focuses on the first-time instructor. Following the author's journey from graduate student to graduate assistant to teaching assistant, the thesis describes the steps along the way to teaching that many who have written about the subject leave out—how to negotiate the days before classes begin, what to do to appear older than the students themselves, how to create an interesting and creative syllabus. Once classes begin, instances involving student competition, peer review, responding to student essays and handling student excuses arise and are confronted and reflected upon by the author. In order to negotiate these instances, specific events that occurred in the author's classroom are used as examples. Added to these examples are insights from other instructors, pedagogical practices, scholarship from wise and experienced writers and teachers and suggestions on ways to handle such occurrences in the future. The author calls specifically for more conversation on the subjects that bear little scrutiny in the academic world—those events that embarrass, fail, intimidate and confuse. With more conversation on classroom problems of any kind, teachers might learn from one another's experiences and find new solutions. Moreover, new instructors will feel more comfortable with expressing concerns and realize that they are not alone in their fears about teaching. While each classroom is different and has its own set of circumstances, the insights offered by the author draw on myriad other teachers' experiences and proposals and are adaptable to many types of classrooms.
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Chung, Fiona, and 鍾雅妍. "Music composition and creative writing: exploration and application of frames in music and word." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B40987863.
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Chung, Fiona. "Music composition and creative writing exploration and application of frames in music and word /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B40987863.
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Novosel, Nicholas Edmund. "Teaching Them to Fish: Creative Nonfiction as a Toolkit for Transfer." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1525276581724881.
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Barsky, Carol. "Images of Art: Katherine Mansfield's Use of Line, Color, and Composition in Her Short Stories." TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/893.
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Katherine Mansfield's short stories include numerous visual images, many of which contribute significantly to the stories' moods and themes. Her visual imagery has been linked with literary devices such as symbolism and irony. This study, however, emphasizes three major principles of the visual arts apparent in her imagery—line, color, and composition—that also play important roles in imbuing a substantial number of her images with possible meaning. The prominence and skillful handling of these artistic techniques suggest that she purposely wove them into her works to produce psychological effects that induce moods or support themes. As a result, Mansfield successfully merged verbal and visual languages to promote a greater sensitivity to her characters' perceptions and feelings. Mansfield's ability to see and creatively imitate reality as painters do, her friendship with painters (particularly Dorothy Brett), and other documented evidence of a fascination with the visual arts point to an apparent dependence on artistic techniques and theories that add an essential dimension to many of her stories. The most compelling evidence, however, exists within the many visual images themselves.
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Yeung, Yin Mui. "The effectiveness of idea generating to improve students' writing at junior secondary level." HKBU Institutional Repository, 2004. http://repository.hkbu.edu.hk/etd_ra/556.
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Dingman, Toni SuzAnne. "Facilitating creativity through the discipline of craftsmanship within the writing process." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/770.
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Buckley, Morgan. "Creative performer agency in the collaborative compositional process." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278870.
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The early-twentieth-century culture in western art music of idolizing the composer as the autonomous creative genius has been challenged by recent developments across musicology and creativity research literature. The composer’s music is now regarded as the product of a collaborative network, influenced by all who come into contact with it—first and foremost the performer. Yet, the nature of the performer’s creative impact on the compositional process remains under-explored. This thesis is centred on a qualitative artistic research project, designed to identify and critically evaluate the prospective extent and scope of creative performer agency; it aims to ascertain how a typical lack of familiarity with the instrument may affect the composer’s creative practice, and to reveal key factors that shape the nature and the consequences of composer-performer interaction and collaboration. It proceeds by commissioning new works for guitar from a range of composers for different performers, and by documenting and analysing the processes of collaboration that result. This research agenda challenges the perception of distinct creative roles that remains resilient in present-day cultural understandings and discourse. The findings are intended to broaden understanding of contemporary collaborative practices in the compositional process for the guitar and generalize to the guitar repertoire of the long twentieth century, during which the majority of substantial works were composed in collaboration. The thesis also contributes to a developing and generalizable framework of practice-led research literature that analyses music-making by recognizing the multiple loci and their interactions that underpin all aspects of the creative processes. Chapter 1 discusses the establishment of the creative hegemony of the composer and its opposing currents across disciplines from the late romantic period to the late twentieth century. Chapter 2 comprises an indicative chronology of select collaborations in the long twentieth-century guitar repertoire and an overview of relevant practice-led research projects in performance studies. Ethnographic methodologies are reviewed in Chapter 3 and the fieldwork commissions are analysed in Chapters 4 and 5. Finally, Chapter 6 comprises an evaluation of the performer’s creative agency and its significance when placed in broader frameworks of contemporary guitar practices, contemporary composition across instrumentations, generalizing to historical guitar collaboration and its implications for creativity research.
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Soldh, Anders. "I huvudet på en kompositör : Den kreativa processen i handling och tanke." Thesis, Örebro universitet, Musikhögskolan, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-12613.
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Thesis in Musicology and Artistic Practice by Anders Soldh. Part of the work for the master’s degree. Studies from School of Music, Theatre and Art, University of Örebro, 2007. Available from School of Music, Theatre and Art, Örebro University, SE-701 82 Örebro, Sweden. Original in Swedish. This essay in musicology describes the work concerning the composition of an orchestral piece and the different strategies and approaches which are essential in order to be in control of your work and to make a piece of music sound the way you want it to. It consists of two different parts: 1) The theory part: This first part describes the importance of planning. This planning consists of how to determinate duration, number of themes, form and orchestration in a piece of music. It also brings up the importance of time management.Further, it deals with problems you might find in the collaboration with a soloist and orchestra. In the orchestral section of this part of the essay, the different instruments and their families are brought up. Finally, the theory section talks about the role and importance of the audience. 2) The practical part: This second part (from chapter 7), which includes the score of the piece ”Medvind”, consists of a complete analysis of the music. This analysis shows how the subjects spoken of the theory part are dealt with in practice when writing a piece of music. Included in this part is also a recording of the piece played by ”Svenska Kammarorkestern” with Mats Norrefalk as soloist.
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Albertson, Luann R. "A cognitive-behavioral intervention study : assessing the effects of strategy instruction on story writing /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/7710.
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Renberg, Gustav. "Musikaliska influenser : Och deras inflytande på en kompositionsprocess." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3994.
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In this project, Gustav Renberg has explored new methods of integrating different musical influences into his compositions. He examines how incorporating rules and criteria can affect the creative process, as well as the result. Some of his main goals with the project has been to broaden his perspective and to strengthen his own musical voice. Renberg describes the creative process of each composition, as well as the methods he used. He also conducted two separate interviews with two established and renowned musicians to dwell even deeper into the subject. Furthermore, he describes the process of putting his group together and the results of his final concert. Renberg concludes that the project has given him new tools for composing, and that it has strengthened him as a writer, as well as a musician in whole. He has created a method that has expanded his frame of reference, and he expresses how he looks forward to further develop it in the future.Medverkande musiker:
Gustav Renberg - gitarr
Sebastian Jonsson - saxofon
Britta Virves - piano
Tomas Sjödell - kontrabas
Jonas Bäckman - trummor
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Cassar, Mariella. "Creative responses to Maltese culture and identity : case study and portfolio of compositions." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3112.
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The aim of this thesis is to explore the relationship between place, identity and musical practice. The study is inspired by Malta’s history and culture. This work presents a portfolio of seven musical compositions with a written component that highlights the historical and socio-cultural issues that had a bearing on the works presented. A case study of the Maltese composer Charles Camilleri is also provided. Camilleri is both a great example of a composer for whom the articulation of national identity was a primary concern and a constant source of inspiration for the author of this thesis. The pieces presented here comprise compositions for chamber ensemble, works for orchestra and two electroacoustic pieces. These works were part of projects translated into performances and artistic installations. All of them have been carried out over the past six years and the majority have been developed through synergetic collaboration with other artists. The majority of the compositions have direct links with Maltese culture and the important events in its history. All the works presented in the portfolio are bound in separate volumes and reference is made to them in the critical commentary within the body of the thesis. A number of CDs and DVDs accompany this document with recordings and MIDI files of the selected compositions.
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Royster, Brent Jason. "THE CONSTRUCTION OF SELF IN THE CONTEMPORARY CREATIVE WRITING WORKSHOP: A PERSONAL JOURNEY." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143553443.
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Landrum-Geyer, Denise J. "Excavating the Essay: A Generic Approach to Understanding Invention in the Composition Classroom." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1280169079.
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Bezi, Nicole Allison. "Exploring creative writing in the middle school classroom via the effective use of multimedia." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2800.
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The purpose of this project is to develop a website by which students can improve their understanding of literary elements. This project will aid the students in completing some research as part of the initial stages of the WebQuest, to help them better understand the importance of literary elements.
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Melvin, Andrew. "The creative symbiosis of composer and performer (An examination of collaborative practice in partially improvised works)." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5513.
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This thesis comprises a portfolio of compositions with supporting commentary in addition to a general commentary on past and contemporary models of performance practice. The compositions all use elements of improvisation and are documented in recorded and score formats. Recordings and discussion of the rehearsal process of these works are also included. The thesis is divided into four parts. The first, entitled ‘Context’, examines issues of performance practice through reference to both historical and contemporary models. In this regard, particular attention is given to the work of Miles Davis and Peter Wiegold. Parts 2, 3 and 4 consist of the portfolio of original compositions with sub-headings as follows: ‘Beginnings’, ‘Transition’ and ‘Current Projects’. As a part of the commentary on the portfolio, the role of the performer as creative artist will also be examined.
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Tapleshay, Jack. "Synectics: Applying its methods and techniques to the composition class." CSUSB ScholarWorks, 1986. https://scholarworks.lib.csusb.edu/etd-project/359.
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Amer, Eman El-Sayed Arafa Abdel-Razek. "The effectiveness of using invention techniques in developing written composition and creative thinking of Egyptian EFL students." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272995.
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Fishenden, Jerry. "Interactive digital technologies and the user experience of time and place." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9023.
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This research examines the relationship between the development of a portfolio of interactive digital techniques and compositions, and its impact on user experiences of time and place. It is designed to answer two research questions: (i) What are some effective methods and techniques for evoking an enhanced awareness of past time and place using interactive digital technologies (IDTs)? (ii) How can users play a role in improving the development and impact of interfaces made with IDTs? The principal creative and thematic element of the portfolio is the concept of the palimpsest, and its artistic potential to reveal visual and aural layers that lie behind the landscapes and soundscapes around us. This research thus contributes to an evolving cadre of creative interest in palimpsests, developing techniques and compositions in the context of testing, collating user experience feedback, and improving the ways in which IDTs enable an artistic exploration and realisation of hidden layers, both aural and visual, of the past of place. An iterative theory-composition-testing methodology is developed and applied to optimise techniques for enabling users to navigate multiple layers of content, as well as in finding methods that evoke an increased emotional connection with the past of place. This iterative realisation cycle comprises four stages - of content origination, pre-processing, mapping and user interaction. The user interaction stage of this cycle forms an integral element of the research methodology, involving the techniques being subjected to formalised user experience testing, both to assist with their further refinement and to assess their value in evoking an increased awareness of time and place. Online usability testing gathered 5,451 responses over three years of iterative cycles of composition development and refinement, with more detailed usability labs conducted involving eighteen participants. Usability lab response categories span efficiency, accuracy, recall and emotional response. The portfolio includes a variety of interactive techniques developed and improved during its testing and refinement. User experience feedback data plays an essential role in influencing the development and direction of the portfolio, helping refine techniques to evoke an enhanced awareness of the past of place by identifying those that worked most, and least, effectively for users. This includes an analysis of the role of synthetic and authentic content on user perception of various digital techniques and compositions. The contributions of this research include: • the composition portfolio and the associated IDT techniques originated, developed, tested and refined in its research and creation • the research methodology developed and applied, utilising iterative development of aspects of the portfolio informed by user feedback obtained both online and in usability labs • the findings from user experience testing, in particular the extent to which various visual and aural techniques help evoke a heightened sense of the past of place • an exploration of the extent to which the usability testing substantiates that user responses to the compositions have the potential to establish an evocative connection that communicates a sense close to that of Barthes' punctum (something that pierces the viewer) rather than solely that of the studium • the role of synthetic and authentic content on user perception and appreciation of the techniques and compositions • the emergence of an analytical framework with the potential for wider application to the development, analysis and design of IDT compositions
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Bacino, Meghan E. "Genre, practice, and the composition classroom what students learn about language and community discourse practices through a pedagogy of genre awareness /." Diss., Connect to online resource - MSU authorized users, 2008.
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Delecluse, Francois. "Dans l'atelier de Claude Debussy. Processus créateur et méthodes de composition dans les esquisses des dernières oeuvres,1915-1917." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES039.
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L’objet de cette thèse consiste à décrire le processus et les techniques de composition utilisées par Claude Debussy à la fin de sa vie. À partir d’une réflexion préliminaire sur la situation et les conditions des pratiques compositionnelles de Debussy, plusieurs éléments du processus créateur et un certain nombre de techniques de composition peuvent être illustrés, en se fondant sur une analyse des esquisses qui conservent la trace du travail créateur. Ces dernières prennent la forme de ratures, interprétables grâce aux outils que fournit la critique génétique. Le corpus considéré embrasse plusieurs avant-textes d’œuvres composées durant l’été 1915, En blanc et noir pour deux pianos, les Douze études pour piano et la Sonate pour violoncelle piano, auxquelles s’ajoute la Sonate pour violon et piano, composée entre 1916 et 1917. Les documents les plus intéressants des dossiers génétiques, porteurs de traces abondantes du processus créateur, ont fait l’objet de transcriptions diplomatiques. Ces dernières ne constituent pas des facsimilés normalisés, mais offrent une représentation du manuscrit dans sa dimension à la fois spatiale et temporelle, tout en le reliant au devenir de l’œuvre. Ces transcriptions sont au fondement des analyses par lesquelles sont envisagés trois grands angles d’approche que la lecture des esquisses a fait émerger : la genèse des idées, les techniques de composition appliquées au matériau et la gestation de la forme musicale. La notion d’idée musicale permet d’explorer d’abord la constitution du projet musical, souvent cristallisé autour d’un élément extra-musical, puis le rapport entre l’invention mélodique et le processus de composition et, enfin, la construction des phrases musicales. Les techniques de composition mises en lumière se structurent par couples complémentaires : l’ellipse et l’interpolation, l’harmonie et le rythme, la duplication et la variation. La forme musicale est abordée selon deux problèmes apparents dans les esquisses : premièrement, la relation entre les fonctions formelles et leur mobilité, propre à l’œuvre in statu nascendi ; deuxièmement, la difficulté spécifique des zones conclusives. Cette « visite » de l’atelier de Debussy permet de faire l’hypothèse d’une méthode de composition reposant sur les catégories dégagées par l’analyse que d’autres travaux pourront étayer, nuancer ou préciserThis dissertation describes the compositional process and the techniques used by Claude Debussy at the end of his life. Starting from a preliminary thought on the status of Debussy’s compositional practices, several features of the creative process and some compositional techniques may be highlighted, by analysing the sketches which record the traces of the creative work. These traces appear as crossings-out, which can be interpreted with the tools given by the genetic criticism. The corpus includes several avant-textes from works composed during the summer 1915, En blanc et noir for two pianos, the etudes for the piano, and the cello sonata plus the violin sonata, composed between 1916 and 1917. From the most pertinent documents, that are part of the genetic files and carry many traces of the creative process, diplomatic transcriptions have been realised. They do not constitute facsimile, nor normalised transcriptions; they rather represent the manuscript in terms of time and space, linking it also to the achieved work. These transcriptions form the basis of the analysis through which three perspectives are considered: the genesis of the ideas, the compositional techniques applied to the material, and the gestation of the musical shape. The notion of musical idea allows exploring first the constitution of a musical project, often focused on an extra-musical element, then the relationship between the melodic invention and the compositional process, and, lastly, the building of musical phrases. The compositional techniques go in complementary pairs: the ellipse and the interpolation, the harmony and the rhythm, the duplication and the variation. The musical shape is approached from two points of view: first, the relationship between the formal functions and their mobility, peculiar to the work in progress; second, the specific difficulty located in the conclusion areas. This ‘guide tour’ from Debussy’s studio leads up to hypothesise that there is a compositional method, relying on the categories identified by the analysis, and that further studies can support, moderate and precise
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Aguilar, Beatriz E. "The effect of individual versus collective creative problem solving experiences on fourth- and fifth-grade students' compositional products." Thesis, connect to online resource, 2004. http://www.library.unt.edu/theses/all/Dec2004/aguilar%5Fbeatriz%5Fe/index.htm.
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Kozdras, Deborah. "From Real to Reel: Performances of Influential Literacies in the Creative Collaborative Processes and Products of Digital Video Composition." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1687.
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In this study, I used a lens of performance theory to examine the creative collaborative processes of middle school students who composed digital videos. More specifically, I investigated the multiliteracies involved in a filmmaking camp and how students performed those literacies in ways that influenced the composition processes and the resulting texts. In order to study collaborative composition processes, I used ethnographic methods. In order to analyze data, I employed a mixed methodology of constant comparative analysis and dramaturgical analysis of interactions in three main informant groups in order to understand how students used multiple literacies to influence the composition processes and products. During these processes, students employed tactics and style to gain authority over designing group attention to their ideas. This resulted in an overall model of PAID Attention (paying attention, attracting attention, immersing attention, and designing attention). The use of influential literacies in this project was two-fold: students used literacies to influence texts, and as a result, those texts required the students' attention. Furthermore, when the students paid attention to the emerging task-at-hand, they were able to gain authority and agency for designing attention (to their texts by an audience) through influential performances of literacies. As found in this study, these patterns were not a solid package of cultural norms. Rather, the style emerged with the text and transformed with the different multiliteracies required during composition processes as students performed literacy knowledge. This study initiated an examination of influential literacy performances as the use of creative tactics during collaborative composition processes. I recommend further work examining multiliteracies as knowledge performances in a variety of settings in order to develop models to help students influence texts with their creative ideas and gain authority in collaborative groups.
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Fuelling, Christopher J. "The Ariadne project : a companion paper to the creative thesis 698 composition and performance of the opera/installation, Ariadne." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/845926.
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The performance of my opera/art installation, Ariadne, on April 2 and 4, 1993, in Recital Hall, culminated a year of research, composition, production, and rehearsal upon the Ariadne Project, an interdisciplinary art collaboration. My project brought together the research, creative, and performance skills of many individuals throughout the university community and beyond. Designed as a companion paper to this composition and performance, this paper documents the inception, creation, production, and performance of the Ariadne Project. It also addresses the issues and sources dealt with and assessess the effectiveness of the product and the process.Department of Art
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Nabavian, Shahin. "Distributed cognition in joint music composition : exploring the role of language and artefacts in multi-session creative collaborative work." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/485.
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My thesis takes steps towards understanding the role technology can play in supporting multisession creative collaborative work. This is achieved by exploring the relationship between the outcomes of a session of work and the resources available within the environment where work takes place. My domain of study is Joint Music Composition, which is a form of collaborative work that requires participants to generate, share, develop and remember information about a musical composition across a number of sessions. Although musical instrument and recording technology have advanced, there appears to be little understanding of how technology can be used to support collaboration in Joint Music Composition. To investigate this, I used the Distributed Cognition framework (Hutchins, 1995a), which has traditionally been employed to study work activities within socio-technological settings, to better understand how to support collaboration and coordination within my domain of study. The findings of my thesis are based on studies conducted in real life settings (i.e., field) and in environments that I helped to organise (i.e., laboratory). Research from the field describes how groups naturally organise their session, their physical setting, and their communication. It also helps to highlight a number of issues relating to the cognitive burden associated with compositions when they are in development. The first laboratory study illustrates the distributed nature of problem solving in Joint Music Composition by giving examples of different ways knowledge is shared within the group and across sessions. The second laboratory study describes how a shared work space appears to change the way knowledge is represented and distributed within two different rehearsal set-ups. Overall, the main insights that are applicable to informing design relate to the way practitioners of Joint Music Composition manage the distributed nature of problem solving using transient representations across multiple sessions of work.
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Ficagna, Alexandre Remuzzi 1983. "Entre o sonoro e o visual : a composição por imagens." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285292.
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Orientador: Silvio Ferraz Mello FilhoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T21:08:49Z (GMT). No. of bitstreams: 1 Ficagna_AlexandreRemuzzi_D.pdf: 38467832 bytes, checksum: 6f3c2941f6e40b7de0a08533fd45c056 (MD5) Previous issue date: 2014
Resumo: Esta tese tem por objeto de estudo a composição assistida por imagens visuais na música instrumental. Nela abordamos o processo composicional em que a visualidade da partitura é um importante espaço de manipulação. Por partitura entendemos aqui a superfície de registro tradicionalmente tomada como espaço de manipulação de imagens sonoras. Para este estudo tomamos por referência a noção de percepção intermodal para pensar a relação de imagens sonoras com imagens visuais e táteis como ferramenta para a composição musical. Nosso ponto de partida é o trabalho dos compositores Iannis Xenakis e Salvatore Sciarrino, compreendidos lado ao trabalho dos artistas visuais Paul Klee e Wassily Kandinsky. De Klee e Kandinsky, destacamos o trabalho com a temporalidade dos elementos visuais através da realização de 'leituras pictóricas' de elementos e conceitos musicais; de Sciarrino, a presença da visualidade na composição musical, fator por ele atribuído à influência da notação musical; e de Xenakis, a elaboração de um sistema visual a partir da equivalência entre elementos visuais e sonoros, manipulando imagens visuais como se fossem imagens sonoras. Neste processo o trabalho de outros compositores também serviu como referência. A pesquisa sobre o processo criativo de compositores que mencionam imagens visuais em seus relatos composicionais revela duas abordagens: a manipulação de imagens visuais através de imagens sonoras, observada quando a influência da visualidade não implica a manipulação direta de imagens visuais, mas sim uma 'leitura musical' de tais imagens; a manipulação de imagens sonoras através de imagens visuais, abordagem relacionada ao trabalho de Sciarrino e Xenakis. Além dos compositores relacionados à segunda abordagem há os autores que propõem visualizações para modelos sonoros, como Lachenmann, Thoressen e Blackburn: a análise de suas proposições fornece subsídios à elaboração de visualizações próprias, bem como sugere a criação não só a partir da visualidade, mas com a visualidade. A tese está apresentada em dois momentos, um compreendendo o estudo conceitual da relação entre imagens visuais e composição musical, e outro, de cunho prático, em que procurou-se uma aplicação do pensamento composicional a partir de imagens. No que diz respeito ao segundo momento, apresentamos nesta tese as composições Estudo (quarteto de clarinetes), Escondido num ponto (flauta, sax alto, cello e piano) e Enrascada (clarinete, fagote e piano). A partir delas destacamos a influência recíproca dos espaços de manipulação (visualizações através de desenhos e escrita na partitura), aqui chamada de intermodulação, processo constatado durante a composição de Estudo (em que o esboço visual foi alterado na etapa da escrita) e explorado na composição de Escondido num ponto (com desenho e escrita se influenciando passo a passo). A composição de Enrascada traz reflexões sobre as particularidades de cada espaço de manipulação em relação ao trabalho com determinadas imagens sonoras. Conclui-se que a questão da influência recíproca entre imagens visuais e sonoras (e seus espaços de manipulação) permite trazer ao ato da composição a potência de domínios táteis e visuais, sem que isto implique em transposições meramente descritivas, mas sim na proliferação de possibilidades
Abstract: The objective of this research is to study the musical composition aided by visual images in instrumental music. The visuality of musical score is seen as a relevant manipulation space. By musical score we mean the recording surface commonly used as a manipulation space for sonic images. A relevant notion for this study is intermodal perception, which allows us to think the relation between sonic images and visual and haptic images as a tool for musical composition. Important composers for this study are Iannis Xenakis and Salvatore Sciarrino, as well the visual artists Paul Klee and Wassily Kandinsky. From Klee and Kandinsky we highlight the work with temporal aspects of visual elements by means of 'pictorial reading' of musical concepts and elements; from Sciarrino, the presence of visuality in musical composition due to the use of musical notation in western music tradition; and from Xenakis, the elaboration of a visual system through the equivalence between visual and sonic images, a system in which visual images are worked as sonic ones. Works from other composers became important during the research process. We highlight two approaches in the composition process of composers who mention visual images in their compositional texts and interviews: the visual images manipulation through sonic images, in cases in which there is no direct visual image manipulation, but a 'musical reading' of them; the sonic images manipulation through visual images, an approach related to Sciarrino's and Xenakis' works. Besides the composers related to the second approach there are authors such as Lachenmann, Thoressen and Blackburn, who propose visualizations for sonic models: the analysis of their proposals allows us to think about custom visualizations. This thesis can be seen as having two main parts: one with the conceptual study of the relation between visual images and musical composition, and the other, an applied study of the compositional thinking aided by visual images. In this last part we present the compositions Estudo (clarinet quartet), Escondido num ponto (flute, alto sax, cello and piano) and Enrascada (clarinet, bassoon and piano). From them we highlight the reciprocal influence of the manipulation spaces (visualizations through drawings and musical writing), called intermodulation, a process noticed during the writing of Estudo (in which the visual sketch was altered in the musical writing stage) and explored on the composition of Escondido num ponto (with drawing and writing influencing each other step by step). The composition of Enrascada brings about reflections on the particularities of each manipulation space in relation to the work with certain sonic images. This research concludes that the issue of the reciprocal influence between visual and sonic images (and their manipulation spaces) makes it possible to bring to the act of composition the potency of the haptic and visual domains, without this meaning merely descriptive transpositions but actually a proliferation of possibilities
Doutorado
Processos Criativos
Doutor em Música
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Cucciarre, Christine Peters. "Audience Matters: Exploring Audience in Undergraduate Creative Writing." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1224415510.
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Quigley, Nicholas Patrick. "Making a scene: empowering third-grade students towards creative, independent, and collaborative musicianship in an after-school general music program." Thesis, Boston University, 2018. https://hdl.handle.net/2144/29720.
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This project-thesis introduces an elementary general music curriculum designed to empower students towards creative music making. Building off the work related to creativity in music education by Green (2005), Hickey (2001), and Ruthmann (2008), this curriculum consists of two parts which highlight fundamental musical skill development and creative music making, respectively. The curriculum is rationalized in the contexts of a proposed local teaching environment and education policy, philosophy of music education, and current educational funding policies at the levels of state and federal governments, and non-governmental organizations.