Thesis (D.M.A)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains xiii, 57 p.; also includes graphics (some col.). Includes bibliographical references (p. 52-57). Available online via OhioLINK's ETD Center

This paper provides an investigation into the use of professional level music software as a learning tool for creativity and composition in primary school children. The researcher believed that music and sound editing was under-used in schools and that children could: -work successfully with that type of software -work creatively with the software -benefit from its use. A small case study was used to expose the participants (eight children from Grades 3-6) to two professional level music software applications: Cakewalk Pro Audio 9 and Cool Edit 2000. The children explored the software and completed set tasks over a ten-week period. Data, in the form of the students’ work, taped copies of all sessions, interviews and researcher reflections, were analysed to present an understanding of the creative and compositional processes and products. In addition, all student pieces were recorded onto CD. The analysis of data suggests competent use of both software applications as well as satisfactory completion of set tasks. The data also indicate that the participants were able to operate at compositional levels beyond their age and musical skills and knowledge. Conclusions are drawn to suggest that, in this case, the use of this software has assisted the creative process and has allowed these children the opportunity to compose and construct pieces that could not have been constructed without the software. (For complete abstract open document)

Computer software for music has made a significant impact by affecting the perspective of music making, music creating, music education, music production, and music distribution. This impact continues to evolve as individuals seek new avenues of musical expression. Through the papers included in this document, I seek to explore the range and impact of computer software in music, especially software related to music creativity and composition. The first paper is a review of literature concerning the effect of software on creative thought, creativity in music, and the influence this has had in musical composition. In this paper I also explore various techniques of composition, including linear and non-linear processes, which make use of the computer and music software. The second paper is a case study examining the use of music software in a compositional process. In this paper I explore the experiences of the student who was learning to compose music using music software. It offers the perspectives of the students as they developed through each step of the compositional process. It is important that the reader understand the distinction between composition and improvisation as discussed in these two papers. Simply stated, the act of composing is described as the process of forming, making, creating, or constructing music with various elements, phrases, or sections of music. Composing music is often associated with a skill set that captures inspiration and transforms it into a permanent record. Improvisation is the act of creating and playing new music without specific forethought or prior preparation. It can also be define as a skill of creating music in a spontaneous, impromptu, or impulsive way.

This thesis is focused on the question whether it is possible to fully simulate the sound of real musical instruments on the personal computer. The opening chapters deal with basic characteristics of sound information, its perceiving and also its digital form. Futher there is an elaborate analysis of computer simulation in comparison with legitimate records. The output of this part are worded assumptions. The next parts offer a detailed look at programming approaches and methods of computer sound creation. The research leads to a hearing test in which author tries to confirm the hypotheses as well as to answer the primary question.

On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.