Concerto for Piano and Orchestra is a three-movement composition by Dan Beaty.

Le studio est un outil pour la composition et la création de musique. Celui-ci est utilisé de différentes manières selon l’œuvre et la tradition. La première partie de ce mémoire trace les développements de conditions de création des studios d’enregistrement, expérimentaux, du son à l’image, multipiste et instrumental pour distinguer leur utilisation en différents contextes de création. Une seconde partie présente l’analyse de trois œuvres composées durant cette maitrise dont Masque de Fer, Cycle des vents et Golimbus. Ces œuvres ont été créées à partir de différentes méthodologies afin de mieux comprendre les considérations méthodologiques et conceptuelles traditionnellement attribuées au studio. Cette recherche-création a donc pour but de démontrer le rôle et le potentiel du studio dans différents contextes et ouvre un questionnement sur les variables déterminantes de mon processus de composition et de création. / The studio is a tool for the composition and creation of music. It is used differently according to the type of composition and the tradition. The first part of this thesis traces the development of creative conditions for the recording, experimental, sound on screen, multitrack and instrumental studios to distinguish them in different creative contexts. A second part goes through the analysis of three works composed during this master’s including Masque de Fer, Cycle des vents and Golimbus. These works were created using different methodologies to better understand the methodological and conceptual considerations traditionally attributed to these studios. This research creation therefore aims to reveal the role and potential of the studio in different contexts and questions the determining variables of my composition and creation process.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Multimodal writing refers to texts that use more than one communicative mode to convey information. While there is much scholarship that examines the history of alphabetic writing instruction and the alphabetic composing processes of students, little research explores the historical origins of multimodal composition and the processes in which students engage as they compose multimodal texts. This two-part project takes a fresh approach to studying multimodal writing by exploring the multimodal pedagogies of ancient Greek and Roman rhetoric and writing teachers, analyzing the role of mental and physical images in modern writers’ composing practices, and investigating contemporary students’ processes for composing multimodal texts. In Part I, I re-imagine the history of multimodal writing by exploring the multimodal pedagogies that instructors of rhetoric and writing developed during Greek and Roman Antiquity, and I show how contemporary students use an array of multimodal composing processes that rely on both mental and physical images to write alphabetic text. In Part II, I share the results of a case study in which I investigate the processes students use to compose audio- and video-essays while enrolled in a multimodal writing course. This study explores what students know about multimodal writing before beginning the course, how they learn the software needed to compose these projects, the challenges students experience as they compose, and the similarities and differences students perceive between their own processes for composing alphabetic and multimodal texts. Ultimately, I argue that composition teachers must acknowledge our long history of teaching with multimodal pedagogies and our experience composing alphabetic text through multimodal processes. Recognizing this lengthy history will decrease the anxiety that many composition teachers experience when tasked with teaching multimodal writing because, while typically only time and experience can grow confidence, in this case, a recognition of how much we already know will allow us to teach with the self-assurance we have earned.

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.

When college composition teachers carefully consider the role and function of multimodal composition in their classrooms, they can enhance the teaching of writing and communication, engage and empower students, and better prepare students for the challenges and possibilities of life in our rapidly changing digital age. To meet this teaching challenge and study the impact of multimedia on student writers, I designed this mixed-methods case study to examine how video documentary essays function as a form of multimodal composition in first-year composition courses and how these types of texts may enhance the teaching of traditional composition skills, as well as contribute to the academic and professional communication skills of students. The study was designed to determine how students react to multimodal composition and how they view the benefits as well as pitfalls of composing new kinds of texts in their first-year writing courses. This teacher research was conducted at a mid-sized, urban community college located in southern Tennessee. I used surveys, interviews and reflection essays to collect the data from student participants. I then analyzed the collected data for this project. My conclusions are that students learn valuable skills in the multimodal composition process, such as organization and time management, in addition to learning how to use movie-making software. Students also develop a keener sense of audience and purpose when they compose video documentary essays. Multimodal composition can be used to teach traditional writing and rhetoric. Multimodal composition can be used to enhance the teaching of writing and communication, engage and empower students to participate in convergence culture, and better prepare them for the challenges and possibilities of life in our rapidly changing digital age.

Thesis (M.A.)--Indiana University, 2010. / Title from screen (viewed on July 29, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Stephen L. Fox, Susan C. Shepherd, Teresa Molinder Hogue. Includes vitae. Includes bibliographical references (leaves 68-70).

Critical pedagogy is a philosophy of education developed to challenge forms of social oppression through the acquisition of agency, what advocates argue traditional teaching methods fail to accomplish. It is because of this and because writing is considered by many to be a gateway to learning that critical pedagogy as a teaching methodology in composition studies is a logical alternative to traditional theories guiding composition pedagogy today. Critical pedagogy is meant to help students gain the tools needed to become active participants, influencers, and decision-makers in society. This paper argues for the need for critical composition pedagogy in present times as well as attempts to mold critical pedagogical theory into reliable praxis for first-year composition (FYC) instructors, while also meeting the goals of FYC as established by the Council of Writing Program Administrators (the WPA). The ultimate goal in providing a model for critical composition pedagogy is not to provide a different vision than that of other critical composition pedagogues, but an alternative.

The PhD investigates the creation of closeness and immediacy through composition, exploring the processes of capturing, processing and composing sound materials, their spatialisation both during production and performance, and the sound materials' contexts. It is suggested that closeness can be understood spatially, temporally and in addition as being familiar with sounds and musical languages; whereas immediacy adds the meaning of being involved at some level in the shaping or decoding of the meaning of sounds of a composition. In that sense closeness and immediacy together form entry-points for the listener to make him/her become engaged in the compositional narrative. Seven original acousmatic and mixed media works are presented in the portfolio. These are stone and metal, empty rooms, weave/unravel, skalna, pulses, beeps and triptych. The pieces rely on found sounds and their referential qualities, with both informing the compositional methodologies. They also borrow elements from soundscape composition, electronic music and film music. Over the development of the portfolio the inclusion of elements of other genres of music became a valuable source of inspiration and shaped the compositional methodology which lead to the development of a unique, personal style of composition. Three of the PhD’s compositions – pulses, beeps and triptych – investigate the musical opportunities of an acousmatic take on stems to improve the flexibility and perceived depth of spatialisation. The spatial layers of the compositions are split into parts of a soundfile. These parts can be mapped according to specific rules to the number of loudspeakers available. The portfolio pieces demonstrate that composing in spatial stems enhances spatial depth as close and distant sounds can be reproduced independently of each other on dedicated loudspeakers at the same time. The sounds of the distant loudspeakers merge with the acoustic properties of the performance space and therefore assist in making the composed spaces credible. In addition to the compositions, one original software tools are presented in the portfolio (PLib), as well as a substantial contribution to an existing tool (MANTIS Diffusion System). They aim to facilitate the production and performance of electroacoustic music. Their application and potential is briefly discussed in the commentary.