This thesis explores the relationship between information literacy and learning. In formal education, students are frequently required to independently find and use information to learn about a topic, and information literacy is often claimed to be a generic skill and graduate attribute. However, to date; the experienced relationship between information literacy and learning has not been investigated. In order to investigate this experience, I have based this research on interviews with 19 students enrolled in third year music composition courses, and 18 students enrolled in a third year tax law course at an Australian university. My primary research question was 'What is the experienced relationship between information literacy and learning?' The secondary research question was "What are the generic and situated aspects of information literacy?' In this study, I have used phenomenography to describe the qualitatively different ways that students in two distinct disciplines experience the relationship between information literacy and learning. I have suggested curriculum implications of this description based on a relational approach to learning and teaching. The outcomes of the study include two related sets of categories which map the experience of students in music composition and tax law, and the theoretical GeST windows model for information literacy which is based upon literacy models and theories. The key findings of this study include: * A description of the nature of the experienced relationship between information literacy and learning in music composition and tax law as 1) Applying, 2) Discovering and 3) Expressing (music) or Understanding (tax law); * the theoretical GeST windows model and alignment of the model with the empirical study; * the presentation of curriculum implications in music and tax law, and * an exploration of the nature of information as-it-is-experienced. The findings may be used by teachers, students, librarians, academic skills advisors, academic developers and policy makers in higher education.

This Doctor of Philosophy submission consists of a folio of original compositions with an accompanying critical commentary. The compositions in the folio draw on the inspiration of a number of composers associated with the “Western Classical” tradition, as well as the influence of other musical styles and traditions such as Jazz. The commentary explores various aesthetic principles, musical influences and technical compositional approaches that stimulated the development towards an individual compositional output. A focus of the commentary is to draw attention to the unique synthesis of significant musical influences as evidenced in the folio, thereby elucidating a gradual development towards the attainment of a personal compositional style during candidature. The folio consists of an eclectic collection of works, including many vocal works, chamber works and orchestral pieces. A seminal chamber work in the folio, Le Tombeau de Monk, exhibits the synthesis of several influential composers and styles. Also included in the folio is an extended symphonic work for combined orchestral and choral forces, Symphony for a Busy World, which represents the culmination of many compositional features that were developed throughout candidature. To provide background and perspective to the folio of compositions, the commentary highlights a number of influential compositional techniques and idiosyncrasies with regard to thematic development and harmonic language, as well as specific features of rhythm, orchestration and vocal writing. Detail regarding these compositional processes is provided, discussing the influence of particular compositional approaches relevant to the body of works in the folio within a music history context, whilst also identifying the application of compositional processes and approaches encountered in the folio.

Thesis (M.A. (Hons.)) -- University of Western Sydney, 2004. / Presented in fulfilment of the requirements for the degree of Master of Arts Honours to the School of Contemporary Arts, University of Western Sydney, April 2004. Includes bibliography.

Thesis (MA (Hons.)) -- University of Western Sydney, 2003. / "Exegesis in partial fulfilment of the requirements for Master of Arts (Honours)" Bibliography : leaves 54-57.

Thesis (D.W.S.)--Institute for Worship Studies, 2006. / Abstract. Includes the hymns written for the Lenten season. Includes bibliographical references (leaves 139-142).

Thesis (M.M.)--The University of North Carolina at Greensboro, 2009. / Directed by Mark Engebretson; submitted to the School of Music. Title from PDF t.p. (viewed Jun. 4, 2010). Includes bibliographical references (p. 28).

Thesis (Ph. D.)--University of California, San Diego, 2007. / Vita. Discusses the composer's use of the metaphors of space and perspective in his works, IN and Headspaces, the scores for which are included in the dissertation.

The primary purpose of this study was to examine and describe, through the lens of nexus analysis, how social action impacted the compositional processes of high school string students as they engaged in collaborative composition. In this study, I examined the complex convergence of verbal and non-verbal communication while students were engaged in music co-creation and how it impacted social practices such as rules, roles, or division of labor. Specifically, this qualitative study investigated the following research questions: (1) How does social action impact the compositional processes involved in co-creation? (2) What roles, social structures, or social identities do students who are engaged in musical co-creation assume? The participants in this study included eight high school orchestra students who participated in ten after-school small group music composition sessions. Each session was 45 minutes in duration and occurred over an eight-week period. Additionally, students participated in two individual semi-structured interviews and two semi-structured focus group interviews. The participants in this study adopted an interaction order they referred to as The Circle. This global concept consisted of a set of rules for behavior, interactions, and democratic guidelines. It provided a social safety net of acceptance for each member of the group. An underlying theme of The Circle was the goal of achieving equality within the group regardless of previous musical experiences or expertise. The following data were analyzed: (a) students’ responses, processes, and behaviors (both musically and verbally) that occurred during the collaborative activities; (b) students’ verbal responses to questions in both individual and focus group interviews; and (c) field notes and artifacts that were examined to reveal any relevant data. A common theme throughout the study was the adoption of multiple roles. Participants in this study assumed four different roles: follower, advocate, tutor, and leader. Only two members retained a single role for the duration of the study while the other six girls assumed multiple roles depending on the needs of the group at a specific moment in time.

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.

O presente memorial está dividido em duas partes, a primeira trata da situação do compositor de frente à sua própria peça. Partindo do modelo tripartite da semiologia de Jean Jaques Nattiez, é proposto um deslocamento do observador com o intuito de oferecer uma ferramenta analítica a ser utilizada pelo compositor na análise de seu próprio trabalho. Após a formulação teórica, esta primeira parte é encerrada por uma breve análise de uma das peças do portfólio apresentada como uma primeira aproximação ao funcionamento do modelo analítico e como exemplo das questões que estão se debatendo tais como material, objeto musical entre outros. Esta análise é seguida por uma critica composicional que por sua vez dá lugar a alguns comentários de outra das peças do portfólio. A segunda parte trata do problema composicional especifico que fora trabalhado durante o mestrado; a saber, o relacionamento entre tempo e forma. Num primeiro momento se estabelece um debate teórico para logo dar lugar à análise de outra peça do portfólio que exemplificará o funcionamento de um dispositivo formal proposto como possível solução ao binômio tempo/forma. / This text is divided into two parts, the first dealing with the situation of the composer in front of his own work. Based on the tripartite model of semiology proposed by Jean Jaques Nattiez, a shift of the observer is proposed in order to provide an analytical tool to be used by the composer in the analysis of their own work. After the theoretical formulation, the first part concludes with a brief analysis of a piece of the portfolio presented as a first approach to the operation of the analytical model and an example of the issues with which at deals, such as material and musical objects. This analysis is followed by a compositional critique, which in turn gives rise to some comments on an other piece of the portfolio. The second part deals with the specific compositional problem that has been worked during the Masters investigation: namely, the relationship between time and form. At first a theoretical debate is established that in turn give rise to the analysis of another piece of the portfolio that exemplifies the performance of a device formally proposed as a possible solution to the binomial time/form.