Thesis (Ph. D.)--University of New South Wales, 2004. / Also available online.

The aim of this study was to contribute to an increased understanding of how the rapid development in AI technology affects the attitude of musicians and music practitioners towards AI aids in the musical field. The study was designed as a multiple case study in which, firstly, seven musicians were interviewed about the study's areas of interest, secondly, a high school class on a music program was asked through a survey. The methodological approach was hermeneutic and data material from interviews and questionnaires was analyzed and categorized. In the final comparison between the two participant groups, the main theme was formulated: knowledge of and thinking about the phenomenon of AI leads to a narrative that is neither utopian nor dystopian; where both the advantages and the disadvantages of technology are recognized and where a global regulation of AI is in demand.

In this study some string teachers have been interviewed on the topic of own creation and creativity. The purpose with the study was to examine some string teachers experiences in their own education on the topic of creative phases, but also how the teachers experience the students spirits in moments of own creation. The study was conducted with a phenomenological approach, because this allowed for consideration to be taken to different experiences and lived life. Previous studies indicated that many benefits derivate from creativity and own creation in music education but also illustrated a complex problematic approach to teacher’s unfamiliarity to teach in these phases. However, previous studies indicate that children view their music creations in different way than adults. To achieve a result in this study, four interviews were conducted. Through video-recording important aspects that would otherwise be lost could be illustrated. In the result teachers experienced that they understand phases of own creation in different ways. The teachers collectively identified composition, improvisation and feelings as a method of teaching own creation and creativity. Going on, the study’s respondents experienced they had been given a strict music education in their childhood and that this was one of the factors to influence their individual teaching styles. Together the study´s respondents illustrated some phases of own creation but pointed out that the spirits of the students derivate from different factors. The study´s respondents experiences that younger students had an easier time to learn own creation, meanwhile, the older students are perceived to have a hard time sticking out in creative work. The study´s respondents meant that continuous teaching in composition making created a sense of security within the students. In the discussion results indicated that the students benefited from play and having fun in their music creation. There were also more positive attitudes amongst the students when the teachers designed activities with boundaries and rules. / I denna studie har några stråklärare intervjuats om ämnet eget skapande och kreativitet. Syftet med studien var att undersöka några stråklärares upplevelser angående sin egen undervisning vad gäller skapande moment, samt hur lärarna erfor elevernas inställningar i moment av eget skapande. Studien förhöll sig därför till det fenomenologiska perspektivet, då hänsyn till upplevelser och levt liv kunde tas. Tidigare forskning pekade på många fördelar med kreativitet och skapande i musikundervisning men belyste också en problematik kring lärares ovana att undervisa i eget skapande. Vidare menade forskningen att barn betraktar sitt musikskapande på ett annat sätt än vuxna. För att få fram ett resultat intervjuades fyra stråklärare. Genom videoinspelning kunde viktiga aspekter som annars gått förlorade belysas. I resultatet framkom att lärarna upplevde moment i eget skapande på olika sätt. Gemensamt nämndes komposition, improvisation och känslor som moment i vilket lärarna kunde undervisa i eget skapande och kreativitet. Vidare upplevde studiens respondenter att de fått en strikt musikundervisning som barn och att detta sedan påverkat deras individuella lärarstilar. Gemensamt belyste studiens respondenter några moment av eget skapande och pekade på att elevernas inställningar till dessa moment beror på olika saker. Studiens respondenter erfor att yngre elever lättare tog till sig moment i eget skapande, emedan äldre elever upplevdes inte vilja sticka ut genom skapande moment. Studiens respondenter menade att bland annat regelbunden undervisning i komposition skapade en säkerhet hos eleverna. I diskussionen framkom dock att eleverna gynnades av lek och att få ha roligt i sitt musikskapande. Vidare fanns också fler positiva inställningar hos eleverna när lärarna satte upp ramar för skapande moment, då eleverna slapp hitta på helt fritt.

Nowadays, mobile devices offer a wide variety of features and sensor capabilitiesthat can be applied into everyday problems. This is being used by the commu-nity in order to provide more intuitive tools that facilitate users to tackle theseproblems. In this thesis, I present my work which aims at providing an afford-able, non-intrusive, easy to use and intuitive tool that enables users withoutany musical background to create music collaboratively and enjoy this activityby using NFC enabled mobile devices and NFC tags. I introduce the "Rela-tive Position Awareness" which is utilized to allow users to create a music piecebased on the relative position of the devices. To do that, I implement a proto-type that includes Near Field Communication (NFC) and study whether NFCis a suitable technology for supporting the positioning awareness system. Inaddition, I also study the interactions that occur while users are collaborativelycreating music pieces. I run several user studies that indicate my prototype issuitable for supporting music creation collaborative activities, that NFC pro-vides a high level of accuracy when it comes to support the relative positioningsystem and that the prototype fosters social interaction among the users. Partof the results from this research effort have been presented in Fifth Workshopon Ubiquitous Music (V UbiMus) and can be found in Exploring the potentialof mobile technology for creating music collaboratively [1]

nÃo hà / O presente trabalho versa sobre a importÃncia da criaÃÃo para o aprendizado musical dos estudantes. Partimos da problemÃtica: como os exercÃcios de criaÃÃo musical propostos por Koellreutter seriam aceitos pelos estudantes de uma escola municipal? Os exercÃcios conseguiriam atingir os objetivos previstos? A proposta de Koellreutter se adequaria à estrutura fÃsica peculiar de uma escola pÃblica de ensino fundamental? Algumas publicaÃÃes jà abordaram a importÃncia de atividades composicionais para o desenvolvimento integral, mas ainda existe carÃncia no meio acadÃmico de estudos voltados para exercÃcios de criaÃÃo e o seu reflexo no desenvolvimento de crianÃas e jovens. Apesar de autores renomados, como Schafer, Gainza, Beineke, Swanwick, Moraes, jà abordarem a importÃncia da educaÃÃo calcada na criaÃÃo musical, nos detivemos nos exercÃcios de criaÃÃo propostos pelo compositor e educador J. H. Koellreutter. Tivemos como objetivo investigar se as atividades poderiam contribuir para processos de musicalizaÃÃo quando inseridas em ambiente escolar. Elegemos, como campo de estudo, a turma B do 6 ano da Escola de Ensino Fundamental Jornalista Durval Aires, localizada no municÃpio de MaracanaÃ. Como metodologia, desenvolvemos, dentro da abordagem qualitativa, uma pesquisa-aÃÃo em que oito seÃÃes de atividades de criaÃÃo foram experienciadas com os estudantes. O registro dos encontros se deu por meio de gravaÃÃo audiovisual, alÃm da construÃÃo de um diÃrio de campo. Como resultados, percebemos que as atividades desenvolvidas por Koellreutter, mesmo com as dificuldades encontradas, foram bem-aceitas pelos estudantes e proporcionaram o prazer da execuÃÃo, da apreciaÃÃo e principalmente da criaÃÃo musical aos estudantes. / This paper relates with the importance of creation for the musical student learning. We start from the problem: How the musical creation exercises proposed by Koellreutter would be accepted by students from a public school? Would the exercises be able to achieve those goals? The proposed Koellreutter would fit the peculiar physical structure of a public elementary school? Some publications have addressed the importance of compositional activities to integrate the development, but there is still a lack in academic studies aimed to create exercises and their reflection in the development of children and youth. However, renowned authors such as Schafer, Gainza, Beineke, Swanwick, Moraes, have already been addressing the importance of education grounded in musical creation, we restrain ourselves in the creation exercises proposed by the composer and educator JH Koellreutter. Our objective was to investigate whether the activities could contribute to music education processes when inserted in the school environment. The B class of the 6th grade of the Primary School Journalista Durval Aires, located in Maracanaà was elected as a field of study. The methodology developed within the qualitative approach, an action/research, in which, eight creative activities sections were experienced with the students. The record of the meetings was through audiovisual recording, besides the construction of a diary. As a result, we realized that the activities developed by Koellreutter, even with the difficulties encountered, were well accepted by the students and it was provided to them the pleasure of performing, appreciation and especially the music-making students.

Musikundervisning i förskolan tenderar att främst handla om sång av reproducerande karaktär. Dessutom fokuseras oftast ett utommusikaliskt syfte, som exempelvis språkutveckling eller socialisering.  Denna studie handlar om att undersöka och analysera barns musikskapande inom förskolans praktik och med den vill jag bidra till att bredda förståelsen för vad musikundervisning i förskolan kan handla om. Genom en kvalitativ metod genomförs studien som ett studentinitierat utvecklingsarbete. Sju undervisningsstunder analyseras ur ett musikdidaktiskt perspektiv där innehållet i undervisningsstunderna kategoriseras utifrån tre huvudsakliga fokusområden: Sång och melodiskapande, utforskande av begreppet rytm samt utforskande av begreppet tonhöjd. I studien deltar tio barn i 5 - års åldern, på en svensk förskola. I studiens resultat beskrivs hur musikens olika dimensioner görs synliga i musikskapandet utifrån Nielsens musikdidaktiska teori (2006). Tre olika aspekter av musikundervisningen blir också synliga: den vetenskapliga-, hantverksmässiga- och den konstnärliga dimensionen. I resultatet framgår också vad som kan känneteckna analogt respektive digitalt musikskapande och på vilket sätt de båda undervisningsmetoderna befruktar varandra.

Este trabalho propõe-se a criar um conjunto de procedimentos de estruturação de arranjos vocais próprio a partir da análise dos elementos composicionais presentes nas músicas produzidas pelo agrupamento de músicos conhecidos pelo termo Clube da Esquina. Visa explorar a ideia de que a análise estilística também pode inserir-se como recurso relevante dentro da dinâmica de apreensão e experimentação dos parâmetros de estruturação musical inerentes ao processo de criação de arranjos para grupos vocais. Busca extrair, a partir de uma experiência de imersão em um determinado repertório, no caso, do Clube da Esquina, recursos que, após analisados, teorizados e interiorizados, retornam ressignificados e recontextualizados, expandindo o âmbito do processo de expressão artística e de constituição da própria identidade poética do arranjador. Em suma, a pergunta central é: Como os elementos composicionais presentes nas obras do conjunto de músicos conhecidos como Clube da Esquina podem contribuir, enquanto recursos de estruturação musical, na elaboração de arranjos vocais de música popular urbana? Balizado pelo referencial Silva Ramos (2003), foram elencados 22 elementos composicionais a partir do processo de escuta analítica de 22 discos lançados pelo Clube da Esquina entre os anos de 1967 a 1979. Esses elementos foram esmiuçados teoricamente e trabalhados no processo de criação de arranjos vocais de oito canções populares brasileiras, duas internas ao repertório do Clube da Esquina e seis de compositores e períodos diversos. Os detalhamentos de como os elementos composicionais do Clube da Esquina concatenam-se com as experimentações quanto ao tratamento harmônico, das interações rítmicas, textural, timbrístico e formal nos arranjos estão explicitados na última parte do trabalho. Questões teóricas e conceituais que envolvem a prática do arranjo vocal na música popular, tais como o próprio conceito de arranjo, conceito de obra e técnicas comumente utilizadas no processo de escrita de arranjos vocais na atualidade são tratadas inicialmente, assim como a contextualização histórica do Clube da Esquina e uma breve revisão dos referenciais teórico-metodológicos. Como conclusão, apresentamos, em forma de diagrama, como os elementos composicionais do Clube da Esquina, em conjunto com as principais técnicas de escrita de arranjos vocais, conectam-se com as experimentações inerentes ao próprio processo de criação de tais arranjos. / The purpose of this thesis is to create a set of structuring procedures for vocal arrangements based on the analysis of compositional elements found in music produced by the group of musicians known as \"the Corner Club\". It aims to explore the idea that stylistic analysis can also be considered a relevant resource in the dynamics of apprehension and experimentation of musical structuring parameters intrinsic to the process of creating arrangements for vocal groups. It also seeks to extract, from an immersive experience in a given repertoire (in this case by \"The Corner Club\"), resources that, after being analyzed, theorized and internalized, are reinterpreted and re-contextualized, expanding the scope of the artistic expression process and the constitution of the arranger\'s own poetic identity. In short, the central question is: How the compositional elements found in the works by the group of musicians known as \"the Corner Club\" can contribute, as musical structuring resources, in the elaboration of vocal arrangements of urban popular music? Based on Silva Ramos\'s reference (2003), 22 compositional elements were listed adopting the process of analytically listening to 22 records released by the Corner Club between 1967 and 1979. These elements were theoretically detailed and used in the creation of vocal arrangements of eight Brazilian popular songs, two from the Corner Club\'s repertoire and six from different periods and by different composers. The final part of this thesis presents a detailed explanation on how the compositional elements from the Corner Club are concatenated with experimentations related to the harmonic treatment, rhythmic interactions, textural, timbral and formal aspects in the arrangements. Theoretical and conceptual issues related to the practice of vocal arrangement in popular music, such as the concept of arrangement itself, the concept of musical work and techniques commonly used in the process of writing vocal arrangements at present are treated in the beginning, as well as a historical contextualization about the Corner Club and a brief review of theoretical and methodological references. As a conclusion, we present, in the form of a diagram, how the compositional elements from the Corner Club, in conjunction with the main techniques for writing vocal arrangements, are connected to the experimentations that are inherent to the process of creating such arrangements.

Este trabalho propõe-se a criar um conjunto de procedimentos de estruturação de arranjos vocais próprio a partir da análise dos elementos composicionais presentes nas músicas produzidas pelo agrupamento de músicos conhecidos pelo termo Clube da Esquina. Visa explorar a ideia de que a análise estilística também pode inserir-se como recurso relevante dentro da dinâmica de apreensão e experimentação dos parâmetros de estruturação musical inerentes ao processo de criação de arranjos para grupos vocais. Busca extrair, a partir de uma experiência de imersão em um determinado repertório, no caso, do Clube da Esquina, recursos que, após analisados, teorizados e interiorizados, retornam ressignificados e recontextualizados, expandindo o âmbito do processo de expressão artística e de constituição da própria identidade poética do arranjador. Em suma, a pergunta central é: Como os elementos composicionais presentes nas obras do conjunto de músicos conhecidos como Clube da Esquina podem contribuir, enquanto recursos de estruturação musical, na elaboração de arranjos vocais de música popular urbana? Balizado pelo referencial Silva Ramos (2003), foram elencados 22 elementos composicionais a partir do processo de escuta analítica de 22 discos lançados pelo Clube da Esquina entre os anos de 1967 a 1979. Esses elementos foram esmiuçados teoricamente e trabalhados no processo de criação de arranjos vocais de oito canções populares brasileiras, duas internas ao repertório do Clube da Esquina e seis de compositores e períodos diversos. Os detalhamentos de como os elementos composicionais do Clube da Esquina concatenam-se com as experimentações quanto ao tratamento harmônico, das interações rítmicas, textural, timbrístico e formal nos arranjos estão explicitados na última parte do trabalho. Questões teóricas e conceituais que envolvem a prática do arranjo vocal na música popular, tais como o próprio conceito de arranjo, conceito de obra e técnicas comumente utilizadas no processo de escrita de arranjos vocais na atualidade são tratadas inicialmente, assim como a contextualização histórica do Clube da Esquina e uma breve revisão dos referenciais teórico-metodológicos. Como conclusão, apresentamos, em forma de diagrama, como os elementos composicionais do Clube da Esquina, em conjunto com as principais técnicas de escrita de arranjos vocais, conectam-se com as experimentações inerentes ao próprio processo de criação de tais arranjos. / The purpose of this thesis is to create a set of structuring procedures for vocal arrangements based on the analysis of compositional elements found in music produced by the group of musicians known as \"the Corner Club\". It aims to explore the idea that stylistic analysis can also be considered a relevant resource in the dynamics of apprehension and experimentation of musical structuring parameters intrinsic to the process of creating arrangements for vocal groups. It also seeks to extract, from an immersive experience in a given repertoire (in this case by \"The Corner Club\"), resources that, after being analyzed, theorized and internalized, are reinterpreted and re-contextualized, expanding the scope of the artistic expression process and the constitution of the arranger\'s own poetic identity. In short, the central question is: How the compositional elements found in the works by the group of musicians known as \"the Corner Club\" can contribute, as musical structuring resources, in the elaboration of vocal arrangements of urban popular music? Based on Silva Ramos\'s reference (2003), 22 compositional elements were listed adopting the process of analytically listening to 22 records released by the Corner Club between 1967 and 1979. These elements were theoretically detailed and used in the creation of vocal arrangements of eight Brazilian popular songs, two from the Corner Club\'s repertoire and six from different periods and by different composers. The final part of this thesis presents a detailed explanation on how the compositional elements from the Corner Club are concatenated with experimentations related to the harmonic treatment, rhythmic interactions, textural, timbral and formal aspects in the arrangements. Theoretical and conceptual issues related to the practice of vocal arrangement in popular music, such as the concept of arrangement itself, the concept of musical work and techniques commonly used in the process of writing vocal arrangements at present are treated in the beginning, as well as a historical contextualization about the Corner Club and a brief review of theoretical and methodological references. As a conclusion, we present, in the form of a diagram, how the compositional elements from the Corner Club, in conjunction with the main techniques for writing vocal arrangements, are connected to the experimentations that are inherent to the process of creating such arrangements.

Uppsatsen strävar efter att utveckla kunskap om sambandet mellan förskollärares didaktiska ingripanden och förskolebarns möjligheter till att kreativt utforska och uttrycka musik. Undersökningen utgår från ett kulturpsykologiskt perspektiv som betonar interaktionen och det individuella kreativa prövandets betydelse för det musikaliska lärandet. Förskolebarns musikaliska utveckling påverkas av förskollärares musikaliska kompetens och didaktiska förmåga att uppfatta och stödja barns egna musikaliska uttryck. För att kunna observera barn och pedagogers förhållningssätt till spontant kreativt musikskapande, erbjöd jag tre pedagoger och deras barngrupper en överraskning, en resväska fylld med ordinära och hemgjorda rytminstrument som jag kallat den hemliga lådan. Metoden gav mig också möjligheter att utforska musikdidaktiska alternativ till förskolans traditionella musikverksamhet, de gemensamma och vuxenstyrda sångsamlingarna. Barnens lust och förmåga att utforska den ”hemliga lådan” var påtagligt stark och öppnade upp för ett mer ostrukturerat handlande. Barnen kunde röra sig fritt och inspirerades av varandra. Något som inte visade sig var pedagogernas förmåga eller vilja att ge sig hän i det kreativa musikskapandet, samtidigt såg jag många exempel på när en öppen och bejakande inställning hos pedagogerna möjliggjorde för musikalisk kreativitet. Studien visade även exempel på pedagogers bristfälliga förståelse för meningen med denna typ av ljudligt och kreativt musikutforskande. Barnens handlingsutrymme och deras nöje av att befinna sig i ”flow” kunde bryskt avbrytas av vuxnas behov av kontroll. Förhållandet mellan det lekfulla musikutforskandets ljudliga, intuitiva och ostrukturerade form och förskoleverksamhetens syn på uppförande och ordning verkar vara problematisk. Bristen på kreativt ljudskapande i förskolans verksamhet ska kanske inte enbart tolkas som en musikpedagogisk fråga. / The thesis aims to develop knowledge about the connections between preschool teachers’ didactic interventions and preschool children’s opportunities to creatively explore and express music. The research is based on a cultural-psychology perspective, which emphasizes interaction and individual creative experimenting in musical learning. Preschool children’s musical development is affected by preschool teachers’ musical competences and didactic abilities to notice and support the children’s own musical expressions. In order to observe children’s and teachers’ relations to spontaneous music creation, I brought three preschool teachers, and their classes of children, a surprising item: a suitcase full of home-made musical instruments, which I called “The Secret Box.” In addition to being able to observe spontaneous music creation, bringing The Secret Box made it possible for me to investigate musical-didactic alternatives to preschool’s traditional musical activity, which is adult-directed group singing. The children’s lust and ability to explore The Secret Box was apparent, and it enabled more non-structured activity. The children moved freely and inspired each other. Unfortunately, most teachers did not interact with the children’s creative music making – they merely let them experiment on their own. Furthermore, my investigation included examples of teachers’ inabilities to perceive any meaning with the discussed types of creative music making and musical exploration. The children’s opportunities of expression and their “flows” were occasionally abruptly put to an end because of adults’ wants of control. The contrast between playful, noisy, and spontaneous music exploration, and teachers’ conceptions of order and children’s proper demeanor, appeared problematic. One conclusion of this thesis is that lack of creative music making in preschool might be caused by organizational factors beyond the scope of music didactics.

This thesis takes as its starting point the observation that the authorship of the creative product of orchestral performances has been, and continues to be, over-attributed to the conductor. This is reflected both in popular perceptions and in the scholarly attention given to the conductor's leadership role, as well as in orchestral practices which privilege the conductor's artistically superior position within the orchestra through rehearsal and performance rituals and in remuneration and marketing. Although existing research has challenged the perception that the authority of the conductor is absolute, none has offered alternative explanations for how best to attribute the authorship of orchestral performances. Through a three-phased mixed-methods empirical study including an online questionnaire, in-depth interviews, and a newly developed method of data collection utilising an online variation of video-stimulated recall to capture musician experiences in real-life rehearsal and performance settings, this research contributes to an understanding of the social psychology of orchestral performance by identifying what prompts musicians' decision-making regarding how and when to play their parts. The analysis of the data has resulted in the development of a theoretical Framework of Influence and Action in Orchestral Performance that offers a new way of conceptualising authorship in performance through a 'theory of influence'. It concludes with an exploration of the implications of this revised view of authorship for existing orchestral practices, group creativity research, and our understanding of how the relationships enacted in the micro-socialities of orchestral performance reflect larger social formations.