Compositional strategies in computer-based music-making

British Journal of Music Education

Volumn 15, Issue 1, 1998, Pages 83-97

  Folkestad, Göran ^a   Hargreaves, David J ^a   Lindström, Berner ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 46949104435     PISSN: 02650517     EISSN: 14692104     Source Type: Journal    
DOI: 10.1017/S0265051700003788     Document Type: Article

References (38)

1. Folkestad, G. (1989). Elektrotekniska hjälpmedel i musikundervisningen [Electro-technical means of assistance in music teaching]. Göteborg: Göteborg University, Department of Musicology.
2. Folkestad, G. (1991a). Datorn och den nya musikelektroniken i ett didaktiskt perspektiv [The computer and the new music technology in a didactic perspective]. In Center for research in music education (ed.), Datorer i musikundervisningen. (Report No. 1991:12). Stockholm: Center for Research in Music Education.
3. Folkestad, G. (1991b). Musikkomponerande på mellanstadiet med hjälp av synt-sequenser [Music composition in the upper primary school with the help of synthesisers-sequensers] (Report No. 1991:19). Stockholm: Center for Research in Music Education.
4. Folkestad, G. (1992). Datorbaserat musikaliskt skapande: Lägesrapport [Computer based creative music making: A report] (Report No. 1992:24). Stockholm: Center for Research in Music Education.
5. Gardner, H. (1982). Art, Mind, and Brain: A Cognitive Approach to Creativity. New York: Basic Books.
6. Gardner, H. (1983). Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Books.
7. Gardner, H. (1991). The Unschooled Mind: How Children Think and How Schools Should Teach. London: Fontana Press.
8. Gardner, H. (1993a). Creating Minds: An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Gandhi. New York: Basic Books.
9. Gardner, H. (1993b). Multiple Intelligence. The Theory in Practice. New York: Basic Books.
10. Gardner, H. and PERKINS, D. (1989). Art, Mind, and Education: Research from Project Zero. Urbana and Chicago: University of Illinois Press.
11. Glaser, B. G. and Strauss, A. L. (1967). The Discovery of Grounded Theory: Strategies for Qualitative Research. Chicago: Aldine Publishing Company.
12. Grout, D. J. (1960). A History of Western Music. London: J.M. Dent & Sons, Ltd.
13. Hammersley, H. and Atkinson, P. (1983). Ethnography: Principles in Practice. Cambridge: Cambridge University Press.
14. Jones, S. (1992). Rock Formation: Music, Technology, and Mass Communication. London: Sage Publications, Inc.
15. Kratus, J. (1985). The use of melodic and rhythmic motives in the original songs of children aged 5 to 13. Contributions to Music Education, 12, 1–8.
16. Kratus, J. (1989). A time analysis of the compositional processes used by children ages 7 to 11. Journal of Research in Music Education, 37, 1, 5–20.
17. Larsson, S. (1993). Om kvalitet i kvalitative studier [On quality of qualitative studies]. Nordisk Pedagogik, 13, 194–211.
18. Lindström, L. (1992). Processinriktad utvärdering och bedömning [Process directed evaluation and assessment]. Forskning om Utbildning, 3, 34–44.
19. Lindström, L. (1994). Portföljmetodik i estetiska ämnen [Portfolio method in aesthetic subjects]. Paper presented at Nordisk Förening for Pedagogisk Forskning Kongress i Vasa. Stockholm: Lärarhögskolan i Stockholm.
20. Ling, J. (1983). Europas musikhistoria – 1730 [Europe’s music history – 1730]. Uppsala: Esselte Studium.
21. Marton, F. (1992). Phenomenography and ‘the art of teaching all things to all men’. Qualitative studies in education, 5, 3, 253–67.
22. Marton, F. (1995). Cognosco ergo sum. Nordisk Pedagogik, 15, 165–180.
23. Ödman, P.-J. (1992). Didaktisk/fenomenologiska aspekter på musikskapande med hjälp av datorer [Didactical/phenomenological aspects of creative music making with the help of computers]. In Datorer i musikundervisningen (11–21). Stockholm: Center for Research in Music Education.
24. Paynter, J. and Aston, P. (1970). Sound and Silence. Cambridge: Cambridge University Press.
25. Schön, D. (1983). The Reflective Practitioner. New York: Basic Books.
26. Sloboda, J. A. (1985). The Musical Mind: The Cognitive Psychology of Music. Oxford: Oxford University Press.
27. Sloboda, J. A. (1988) (ed.). Generative Processes in Music: The psychology of Performance, Improvisation, and Composition. Oxford: Clarendon Press.
28. Sloboda, J. A. (1992) Can cognitive psychologists and educators help learning? A plea for humility. ESCOM Newsletter, 1, 17–21.
29. Stålhammar, B. (1995). Samspel: Grundskola – Musikskola i samverkan: en studie av den pedagogiska och musikaliska interaktionen i en klassrumssituation [Interplay - school and music school in collaboration: a study of pedagogic and musical interaction in a classroom situation]. Göteborg: School of Music and Musicology, Göteborg University.
30. Thorsén, S.-M. (1991). Musikundervisning med hjälp av ny teknik [Music teaching by means of new technology]. (Report No. 1991:26). Stockholm: Center for Research in Music Education.
31. Turkle, S. (1984). The Second Self: Computers and the Human Spirit. New York: Simon & Schuster, Inc.
32. Upitis, R. (1992). Technology and music: an intertwining dance. Computers and Education, 18, No. 1–3, 243–50.
33. Webster, P. R. (1988). Creative thinking in music: approaches to research. In J. T. Gates (ed.), Music Education in the United States: Contemporary Issues. Tuscaloosa: The University of Alabama Press.
34. Webster, P. R. (1992). Research on creative thinking in music: the assessment literature. In R. Colwell (ed.), Handbook of Research on Music Teaching and Learning New York: Schirmer Books.
35. Webster, P. R. (1994). Thinking in sound: Studying children’s improvisation. In ISME (Ed.), Musical Connections on Tradition and Change (146–53). Tampa: ISME.
36. Wiggen, K. (1971). De två musikkulturema [The two music cultures]. Stockholm: Sveriges Radios förlag.
37. Williams, D. and Howell, D. (1990). Master Tracks Pro 4. Half Moon Bay, CA: Passport Designs, Inc.
38. Wolf, D. P. (1988). Opening up assessment: ideas from the arts. Educational Leadership, 45, 24–29.