The Compositional Process

Abstract

In analyzing any composition, we retrace certain moments in the creative process. It is wholly unimportant whether the work arose through the conscious application of some compositional principle, or purely intuitively (in which case we presume that the author himself ‘didn't notice’ it). If we can observe an underlying principle, it has an objective reality, and we are therefore fully justified in investigating it and regarding it as part of the compositional process. The deeper we penetrate the musical fabric of a work, the more subtle and profound are the principles we uncover. By its nature, genuine analysis seems almost a reconstruction of the original process of composition. It is true that we are often unable to establish the order in which various principles arose in the composer's mind; but this, in the long run, is not really essential.

Composing for students: Composers’ reflections on the process of creating educational music

“…Process, in this context, refers to the strategies, techniques, and sequencing used by composers in the creation of music for student instrumentalists. Building on the work of other researchers (Bennett, 1976; Collins, 2005; Denisov, 1973; Sloboda, 1986; Wiggins, 2007), Andrews (2012) proposed a three-stage model of the music composition process: conceptualizing, writing , and refining . Andrews and Giesbrecht (2014) outlined this composition process model as follows:…”

“…Yet despite the importance of repertoire for student musicians (McCallum, 2007;Reynolds, 2000), and some existing scholarly discourse about the state of educational music (Budiansky & Foley, 2005) and the difficulty of selecting it (Apfelstadt, 2000;McCallum, 2007;Schupp, 1964;Sheldon, 1996;Wasiak, 2010;Watson, 2013), there is little empirical research on the process of composing educational music. The music composition process in general has been studied (Andrews, 2004b;Bennett, 1976;Denisov, 1973;McCutchan, 1999), as has composer learning during the composition process (Duarte & Constantinidi, 2021). In the context of music education, there is a relatively large body of empirical research about teaching and learning composition in the classroom (Berkley, 2004;Doig, 1942;Koops, 2013;Odena, 2012a;Wiggins, 2007;Younker & Smith, 1996), including the composer's role in music education-what Laycock (2005) called creative music-making.…”

Impact of Salinity on Infectious Disease Outbreaks: Experiences from the Global Coastal Region

“…So to summarize, we could draw upon Croce's (1995) work that explores intuition and provides us with numerous definitions. It is defined, for example, as "sensation formed and arranged simply according to the categories of space and time" (Croce 1995, p. 4).…”

“…Musical Knowledge, Education, and Well-Being Intuited, informal musical knowledge has long been widely accepted as multifaceted, integrated, and dynamic, of which, one facet is the factual, informational, and propositional type of knowledge (Braheny 1988;Burnaud and Younker 2004;Croce 1995;Henley 2011;Swanwick 1994Swanwick , 1999. Some would argue for the dominance of (what Cook and Brown (1999) term) this "know that" facet and the assessment of it as the ideal educational paradigm (Gove 2010;Henley 2011).…”