Loading...
Please wait, while we are loading the content...
Similar Documents
Creative processes in music and the identification of creative music students
| Content Provider | Semantic Scholar |
|---|---|
| Author | Tarratus, Edward Arthur |
| Copyright Year | 1965 |
| Abstract | principles, (3) conceived of musical units within the whole, and (4) checked their work on their instrument. Hertzmann (supra,pp. 75-76 ) found that M ozart's composing procedures were characterized by the following: (1) themes almost a l ways stood as they were originally conceived, (2) many compositions were developed mentally and then committed to paper, (3) contrapuntal passages were written out in de ta il, (4) long compositions were often started in full score and then trailed off to the melody and bass lines. Writing accompaniments seems to be a secondary process. Upon comparing the working procedures of composers and the general working procedures of creative persons cited in Chapter 11, the following characteristics seemed to be common: (1) s.elf-discipline— knowing when to be disciplined, (2) exploring the possib ilities of the m aterial, sensing and following its lead—playing with ideas, sensing the forces of the field , (3) working individually/ not in groups, and (4) working procedures were adaptably routined—a time clock is meaningless to a creative person. R&r&sz (sup ra ,pp .77-78 ) stated that creative talent in music asserts Itself early. Lehman and Ingerham added: (1) compositional quality tends to peak earlier than quantity, and (2) works of contemporary |
| File Format | PDF HTM / HTML |
| Alternate Webpage(s) | https://etd.ohiolink.edu/!etd.send_file?accession=osu148656595510235&disposition=attachment |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
| Resource Type | Article |
