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I. Research-Based Rubrics for Assessing Undergraduate Music Compositions: A Validity Study. II. Identity Crisis, A Comp...

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Permanent Link: http://ufdc.ufl.edu/UFE0013772/00001

Material Information

Title: I. Research-Based Rubrics for Assessing Undergraduate Music Compositions: A Validity Study. II. Identity Crisis, A Composition for Wind Ensemble, Percussion, Electric Organ, and Electric Bass
Physical Description: Mixed Material
Copyright Date: 2008

Record Information

Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
System ID: UFE0013772:00001

Permanent Link: http://ufdc.ufl.edu/UFE0013772/00001

Material Information

Title: I. Research-Based Rubrics for Assessing Undergraduate Music Compositions: A Validity Study. II. Identity Crisis, A Composition for Wind Ensemble, Percussion, Electric Organ, and Electric Bass
Physical Description: Mixed Material
Copyright Date: 2008

Record Information

Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
System ID: UFE0013772:00001

Full Text












I. RESEARCH-BASED RUBRICS FOR ASSESSING UNDERGRADUATE MUSIC
COMPOSITIONS: A VALIDITY STUDY. II. IDENTITY CRISIS, A COMPOSITION
FOR WIND ENSEMBLE, PERCUSSION, ELECTRIC ORGAN, AND
ELECTRIC BASS















By

THOMAS F. NELLY


A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL
OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY

UNIVERSITY OF FLORIDA


2006

































Copyright 2006

by

Thomas F. Nelly


































This document is dedicated to my children, Hannah, Abe, and Eziah, and to my parents,
Tom and Linda.















ACKNOWLEDGMENTS

It is an honor to express my appreciation for all the people who have supported me

and guided me throughout my many years of studies at the University of Florida. The

work would not have been possible without their continuing encouragement and support.

First, I would like to thank my parents, Tom and Linda, who have always supported

me in everything I have done in life. Also, I want to offer my love and gratitude to my

children, Hannah, Abe, and Eziah, who have always loved me and inspired me.

I would like to thank my teachers, Dr. Paul Richards, Dr. James Paul Sain, Dr. Paul

Koonce, Dr. Timothy Brophy, Dr. John Bengston, Dr. Budd Udell, Dr. David Z.

Kushner, Dr. Leslie Odom, Dr. Raymond Chobaz, Mitchell Estrin, and many others, all

of whom continually inspired me, challenged me, forced me to look at music from many

different angles, and helped me develop into a mature musician.

I would like to offer my gratitude to the office and library staff in the School of

Music, especially Robena Cornwell and Michelle Wilbanks-Fox-they are always there

when I need them.

I would like to thank the following composition professors, without whom this

study would not have been possible: Hubert Bird, Andrew Bonacci, Mark Dal Porto,

Gregory Day, Amy Dunker, Michael Eckert, Neil Flory, Dennis Friesen-Carper, Andrew

Houchins, Kari Juusela, Veronika Krausas, Paul Siskind, Jerry Tabor, Robert Scott

Thompson, John D. White, Gregory Youtz, Mark Zanter, and several others who remain

anonymous.









Finally, I would like to thank my colleagues and fellow students (there have been

many) who have walked the path with me, all those who have performed my music, and

every musician who has ever done it authentically and honestly; they have inspired me.
















TABLE OF CONTENTS



A C K N O W L E D G M E N T S ................................................................................................. iv

LIST OF FIGURES ................................. .. ... .. ..................x

A B ST R A C T .............................................. xi

PART I: RESEARCH-BASED RUBRICS FOR ASSESSING UNDERGRADUATE
MUSIC COMPOSITIIONS: A VALIDITY STUDY ................................................1

CHAPTER

1 IN TR O D U C TIO N ......................................................................... .... .. ........

State ent of the Purpose ............................................................ ............3
D elim station s.......................................................................... ..... ..... . 3
D definitions of T erm s ..................................................................... ........... ... .3
Significance of the Study ............................................................ ............4

2 LITER A TU R E R EV IEW ............................................................... ...................... 6

Philosophical F oundations........................................... ......................................6
T heoretical F ram ew ork .............................................. ....................................... 13
C reativ ity M models .............................................................. ...... ............. 14
W allas ............................................... .... ......... ..... 14
G uilford ...................................................................... ..... ......... 15
A m ab ile ................................................................................ ................ 15
C sikszentm ihalyi ...................... ...... ................ .. .... .. .... ....... 16
G a rd n e r .................................................................................................... 1 7
G ru b e r ...................................................................................................... 1 8
Sternberg ............................................... 19
Im plications for the present study ........................................ ............... 21
M u sical C reativ ity .......................................................................................... 2 2
G reen h o e ...............................................................2 2
V au g h a n .................................................................................................. 2 2
Webster................ .... ......... .................. 23
Swanwick and Tillman ....................................................................... 23
Custodero .......................... ....................... 24
Im plications for the present study ................................. ..........24









Research Supporting Rubric Development ...................................... ............... 26
A ssessm ent ........................................................................2 6
Individual function ........................................................... .. .... ...... .. 26
P program function ............................ .................. .. ...... .. ..... .............. 27
Im plications for the present study ...................................... ............... 29
C reativity D efinitions ...................................... .......................... 29
G general definitions .................................... ..................................29
The Tanglew ood Sym posium .....................................................................30
Intrinsic motivation ......................................................................3 1
P rob lem so lv in g ........... ........................................................... .... .... .... .. 3 2
C reativity M easurem ent ............................................................. ....................33
G u ilfo rd ................................................................3 3
A m able .......................... .................... 34
Im plications for the present study ...................................... ............... 35
M musical Creativity M easurem ent ....................................... ............... 35
V a u g h a n .................................................................................................. 3 5
G order ........................... .............. .................................36
Webster............................................. 36
Sogin................................................................37
Im plications for the present study ................................. ..........37
Quantitative Assessment of Compositions ................................................ 38
W eb ster ........................................................ ... .............. .. 3 9
H assler and Feil ......... ........................ ...........................................39
M o o re ...................................................................................................... 3 9
K ra tu s ...................................................................................................... 4 0
Bangs ................ .............................. 40
S m ith ...........................................................4 1
Webster and Hickey .................................................41
B rinkm an ........................................... .......................................... ........ 42
Colw ell ........................... .................. 42
Im plications for the present study ................................. ..........43
Qualitative Assessment of Compositions ......... .............................................43
Moorhead and Pond ..................................................44
C o h e n ...................................................................................................... 4 5
B u ntin g ................................................... ...... ... .................. 4 6
DeLorenzo ................ ......... .................................46
C h riste n se n .............................................................................................. 4 7
Im plications for the present study ................................. ..........48
A ssessm ent R ubrics ............. ......... ................ ...........................................49
Hickey .............................. ............. ...............49
Im plications for the present study ................................. ..........51

3 M E T H O D S ............................................................................................................ 5 3

P a rtic ip a n ts ............................................................................................................ 5 3
M a te ria ls ..............................................................................5 5
R ub ric D design ....................................................... 55









C raftsm an sh ip .......................................................................................5 7
Com m unication of ideas ........... ............................................ .............. 59
C reativ ity ....................................................... 6 2
M u sician ship ................................................................. ................... 62
Other rubrics .................................. ............... .......... .......... 63
Quantitative and qualitative assessments ................. ................. ..... 64
Design of the Supporting Materials ................................................................. 64
P ro c e d u re s .......................................................................................6 5

4 R E S U L T S .............................................................................6 7

Question 1: Do the Rubrics Contain the Skills and Factors Necessary for Success
in Undergraduate Composition? In Other Words, Do the Rubrics Contain the
Constructs of Undergraduate Music Composition? ............ ..... ......... 67
Question 2: Would You Use this Type of Rubric for University Music
Composition Education? Why or Why Not? ............... ........... ... ...................... 68
Question 3: How Effective is the Use of the Likert-Scale (from 7-1) to Quantify
A ssessm ent Results in these Rubrics? ..................... .................................... 68
Question 4: What Would You Change about, Delete from, or Add to the Rubrics?..69
C raftsm an sh ip ............................................................................... 6 9
C om m unication of Ideas .............. ................................................. ............... 70
C reativ ity ....................................................... 7 0
M u sician sh ip ................................................................................7 1
O th er rub rics ...................................... ............................................. 7 1
G lob al addition s......................... .... .............. .... ... ............... 72
Question 5: Do You Have any Additional Comments-i.e., Strengths,
D raw b a ck s? ................................................................................................ 7 2

5 CONCLUSION...................... .............. 74

What Are the Constructs of Undergraduate Music Composition? ..........................74
Can these Constructs Be Developed into Assessment Rubrics? ................................75
Can these Rubrics Be Validated by Experts in the Field of Undergraduate
Composition, in this Case, Composition Professors? ....................................... 76
Final Thoughts and O observations ....................................................... 78
Suggestions for Future Research .......................................................................... 80

PART II: IDENTITY CRISIS, A COMPOSITION FOR WIND ENSEMBLE,
PERCUSSION, ELECTRIC ORGAN, AND ELECTRIC BASS...........................82

CHAPTER

6 SUPPORTING INFORMATION ON THE COMPOSITION ...................................83

C o n c e p t ...................................... ........................................................................... 8 3
Com positional Process ....................................... 85
M musical M materials ....................... ................................... ........ ...... .. 85










7 IDENTITY CRISIS, FOR WIND ENSEMBLE, PERCUSSION, ELECTRIC
ORGAN, AND ELECTRIC BASS ....................................................... 88

Instrumentation. .. ....... ......... ............................90
Performance Notes....................... ................. 91

APPENDIX

A E M A IL SO L IC IT A T IO N ......................................................................................... 196

B SUPPORTING MATERIALS FOR THE STUDY................. ..............................198

D directions for Rubric Evaluation.................................................................... 198
Important Explanations, Definitions, and Clarifications ............ .. .............199
Craftsm anship ............... ................. .. ........... ...................... 200
Com m unication of Ideas............................................................. ..............200
Creativity ........................... ...........................201
M musicianship ............... ..... . ........ ...............20 1
Other Rubrics: Application of musical materials ..............................................202
Other Considerations ............... .... ...............................202

C RESPONSES FROM PARTICIPANTS.................................... 203

Participant 1 .................................................203
Participant 2 ............................ ....................204
Participant 3 ........................................ ........205
Participant 4 ............................ ....................208
Participant 5 ................................................215
Participant 6............................. ....................216
Participant 7............................. ....................218
Participant 8 ................................................222
Participant 9 ............................ ....................223
Participant 10...................................... ........225
Participant 11 ...........................................226
Participant 12...................................... ........226

D ASSESSMENT RUBRICS......................................230

E REVISED RUBRIC BASED ON THE RESULTS OF THE STUDY ....................234

LIST OF REFEREN CES ................................................................................. 238

BIOGRAPHICAL SKETCH ...................................... .......................................251


.2 2 3
P participant 10 ............................................................. 225
P articip an t 11 ..................................................................2 2 6
P participant 12 ............................................................. 226

D ASSESSMENT RUBRICS ..... ................................230

E REVISED RUBRIC BASED ON THE RESULTS OF THE STUDY ....................234

L IST O F R E F E R E N C E S ........................................................................................... 238

BIOGRAPHICAL SKETCH .............................................................. ...............251
















LIST OF FIGURES


Figure age

6-1. Excerpt 1 from Identity Crisis, by Tom Nelly (mm. 6-9)..................................... 86

6-2. Excerpt from Identity Crisis, by Tom Nelly (mm. 11-13) ........................................86

6-3. Excerpt from Identity Crisis, by Tom Nelly (mm. 15-17) .......................................87















Abstract of Dissertation Presented to the Graduate School
of the University of Florida in Partial Fulfillment of the
Requirements for the Degree of Doctor of Philosophy

I. RESEARCH-BASED RUBRICS FOR ASSESSING UNDERGRADUATE MUSIC
COMPOSITIONS: A VALIDITY STUDY. II. IDENTITY CRISIS, A COMPOSITION
FOR WIND ENSEMBLE, PERCUSSION, ELECTRIC ORGAN,
AND ELECTRIC BASS

By

Thomas F. Nelly

May 2006

Chairperson: Paul Richards
Cochair: James Sain
Major Department: Music

The purpose of part I of this document was to develop and validate assessment

rubrics for use in assessing undergraduate music compositions. The following questions

guided this study. First, what are the constructs of undergraduate music composition?

Second, can these constructs be developed into assessment rubrics? And third, can these

rubrics be validated by experts in the field of undergraduate composition, in this case,

composition professors?

Research revealed four main constructs of undergraduate music composition:

craftsmanship, musicianship, communication of ideas, and creativity. Each is a main

category in the rubric's design and each contains its own criteria. The rubrics were

designed based on research in music assessment, creativity assessment, music

composition, creativity models, aesthetics, music education, and psychology.









Twelve professors who are teachers of undergraduate composition students have

examined and commented on the rubrics. They varied by geographic region, school size,

gender, age (34-74), and years of teaching experience (5-50); all hold a doctorate degree

in composition, and all are active composers. The evaluation instrument used consisted of

a questionnaire and instructions that were designed by the researcher. Evaluations

occurred between March and August of 2005.

Results showed that craftsmanship, musicianship, creativity, and communication of

ideas are the main constructs of undergraduate music composition and that the rubrics

designed based on these constructs are valid assessment tools for use in undergraduate

composition (11 of 12 participants agree). However, some suggestions were made for

changes, additions, and deletions to the criteria (categories in the rubrics) used to assess

these constructs. Overall, the participants 1) would use such rubrics because they are

comprehensive and enable teachers to clearly communicate with their students, and 2)

favored formative over summative assessment. Therefore, it was suggested a flexible

rubric be created in which elements can be selected from a comprehensive list and which

can be implemented in a personal, case-by-case manner. Based on the responses of the

participants, the rubric was revised by the researcher.

Part II of this document is an original composition for wind ensemble, percussion,

electric organ, and electric bass. It was inspired by research in creativity and authenticity.















PART I
RESEARCH-BASED RUBRICS FOR ASSESSING UNDERGRADUATE MUSIC
COMPOSITIONS: A VALIDITY STUDY














CHAPTER 1
INTRODUCTION

Assessment is becoming one of the most important issues in education in the

twenty-first century. It can be both formative (guiding the student towards a goal) and

summative (quantifying achievement), and be both process- and product-oriented. It is

used to keep high standards, to determine the value of funding for programs and facilities,

and to aid in the process of teaching and learning (Colwell, 2002). Because of the

emphasis on assessment, some educators, including music educators, have tried to

improve their assessment techniques and strategies. This is important, especially in the

area of music composition, because musical behavior is both objective and subjective and

therefore hard to assess. Regardless of this difficulty, research has shown that teachers

can come to a reasonable agreement as to what makes a quality music composition

(Amabile, 1982b; Hickey, 1999). Furthermore, reliable rating scales and rubrics have

been designed to aid both teachers and students in the teaching and learning process

(Webster, 1977; Webster, 1989; Hassler & Feil, 1986; Moore, 1990; Kratus, 1991;

Bangs, 1992; Smith, 1993; Kratus, 1994; Webster & Hickey, 1995; Hickey, 1999). All of

this research, though, has been designed for and has been executed using the

compositions of elementary and high school children, and cannot be applied directly to

the assessment of undergraduate music compositions because the criteria used in

assessing children's compositions are likely inappropriate for use in assessing

contemporary, undergraduate compositions. Researchers, however, are beginning to









understand the constructs of music composition. It is essential that valid research-based

rubrics are designed for undergraduate use.

Statement of the Purpose

The purpose of this study was to develop and validate research-based assessment

rubrics for use in undergraduate music composition instruction. The following questions

guided this study.

* What are the constructs of undergraduate music composition?
* Can these constructs be developed into assessment rubrics?
* Can these rubrics be validated by experts in the field of undergraduate composition,
in this case, composition professors?

Delimitations

This study has been limited to the following guidelines.

* Only teachers of undergraduate composition students have taken part in the study.
* The teachers have examined the rubrics keeping in mind that they will be used for
assessing undergraduate compositions.
* Only validity had been discussed; reliability was not an issue in the present study.
* The rubrics are concerned only with creative products, even though it is understood
that creative processes and the products that result are unavoidably linked.

Definitions of Terms

For the purpose of this study, it was assumed that most of the readers will be music

professors and graduate students in music; therefore, most of the musical terms used have

not been defined. Other terms that may not be familiar to the reader or that may need

explanation will now be defined.

* Craftsmanship: the level of technical proficiency.
* Aesthetic value: a theoretical reflection on artistic status and meaningful
articulation of ideas (Goehr & Bowie, 2001).
* Creativity: the ability to produce work that is novel (original, unexpected, non-
conventional), appropriate (useful, adaptive) (Amabile, 1996; Csikszentmihalyi,
1996; Gardner, 1993; Sternberg & Lubart, 1995), correct, valuable, or expressive of
meaning (Amabile & Tighe, 1993). It exists within a domain and is judged by









knowledgeable persons to be suitably useful for inclusion in the domain (Amabile,
1982b; Csikszentmihalyi, 1999).
* Originality: the degree of non-conventionality and novelty of products or responses
when compared to other members of the domain from which they come.
* Fluency: the number of novel and appropriate responses.
* Flexibility: the degree to which novel and appropriate ideas are flexible and shift in
character.
* Elaboration: the degree to which novel and appropriate ideas are detailed and
complex.
* Ill-definedproblem: a problem in which the components, the operators, and the
goals are not specified or known.
* Intrinsic motivation: a type of motivation that comes from within the individual
and is not influenced by external factors.
* Consensual assessment: a type of assessment in which appropriate observers are
used to independently judge creative products.
* Construct: a theoretical part of a model.
* Criterion: a measure or standard.
* Rubric: an assessment tool that contains specific categories to be assessed as well
as the criteria for assessment.
* Qualitative research: research that does not quantify its measures. It is concerned
with causes and processes.
* Quantitative research: research that quantifies its measures and is product oriented.
* Likert scale: a five- or seven-point scale in which 7=high and 1=low. This present
study uses a seven-point scale.

Significance of the Study

This study has both theoretical significance as well as practical educational

applications for the teaching and assessment of contemporary music compositions at the

university level. First, this study fills a need for assessment rubrics in undergraduate

composition-assessment rubrics have not been developed and validated for use in

undergraduate composition. Second, among the research studies on creativity in the arts,

few make connections to practical applications in the classroom. Teachers are expected to

teach composition, but are given no guidance for developing the creative side of students

(Hickey, 2002). Valid assessment rubrics can help teachers with actual assessments in the

classroom. They can aid the teachers in assessment, as well as aiding the students by

giving clear-cut expectations and goals. Third, the constructs of music composition could









be applied to course objectives-if a professor desired to nurture creativity, then fluency,

flexibility, elaboration, and originality can be assessed. Additionally, the assessment

rubrics that resulted from this study can be examined for inter-rater reliability.

Furthermore, other factors that affect compositional creativity can be examined, such as

problem-finding abilities, domain-specific knowledge, music aptitude and achievement,

intrinsic vs. extrinsic motivations, and training in the arts. It will also be important to

validate the consensual assessment technique in undergraduate composition. Eventually,

a course design for music composition can be created based on the constructs of music

composition, current trends, and current beliefs about what makes a creative piece of

music.














CHAPTER 2
LITERATURE REVIEW

This chapter begins with the philosophical foundations for why music compositions

should be assessed. The philosophical foundations suggest that by assessing music

compositions students will become better musicians. Next, a theoretical framework for

how to assess music compositions is discussed which includes creativity models and

models of musical creativity. The theoretical framework 1) implies that creative products

should be assessed based on the processes from which they come, and 2) helps identify

the constructs of music composition. Finally, research covering assessment, creativity

definitions, intrinsic motivation, problem-solving, creativity assessment, musical

creativity assessment, quantitative and qualitative assessment of music compositions, and

rubric design will be discussed. This research will support the design of the rubrics and

help further identify the constructs and criteria of music composition.

Philosophical Foundations

In higher education, music educators must make decisions as to how they will best

serve the interests of their students. The most important reason for teachers to assess their

students' musical behavior is to facilitate student learning within the education process.

"Few will argue with the notion that evaluation is an integral part of the education

process" (Zerull, 1990, p. 19). Although this is true, assessment is a complicated matter

and continues to be debated by educators-especially in the arts. Assessing music is an

extremely complex process because artistic expression and creativity can not be assessed

using traditional assessment techniques. Also, research has shown that assessment itself









can lower the creativity of the students if done in a threatening manner or for any external

rewards (i.e., high-stakes assessment). However, it has shown that external evaluation can

increase creativity levels when it is informative. Students who were told how to succeed

or "be creative," and those who received intrinsic motivation training, actually increased

their creativity levels (Collins & Amabile, 1999).

Assessments can give both students and teachers vital information concerning

student learning and understanding. In the field of music composition over the past

century, much advancement has occurred in understanding the process of music

composition through studies of creativity, compositional techniques and materials, and

musical thinking and understanding. The evaluation of compositions from a well

informed point of view can increase student performance as well as improve entire school

programs. Poor decisions, though, can result in many negative consequences. Decisions

must be made wisely based on a strong information base, which consists of both

subjective and objective knowledge. Subjective information is normally based on

informal, non-systematic observations coupled with interpretations of the observer's

training, experience, knowledge, feelings, intuition, and prejudices, and will naturally

vary from observer to observer. Objective information is unaffected by personal qualities

and does not vary from individual to individual. Both are important in the development of

assessment techniques. Both need to be integrated into assessment strategies and methods

(Boyle & Radocy, 1987). The rubrics in the present study will contain both subjective

and objective assessment strategies.









Overall, the philosophical foundations for why music compositions should be

assessed are based on the notion that assessments will help students become better

musicians because

* Music composition completes the music curriculum.
* Music composition maximizes musical thinking, musicianship, and the
understanding of compositional techniques and knowledge.
* Music composition develops creative thinking and critical thinking skills.
* It has been primarily the composers who have moved the field of music forward.
* Students need guidance-they need good teachers.
* Teaching composition will help develop the next generation of composers.
* Strategies for assessing compositions are successfully being developed.

Music composition completes the music curriculum. Bennett Reimer:

We have the capacity, finally, to represent the music of Western culture in its three
essential aspects: listening, performing, and composing. For the first time in
history, music education can become complete (1989, p. 213).

Paul Hindemith believed that composition was an essential part of a well-rounded

music education. He believed that the all-round musicians are

those who are useful players, not of one instrument, but of several; who sing
acceptably, who know how to handle classes, choirs, and orchestra; who have a
decent knowledge of theory, and beyond all, who certainly know how to compose
(1952, p. 185).

He adds:

Composing was not a special branch of knowledge that had to be taught to those
gifted or interested enough. It simply was the logical outgrowth of a healthy and
stable system of education, the ideal of which was not instrumental, vocal, or tone-
arranging specialist, but a musician with a universal musical knowledge (p. 178).

Music composition maximizes musical thinking, musicianship, and the

understanding of compositional techniques and knowledge. Arnold Schoenberg,

composer and teacher, who often theorized on teaching and learning, stated that:

Composing trains the ear to recognize what should be kept in mind, and thus helps
the understanding of musical ideas. In these circumstances, the purpose of teaching
composition is to help [the students] understand music better, to obtain that
pleasure that is inherent in the art (1950, p. 151-152).









Throughout history, there have been many treatises and texts written for the

purpose of teaching students materials and techniques of composition-from Fux's

Gradus to Cope's Techniques of the Contemporary Composer. It is imperative that the

techniques of composition are handed down from generation to generation. In learning

these techniques it is essential that students use them actively, and not merely read about

them-students must engage in the process of composition. Performers learn by

performing and composers learn by composing. It takes hard work and guidance.

Johannes Brahms:

There is no real creating without hard work. That which you would call invention,
that is to say, a thought, is simply an inspiration from above, for which I am not
responsible, which is no merit of mine. Yea, it is a present, a gift, which I ought
even to despise until I have made it my own by right of hard work (Henschel, p.
22).

Music composition develops creative thinking and critical thinking skills. A

problem-solving activity is creative if two things are true, 1) it provides a workable

solution to a problem, and 2) most other people would or could not arrive at the same

solution (Halpern, 1994). Music composition fulfills these two criteria. Composition has

often been thought of as a problem-solving activity. There is much research that supports

this notion (presented later in this chapter).

When solving problems and thinking creatively, students must have a certain

degree of freedom to explore different possibilities on their own, having a limited amount

of guidance by the teacher. Charles Stanford, a teacher of Vaughan Williams states:

To tell a student how to write music is an impossible absurdity. The only province
of a teacher is to criticize it when written, or to make suggestions as to its form or
length, or as to instruments or voices for which it should be designed. He can thus
keep impatience within bounds when invention is outpacing experience, develop by
sure, if sometimes necessarily slow, means the experience to equal the invention.
For the rest his functions must be...to give hints as to what to avoid, leaving the
constructive element to the pupils own initiative (1914, p. 219).









Additionally, Arnold Schoenberg, who was not happy with the education system in

1929, stated that teachers should be

encouraging young people to look at things for themselves, to observe, compare,
define, describe, weigh, test, draw conclusions, and use them-by training the
mind; by bringing the pupil face-to-face with the difficulties, problems, and
inherent terms of the given material; by helping him to recognize them; by forcing
him to help himself in this respect; which means letting him make his own mistakes
and correcting them afterwards, but also being of assistance to him in finding the
solution (1965, p. 135-136).

Additionally, Bennett Reimer, who takes an aesthetic view to creativity and

believes that sharing the expressive values of music should be first and foremost, states:

Music education should help people share as fully as possible in the created
expressive qualities of pieces of music, so they can experience the explorations and
discoveries of feeling captured in those pieces. Music education should also
involve people in the creation of music to the fullest extent possible, to experience
their own explorations and discoveries of feeling through the act of creation (1989,
p. 69).

It has been primarily the composers who have moved the field of music

forward. When looking through the many books covering the history of western music,

one can see that the most important element in a general music education is the

understanding of composers, their music, and their developments. In history courses we

focus on composers and their music. Perhaps this is because it is the compositions that

survive, not the performances-there is not necessarily a model performance of a specific

piece of music. When speaking of composers, Bennett Reimer states:

Of all people involved in the art of music, the most crucial to the endeavor are
composers, without whom performers and listeners could not exist (1989, p. 208).

Students need guidance-they need good teachers. No composer is an island.

There are always social, historical, and environmental factors that add to their creative

output. The teacher is a big part of the equation. David Elliot states:









The musicianship of every musical practice is learned through interactions with
musically significant others: with teachers and, in a more distanced way, with the
community of practitioners who have established, maintained, and advanced the
musical domain the novice wishes to learn (1995, p. 161).

Some agree that creative musical ability is a talent-that we are born with it. Many,

though, disagree with this notion-creative musical ability comes from hard work and

good teaching. Any student can learn to compose, can learn compositional techniques,

and while engaged in the learning process, will use models and examples from the field

in which they compose. Teachers are important in this process. David Elliot:

No one is born musical. Instead, people are born with capacities of attention,
awareness, and memory that enable them to learn how to think musically-to make
music and listen for music competently, if not proficiently. Musicianship is
achieved through music teaching and learning; it is neither a gift nor a talent (1995,
p. 236).

He continues:

Just as intelligence is considered not one-dimensional but multidimensional, so
cognitive scientists no longer speak of individuals as 'having creativity' or 'being
creative' in any general sense. Intelligence, cognition, knowledge, creativity-all of
these are context-specific, or domain-specific. The key to musical creativity lies in
the education of multidimensional form of working understanding called
musicianship. Indeed, and again, musicianship is educable (1995, p. 228-229).

Concerning teachers, Reimer states:

A competent teacher of composition at the operational phase will exemplify the
same characteristics as teachers of general music and performance-high levels of
craftsmanship, sensitivity, imaginativeness, and authenticity (1989, p. 212).

He adds:

Young people will involve themselves in the new composing technologies because
they will grow up with them as an accepted part of their world. Composition can
become a strong third pillar of school music and therefore benefit far more from a
general curriculum of study, taking them light-years beyond what they are likely to
pick up on their own as a strictly recreational activity (1989, p.213).

Another important factor is that when setting limits or constraints in composition


instruction, the teacher is not limiting the student. Stravinsky believed:









My freedom thus consists in my moving about within the narrow frame that I have
designed myself for each one of my undertakings. Whatever diminishes constraint,
diminishes strength. The more constraints one imposes, the more one frees one's
self of the chains that shackle the spirit (1947, p. 87).

It is essential, through educational constraints, that students learn compositional

techniques from the past. Composers who lack technique and can not solve technical

problems will not be as successful as the well-rounded composer. Abbs (1987) states:

The accent on self-expression left the mastery of technique unaccented, even mute.
For the progressives if the work was somehow expressive of self then, by
definition, it became laudatory, whatever the artist merit... Many children in 'free'
art lessons may have expressed themselves only too well but produced, for want of
technique and initiation into the symbolic medium, artistic non-entities (p. 44).

Stravinsky even stated that technical problems "developed and exercised his

imagination" (1936, p. 101).

When Gardner (1993a, 1993b) studied the biographies of seven creative individuals

(Freud, Einstein, Picasso, Stravinsky, Eliot, Martha Graham, and Gandhi) he noticed the

importance of a teacher in shaping creative experiences. Of all the individuals studied,

only Gandhi did not have a mentor or teacher. It seems that most creative individuals are

guided through their creative experiences.

Teaching composition will help develop the next generation of composers. As

opposed to teaching composition to develop creativity and self expression is the view that

states that composition should be taught to develop the next generation of composers.

This philosophy is concerned in developing techniques of the art form (Hickey, 2003).

Some argue that this type of approach is too constrained and rule oriented and that it

stifles individual expression and intrinsic motivation (Amabile & Gitomer, 1984).

Strategies for assessing compositions are successfully being developed. The

growing amount of literature on music assessment-from the early tests based on the









theories of Guilford, Amabile's consensual assessment technique, and Hickey's rubrics-

shows that music can be reliably assessed both quantitatively and qualitatively. Bennett

Reimer states:

Surely the challenges here are as great as in the other two programs [general music
and performance], but as surely an effective teacher will have to meet them. In one
sense it will be harder for those who will be the pioneers starting this new
specialization, in that the specifics of their teaching craftsmanship, their sensitivity
to compositional learning and to the cultivation of them, their imagination in
inventing new methodologies, their authentic treatment of music as it exists and as
it newly comes into existence, are all awaiting discovery with little accumulated
expertise to fall back on. Standards and procedures and outcomes and patterns of
programming will all be newly developed, allowing those providing the leadership
to share in the joys of discovery and achievement (1989, p. 212).

The preceding philosophies have implications for the present study. The present

study was concerned with the development and validation of assessment rubrics for

assessing undergraduate music compositions. The philosophical foundations discussed

imply that by assessing music compositions students become better musicians because

music composition maximizes musical thinking, musicianship, and the understanding of

compositional techniques and knowledge, it develops creative thinking and critical

thinking skills, it has been primarily the composers who have moved the field of music

forward, students need guidance-they need good teachers, teaching composition will

help develop the next generation of composers, and strategies for assessing compositions

are successfully being developed.

Theoretical Framework

The following research and models suggest how to assess creative products by

identifying the constructs and criteria involved in their creation. Bennett Reimer states:

To remove the prejudice that judging art is entirely subjective or whimsical,
replacing it with the understanding that criteria can be identified and applied
reasonably, is an important function of music education-a function far too often
neglected. It is a necessary component of the music program, which must be









developed as systematically as other essential skills and understandings (1989,
p. 142).

Creativity Models

Since music composition is a creative activity, creativity models have important

implications in the assessment of music compositions. They provide the theoretical

framework on which to develop assessment rubrics. Assessments of music compositions

must be based on the actual process composition (Moore, 1990). Creativity models can

help identify the constructs and criteria of creative activities and show important

environmental, cognitive, creative, and personal factors that affect levels of creativity.

The constructs and criteria can be used as the foundation for assessing compositions, and

the environmental, cognitive, creative, and personal factors can be maximized for best

possible assessment, learning, and performance. Creativity models that will be discussed

include those by Wallas, Guilford, Amabile, Csikszentmihalyi, Gardner, Gruber, and

Sternberg.

Wallas

Wallas (1926) proposed a model of creativity based on problem-solving that

contained four stages: a) preparation, the gathering of information and materials, b)

incubation, the unconscious work going on, c) illumination, the inspired emergence of a

possible solution, and d) verification, the formulation, testing, and elaboration of the

solution. This model was applied to music composition by Hickey (2003). She believes

that music composition is a meaning-making process in which students compose music

under the influence of culture. Her philosophy is based on theories that state that our

mental processes, which include music composition, all develop in a social setting.

Musical behavior, she argues, is a dialogue between the individual and the culture in









which the individual is able "to construct knowledge of themselves as well as their

culture." Music composition, therefore, should be taught and assessed because it provides

students with the opportunity to develop high-level meaning-making processes.

Guilford

Guilford's Structure ofIntellect Model (1967) is probably the most influential

model of creativity. As stated earlier, this three-part model consists of 1) content

categories-the figural, symbolic, semantic, and behavioral information received and

stored, 2) operations categories-the mental processes used to process information

(cognition, memory, divergent and convergent thinking skills, and evaluation), and 3)

products categories-the end result of the processing of information (units, classes,

relations, systems, transformations, implications). His main hypothesis was based on the

belief that creative thinking consists of the following divergent thinking factors: fluency,

flexibility, elaboration, and originality.

Since music composition is believed to be a creative activity, Guilford's model is

the basis for the inclusion of creativity as a main construct of undergraduate composition,

and the inclusion of fluency, flexibility, originality, and elaboration as sub-categories in

the creativity rubric in the present study.

Amabile

Amabile's (1982) model of creativity contains three parts: intrinsic motivation,

domain-specific knowledge (knowledge, technical skills, and talent), and cognitive

abilities conducive to creativity (the ability to break rules, use problem-solving strategies,

and avoid mental set-a mental rut or mindless rigidity that blocks problem-solving; the

ability to generate novel ideas; the ability to concentrate). Her model is based on a five-

step process: problem/task presentation, preparation, response generation, response









validation, and outcome. Music professors can promote intrinsic motivation by allowing

students to do something they love, give them freedom of choice, establish environments

in which ideas can be freely exchanged, reduce extrinsic constraints and pressures, train

individuals in intrinsic motivation, teach domain-relevant skills and creative processes

(Collins & Amabile, 1992). They can teach students domain-specific knowledge that is

required through objective composition assignments that are designed to develop certain

compositional techniques and thoughts, and can create an environment that promotes the

full potential of cognitive abilities, such as avoiding mental set or encouragingfluency

andflexibility. Also, when using Amabile's consensual assessment technique, teachers

can perform reasonably reliable assessments (Amabile, 1982b).

Csikszentmihalyi

Csikszentmihalyi's (1988) three-part model of creativity consisted of the individual

(one who brings change to a domain), the domain (preserves worthy new creations), and

the field (experts that judge products as worthy of inclusion in the domain). Each of the

three elements affects the others in important ways. The passage of time, he believes, is

also important in the creative process.

Csikszentmihalyi also developed a concept called aflow state. Many people seem

to experience the enjoyment of engaging in certain activities in much the same way.

There is a certain state of mind that they get in when they are completely enjoying their

chosen activity. These activities are those which are intrinsically motivated-individuals

are not rewarded with money or fame. The activities are performed due to the quality of

the experience the individuals felt when involved in the activity. Their enjoyment doesn't

come when they're relaxing, taking drugs or alcohol, or when they're experiencing great

expenditures of wealth. In fact, the activity often stretches the mental or physical capacity










of the individual and involves a challenge that could contain pain, stress, or risk. The

element of novelty or discovery seems to be the driving force. Individual descriptions of

their experiences reveal that there is not much variance due to culture, age, or gender.

Csikszentmihalyi calls this type of experience as aflow experience, or aflow state, which

consists of nine main elements (Csikszentmihalyi, 1996).

1. There are clear goals every step of the way. When in flow, an individual always
knows what needs to be done. They are acting in the moment-everything they
need to do seems very clear.
2. There is immediate feedback to one's actions. We know right away how we are
doing.
3. There is a balance between challenges and skills. When we feel our abilities are
well matched with the opportunities for action, we are more likely to enjoy the
experience. This is perhaps why it becomes intrinsically motivated-because we
can be successful.
4. Action and awareness are merged. In flow, we concentrate completely on the task
at hand. Our mind is not wandering. We are fully engaged in the activity.
5. Distractions are excluded from consciousness. In flow, we are aware of only those
things that are relevant here and now. We are not distracted by anything. Our entire
mind and body is focused on something we love to do.
6. There is no worry offailure. In flow, we are too engaged in the activity to worry
about failure.
7. Self-consciousness disappears. When in flow, we are too involved in what we are
doing to worry about protecting the ego. Some individuals believe that, when in a
flow state, they step out of the boundaries of the ego and have become part of a
greater entity.
8. The sense of time becomes distorted. Hours may seem like minutes. Or the opposite
might happen: an individual might experience every detail of what they are doing
in slow motion.
9. The activity becomes autotelic. It is an end in itself. Individuals perform the activity
only to feel the experience they provide. There are no external rewards. Motivation
for performing the activity is purely intrinsic. The secret to a happy life may be to
try to getflow from as many activities as possible. Activities should be done for the
sake of doing them. Do what you love-love what you do. If our work and family
life become autotelic, then nothing in life is wasted.

Gardner

Howard Gardner (1983, 1993a, 1993b) takes a psycho-historical approach to the

study of creativity. He took biographical information from the lives of seven different

individuals from seven different domains (Freud, Einstein, Picasso, Stravinsky, Eliot,










Martha Graham, and Gandhi) and applied Csikszentmihalyi's model of creativity, along

with his own theory of intelligence, to their study. He found, at the individual level, that

creative individuals, or in his words, "exemplary creators," vary in intelligence; are

confident, alert, non-conventional, and hard working; feel estranged from and had

rebelled against their families; had supportive but "correct" upbringings; were reasonably

materially comfortable in life; had childlike qualities; and shared a similar development.

At the domain level, Gardner found that individuals problem-solve, put forth a

conceptual scheme, create products and stylized performances, and perform for high

stakes. All seemed to follow superstitious, irrational, or compulsive behavior in order to

maintain their gifts. The creative process within a domain, he argues, is due to the symbol

system used, the nature of the particular creative activity, and certain key moments in the

course of a creative breakthrough.

At the field level, Gardner noticed that all of the individuals except for Gandhi had

mentors who influenced them in their respective fields.

His overall conclusion is that individuals are creative due to the ability to enjoy and

to benefit from a misfit or lack of smooth connections in Csikszentmihalyi's triangle of

creativity (individual, domain, and field).

Gruber

Gruber (1996) found Gardner's study of the biographies of the seven creative

individuals somewhat inaccurate because it implied that there is a generalized trait for

individual creativity, as opposed to the evolving systems approach, which states that

developmental change is a multi-directional interaction between the creator and the

world, and that the creative person is an evolving system. He did, however, find that









creative individuals seem to share two traits: they have a necessary uniqueness and may

use similar strategies in their inquiries.

The evolving systems approach (Gruber & Davis, 1988) is based on three factors:

1) each creative person is unique, 2) creativity researchers must describe and explain each

unique configuration 3) a theory of creativity that looks only at common features of

creative people is irresponsibly missing the main point of each individual life and

evading the main responsibility of research in creativity.

Gruber (Gruber & Davis, 1988) also found that 1) creative work seems to be

distributed over time due to its purpose and difficulty, 2) creative individuals work within

three systems-knowledge, purpose, and affect-systems that lie within the mind of the

individual who is engaged in rich and complex interactions with their external

environment, and 3) creative individuals use a set of heuristics, or non-homeostatic

processes, that recognize, preserve, and elaborate creative ideas.

Sternberg

Sternberg (1988a) developed a three-facet model of creativity based on his triarchic

theory of human intelligence. He studied the inter-correlational relations between

creativity, intelligence, and wisdom and found that their inter-relationships were

positive-meaning that greater amounts of one quality meant greater amounts of the

others. He also found that creative behavior contained six major elements: 1) lack of

conventionality, 2) integration and intellectuality, 3) aesthetic taste and imagination, 4)

flexibility and decision skill, 5) perspicacity or discernment, and 6) drive for

accomplishment and recognition. He also noticed that in order to understand creativity

we must look at three psychological attributes: intelligence, intellectual style, and

motivation/personality.









The first part of his triarchic model is based on intelligence, which consists of three

major processes, each of which depends on originality and the quality of the execution of

certain components. The three processes are 1) metacomponents processes used in

planning or legislating (recognizing the problem, defining the problem, formulating

strategies and mental representations for the problem solution), monitoring, and

evaluating during problem-solving, 2) performance components execute the instructions

of the metacompnents, and 3) knowledge acquisition components selective encoding,

selective combination, and selective comparison are used in the process of insight.

The second part of the model is the creator's intellectual style, or the manner or

style with which he directs his intelligence, which is related to self-government. It

contains five elements: 1)function-legislative, used by those who like to do things their

own way; executive, used by those who like to follow rules; and judicial, used by those

who like to evaluate rules to make judgments, 2)forms of self-government-monarchic,

used by those who prefer only one goal at a time; hierarchic, used by individuals who

understand that there is sometimes a hierarchy of goals that need to be reached with some

goals being more important than others; and oligarthic, used by those who are motivated

to reach multiple, sometimes competing goals, 3) levels of self-government-globalists,

who prefer big, abstract, and conceptual issues; localists, who prefer concrete, detailed

problems, 4) scope-internal, or introversion; external, or extroversion, and 5) leaning-

conservative, those who prefer little change; progressive, those who desire to maximize

change.

The third part of Sternberg's model is personality. He found that certain personality

attributes are conducive to creativity: 1) a tolerance of ambiguity, 2) a willingness to









surmount obstacles, 3) a willingness to grow creatively, 4) intrinsic motivation, 5)

moderate risk-taking, 6) the desire for recognition, and 7) the willingness to work for

recognition.

This model explains creativity from a viewpoint that stresses individual, internal

attributes, and shows that that creativity can be seen as an extremely complex process.

Implications for the present study

The preceding models of creativity demonstrate that creative behavior is an

extremely complex process. Important in the overall process are content or knowledge,

cognitive thinking skills, personality, environment, motivation, creative products, and

appropriate observers, all of which must be conducive to creativity. As creative products

are the end result of the creative process, rubrics that assess creative products must be

developed based on these models. The constructs and criteria in the present study will be

designed as a part of this model.

Besides offering a foundation on which to develop rubrics, these models inform the

present study as to the inclusion of the following as criteria for creativity: fluency,

flexibility, originality, elaboration, domain-specific knowledge, non-conventionality

(originality), aesthetic taste, and the ability to make judgments. These criteria will be

included in the assessment rubrics in the present study. Although the present study is only

concerned with developing and validating rubrics that are used for assessing creative

products, it is understood that a complete assessment of a student will also include an

assessment of the process of composition and will probably include the following:

problem-solving abilities (divergent thinking, reflection, convergent thinking), intrinsic

motivation, level of enjoyment, risk-taking, engagement, lack of worry concerning









failure, work ethics, drive for accomplishment, self-monitoring, and the tolerance for

ambiguity.

Musical Creativity

Most of the research concerning musical creativity is based on previous creativity

research and models. This research will put most of the concepts contained in the general

creativity models into a musical context and help define music composition as a creative

activity. Additionally, it will help identify the constructs and criteria of music

composition, and develop the rubrics in the present study. This section will cover

research by Greenhoe, Vaughan, Webster, Swanwick and Tillman, and Custodero.

Greenhoe

Greenhoe (1972) explored psychological concepts of creativity from the literature

and related the concepts to musical experience and music education. She found that

creativity occurs through similar processes and personalities regardless of the medium.

Personality traits that increase creativity include openness, complexity, curiosity,

persistence, autonomy, and flexibility, and freedom to use both conscious and

subconscious thought. She found that individuals must have domain-specific knowledge,

aural perception, imagination with sound, factual and psychomotor discipline, and

formative experience with music. Greenhoe also noted that music education can develop

creativity at the expressive, productive, and inventive levels through composition.

Vaughan

Vaughan (1973) designed a four-part model for musical creativity which consists of

a developmental sequence that is based on the idea of energy levels: 1) acquisition-

assimilation and incubation of musical knowledge (rhythm, melody, notation, etc.), 2)

combinational-the exploratory shuffling and rejuggling of musical knowledge using









divergent-thinking skills, 3) developmental-the insight and intuition used for

understanding relationships and expressive possibilities, and 4) synergistic-the creative

works comes together with the requirements of society. This model is based on a spiral in

which each energy level must be revisited.

Webster

Peter Webster (1987a, 1988, and 1991) developed a three-part model for creative

thinking in music. The first part is concerned with product intention, which is defined as

the creator's goal or intention. The second part of the model consists of enabling skills, or

thinking skills, which consist of musical aptitudes such as the ability to recognize tonal

and rhythmic patterns and musical syntax-convergent skills, as well as flexibility (range

of expression), originality (unusualness of expression), conceptual understanding

(knowledge of facts), craftsmanship (the ability to apply factual knowledge), and

aesthetic sensitivity-divergent skills. The second part of the model also contains

enabling conditions, which consist of motivation, subconscious imagery (non-conscious

mental activity), the environment (working conditions, family conditions, etc.), and

personality (i.e., risk taking, spontaneity, openness). The enabling skills and conditions

are based on Guilford's divergent and convergent thinking skills (many possibilities are

generated and tested through divergent processes, then the best is converged upon) and

are applied to Wallas' steps in the creative process. The final part of the model consists of

the final creative product, which can be a composition, performance, or analysis.

Swanwick and Tillman

Swanwick and Tillman (1986) developed a sequential model for the creative

musical development in children based on Piaget's theory of play development. This

model is designed in four parts: 1) mastery (control of and delight with musical









materials), 2) imitation (expressive character, accommodation, spontaneity, and the use of

common musical conventions), 3) imaginative play (no rules or limitations, structure is

developed), and 4) metacognition (communication, expressive composition using original

materials), all combined with interpretations of children's play based on Piaget's theory.

The overall model is designed as spiral as to imply that as a new level is reached, the

others are not forgotten.

Custodero

Custodero took Csikszentmihalyi's concept of flow and designed a measurement

tool to record observedflow experiences in preschool children's musical activities

(Custodero, 1997). She found that potency (alert + involved + active), self-concept

(satisfied + successful), behavior (skill + 3 operationalizations of flow-anticipation,

expansion, and extension), and challenge (challenge + adult awareness) significantly

predictflow. The mostflow existed in the longest (7 minute) activities, the moderately

familiar activities (2-4 weeks), the one-on-one social context, and the individual student

keyboard location. Activities characterized by multi-sensory involvement, unambiguous

feedback, and perceived opportunities for action facilitated the mostflow.

Implications for the present study

The preceding models of musical creativity are based on the models of general

creativity but are placed within a musical context. Within the models of musical

creativity, content or knowledge is defined as musical knowledge and cognitive thinking

skills include aural perception, music aptitudes, imagination with sound, music aesthetics,

craftsmanship, and divergent and convergent abilities. Like the models of general

creativity, personality, environment, motivation, creative products, and appropriate

observers all have similar implications.









From these models the main constructs of music composition begin to emerge. The

models show that music composition is a creative activity; therefore creativity is a main

construct-a composer must be creative. Craftsmanship is included as a main construct

because it represents the application of domain-specific knowledge-a composer who has

a grasp of musical knowledge and composition skills will likely compose a piece that is

well crafted. Musicianship is a main construct of music composition as it represents the

application of musical thinking skills, musical decision making, and intuition and insight.

An insightful composer who makes astute musical decisions will likely compose a piece

that is cohesive, well paced, and sensitive. Likewise, communication of ideas is included

as a main construct as it represents the application of aesthetic sensitivity. Additionally,

the following are included as criteria for musical creativity: domain-specific knowledge,

rhythm, harmony, syntax, flexibility, and originality. Each of these will be used in the

assessment rubrics designed by the researcher. Additionally, the notion that creativity can

be nurtured and developed is supported-unambiguous feedback facilitatesflow and

therefore creativity. Accurate assessment is essential.

As stated earlier, an assessment is not complete if both product and process are not

assessed. This present study is concerned with only the assessment of products. However,

it is understood that the following is also important when assessing student work: is the

student's personality conducive to creativity? Does the student think divergently? Is the

student involved, challenged, or feel successful? Do they seem to experience flow? Is

feedback unambiguous?









Research Supporting Rubric Development

The following research provides a foundation on which to develop assessment

rubrics for assessing music compositions, and provides many of the constructs and

criteria for the assessment.

Assessment

Every good music program needs good assessment techniques. Boyle and Radocy

(1987) discuss techniques that can be used for a number of functions, which provides for

both individual needs (achievement, diagnostic, aptitude, and attitude) and the needs of

the entire music program (accountability, instructional effectiveness, teacher

effectiveness, policy making and management, and research and project evaluation).

Individual function

Music students must be assessed to evaluate their music achievement. Achievement

can be evaluated in relation to others (norm-referenced) or in relation to specific criteria

(criterion-referenced). Criterion-referenced assessment is appropriate for use when

students can progress at their own rate and is concerned with whether or not a student has

met minimum requirements.

Assessment in music also serves diagnostic functions. Diagnostic evaluations are

used to classify students according to strengths and weaknesses, and can serve as an

information base for assigning students to remediation. They can also be used to identify

students who perhaps do not have a future in music.

A student's aptitude can be tested, which may give teachers information that can

help predict how a student will perform in the future. Aptitude tests, however, are

questioned as to whether or not they are valid predictors of student ability. Also, it is

questionable to deny students opportunities based on aptitude tests.









The main reason to assess a student's attitude is to find out what he or she wants to

do as opposed to what he or she is able to do. Student attitudes have a large impact on

teaching and learning, and can provide information about learning activities and musical

repertoire.

Program function

Music programs are evaluated in relation to educational and monetary objectives.

School budgets, inefficient teachers/instruction, and the future of education are all

concerns. The reliable and valid assessment of music compositions will aid music schools

in improving these issues. Well designed assessments can give administrators specific

information concerning the following: accountability, instructional effectiveness, teacher

effectiveness, policy making and management, and research and project evaluation.

Accountability helps control quality, and states that one individual or group is

responsible to another for something. Both educational products and processes should be

under scrutiny. Whatever the chain of responsibility, it is clear that accountability will be

a continuing issue because so much is at stake (time, money, needs).

The effectiveness of instruction (activities, content, and outcomes), naturally, is a

major concern for every music program. Outcomes can be evaluated by assessing the

achievement of individuals relative to given instructional objectives. The assessment of

activities and content, on the other hand, focuses on the process of instruction rather than

the outcomes. The processes can be evaluated in terms of both instructional objectives

and long term goals of the program and the community.

Teacher effectiveness is an important issue because it is the greatest variable in the

education process, and therefore must be focused upon. A bad teacher can have

detrimental effects on both the students and the program as a whole. Every teacher should









be assessed, and each assessment should look at events, verbal and non-verbal behavior,

flexibility and variety of teaching style, and the flow of ideas within the classroom (Boyle

& Radocy, 1987). Accrediting agencies control the quality of teachers to some degree,

but it is still a problem in the university music environment because many teachers are

hired as expert musicians, not expert teachers. Teachers need to make a conscious effort

to improve their instructional abilities. Just like in music, you can improve with practice.

Policy and management decisions probably have the highest degree of effect on the

music program as a whole. The more accurate the information that comes from the many

different assessments that occur in the educational environment, the better the decisions

will be. These decisions are concerned with program planning and development,

determining the value of funding for programs and facilities, assessments of performance

groups and individuals, and attitudes of students, teachers, parents, and the community.

Since funding is such an important issue in higher education, it is important for

administrators to have as much information as possible in order properly allocate funds.

Student and ensemble performance evaluations, as well as results from research and

projects can give administrators the information they need. Most often, the groups that

allocate funds like to see numerical results, but results from research and evaluations in

the field of music usually are not numerical in nature. This is because much music

assessment is formative in nature, that is, its final purpose is to move towards a final goal

or outcome (i.e., a performance or composition). Summative assessment, on the other

hand, indicates a degree of worth of a finished product (Colwell, 2002). When assessing a

finished product with a reliable assessment tool, an evaluator can discover accurate

numerical information about students and performance groups. Therefore, it is important









to design valid summative assessments of music compositions. Amabile (1982b)

designed her "consensual assessment" technique based on the assessment of creative

products. Many other researchers have been successful in designing assessment tools for

evaluating creative products.

The results from research and projects need to be assessed if any conclusions

drawn from the studies are to be of any value. This is especially important when

thousands or even millions of dollars are involved. Funding agencies require a system of

accountability be built into projects that they fund. These projects are to be evaluated

based on both the process (Are objectives and instructional goals realistic?) and the

product (Is the project progressing towards the objectives?).

Implications for the present study

The preceding research suggests that assessment fulfills the needs of individual

students (achievement, diagnostic, aptitude, and attitude) and the needs of the entire

music program (accountability, instructional effectiveness, teacher effectiveness, policy

making, management, and research and project evaluation). It is therefore an essential

part of every education program.

Creativity Definitions

The following section will cover definitions of general creativity and musical

creativity, and will discuss intrinsic motivation and problem solving.

General definitions

When defining 'creativity', many researchers identify two distinguishing features

of creative endeavor: novelty and usefulness (Amabile, 1996; Csikszentmihalyi, 1996;

Gardner, 1993). Sternberg and Lubart (1995) put it this way: "creativity is the ability to

produce work that is both novel (original, unexpected) and appropriate (useful,









adaptive)". Amabile and Tighe (1993) note that it is not enough for a product to merely

be different for the sake of difference, it must appropriate, correct, useful, valuable, or

expressive of meaning.

Csikszentmihalyi (1999) stated that creativity is a novel variation within a domain

that is judged by knowledgeable persons to be suitably useful for inclusion in the domain.

Amabile's (1982b) consensual definition of creativity is almost identical: "a product or

response is creative to the extent that appropriate observers independently agree that it is

creative. Appropriate observers are those familiar with the domain in which the product is

created or the response articulated."

The definitions of creativity have several implications for the present study. Music

compositions are products that are novel, adaptive, valuable, and/or expressive of

meaning. Their production requires composition skills and problem-solving skills

common in creative behavior. Therefore, music compositions must be assessed from the

perspective that they are creative products. They must be novel and appropriate, and

experts in the field must assess them. These definitions also support the use of

undergraduate composition teachers as assessors, and also as subjects in the validation

process. Also supported is that creativity is a construct of music composition and

originality is a criterion for creativity. They have been included in the assessment rubrics

in the present study.

The Tanglewood Symposium

The Tanglewood Symposium (1967) included 'The Nature and Nurture of

Creativity' as a topic of discussion. They defined creativity from the perspective of that

creative behavior required problem-solving skills (the same of which can be observed in

both children and composers) as well as composition processes and products. They









noticed that the creative student has the following personal characteristics: 1) they are

non-conformists and seek their own individual style, 2) have average intelligence, 3) have

divergent-thinking skills, and 4) are independent and may not get along with their peers.

Assessment can help professors detect these qualities and nurture creativity in students.

Intrinsic motivation

It is important for every teacher to understand that the prospect of evaluation and

assessment often lowers a student's intrinsic motivation and therefore lowers the level of

creativity. The intrinsic motivation hypothesis states that intrinsic motivation is

conducive to creativity and extrinsic motivation is detrimental (Amabile, 1996).

Crutchfield first made the distinction between ego-involved, or extrinsic motivators, and

task-involved, or intrinsic motivators in 1962. He believed, as many others have, that

intrinsic motivators increase levels of creativity, and extrinsic ones lowered them.

Intrinsic motivators raise creativity because individuals become less likely to conform

(Csikszentmihalyi, 1990a), and become totally absorbed in their work (Barron, 1963).

Csikszentmihalyi (1990b) also suggested that a highly intrinsically motivated state, also

called a 'flow state', is achieved when the challenge of the activity matches the ability of

the performer, when optimal involvement occurs, and when a heightened feeling of

enjoyment and concentration makes the passage of time seem slow.

Further research has shown that extrinsic motivators can lower creativity. This

occurs when performers receive a positive evaluation before a performance (Amabile,

Goldfarb, & Brackfield, 1990), when the task at hand is constrained or controlled

(Amabile & Gitomer, 1984), and during competitions for awards for the 'best' work

(Amabile, 1982a). Some research, though, has shown that external evaluation can

increase creativity levels when they are informative. Students who were told how to









succeed or 'be creative', and those who received intrinsic motivation training, actually

increased their creativity levels (Collins & Amabile, 1992).

Research in intrinsic motivation implies that intrinsic motivators and informational

extrinsic motivators (especially when intrinsic motivation is high) are conductive to

creativity, and controlling extrinsic motivators are detrimental (Amabile, 1996). Creative

potential can be increased in the following ways: allow individuals to do something they

love, give them freedom of choice, establish environments in which ideas can be freely

exchanged, reduce extrinsic constraints and pressures, train individuals in intrinsic

motivation, teach domain-relevant skills and creative processes (Collins & Amabile,

1992). Therefore, the rubrics designed for the present study should not be used as

controlling extrinsic motivators. They should aid the student by maximizing their

intrinsic motivation and, therefore, their creative potential.

Problem solving

Creativity studies since the 1960's have been associated with the process of

problem solving. A problem is said to exist when an individual wants to reach a goal but

is not permitted because of an obstruction. It contains an initial state, an individual's

knowledge about the problem and its operators, and a goal state. Problems are said to be

well-defined when the components of the problem, the operators, and the goal is clearly

specified, as in a geometry problem. This type of problem can be solved with algorithms

and is guaranteed a solution. An ill-defined problem is one in which the components, the

operators, and the goal are not specified or known. Voss and Means (1989) proposed a

model of creativity that is centered on ill-structured problem solving in the social

sciences. This model emphasizes the importance of domain-specific knowledge, the use

of internal and external search mechanisms for the finding, evaluating, and contextual









application of the knowledge, and our personal value and affect, elements which drive the

creative process.

Research in the general creativity literature has consistently shown that projects

that are ill-defined (open-ended), rather than well-defined (with specific directions), have

been judged as more creative (Amabile, 1996; Getzels, 1964; Sternberg, 1999). Research

in the arts has supported this theory also. Children not only prefer open-ended problems

that are situated in self-directed settings with minimal procedural and time constraints

(Burnard, 1995), they are also consistently rated higher for creativity than children in

non-choice, constrained settings (Amabile & Gitomer, 1984; Baumgarten, 1994).

Creativity Measurement

The following section will discuss general creativity measurement and will include

the Structure ofIntellect Model (Guilford, 1967) and the consensual assessment

technique (Amabile, 1982b).

Guilford

Much of the early research concerning the measurement of creativity is based on

Guilford's Structure ofIntellect Model (1967). His main hypothesis was based on the

belief that creative thinking consists of divergent thinking factors. Guilford's creativity

test (Guilford, Merrifield, & Wilson, 1958) and the Torrance Test of Creative Thinking,

or TTCT(Torrance, 1974, 1981), quantitatively measured the following divergent

thinking factors: fluency (the production of multiple answers from the same information

in a limited amount of time), flexibility (the production of answers that shift in character),

elaboration (the production of answers that are detailed and complex), and originality (the

degree of non-conventionality and novelty of products or responses when compared to

other members of the domain from which they come). The TTCT contained tasks such as









the causes and consequences test, in which the subject must respond to different

situations with possible causes and consequences, and the unusual uses test, in which the

subject must suggest unusual uses for certain objects.

The influence of Guilford and Torrance can not be underestimated, especially in

studies in which musical creativity is measured quantitatively using divergent thinking

factors (i.e., MCTM-II, Webster, 1994). The MCTMtest measures divergent thinking

skills, as well as convergent thinking skills associated with musical syntax, through

exercises in improvisation. Although milestones in the study of creativity, Guilford's and

Torrance's tests have been criticized for not having criterion-validity (Brown, 1989)-in

other words, they do not represent a real-world, external measure of creativity.

Amabile

As a result of the criticism of the divergent thinking tests, alternative measures

have been designed. Amabile proposed that a group of experts should be used to assess

the quality of creative products. This type of assessment is called consensual assessment.

Amabile (1982b), in explaining her consensual definition of creativity, states that "a

product or response is creative to the extent that appropriate observers independently

agree that it is creative. Appropriate observers are those familiar with the domain in

which the product is created or the response articulated." Several important features of

this definition are 1) that it relies on subjective criteria, and avoids the need to specify

objective criteria for rating products as creative, and 2) that it resembles real-world

judgments (Amabile, 1982b). All in all, the judges should have experience with the

domain in question, should make their assessments independently, should rate the

compositions relative to one another rather than rating them against some absolute

standard, and should rate the compositions in a random order. After the results are









collected, inter-judge reliability should be analyzed (Amabile, 1982b). Amabile's model

supports the theory that creative products can be assessed and rated by appropriate

observers.

Implications for the present study

The previous research suggests that creative products can be assessed by 1)

identifying constructs and rating the criteria by which the constructs are demonstrated,

and 2) expert rating. In other words, the construct of creativity can be assessed by looking

at criteria which includes divergent-thinking skills such as fluency, flexibility, originality

and elaboration (Guilford), and by an overall rating of creativity by appropriate observers

(Amabile).

Musical Creativity Measurement

The measurement of musical creativity (and creativity in general) requires that

researchers develop valid and reliable measures. Most of the measures developed are

based on the work of Guilford (Structure of Intellect Model). Tests that will be discussed

include those by Vaughan, Gorder, Webster, and Sogin.

Vaughan

Vaughan (1971) developed The Musical Creativity Test to measure children's

musical creativity. The test measured fluency, rhythmic security, and ideation in 4th-

graders, and was guided by an opening review of all materials and concepts that were to

be used. The children were asked to perform a steady rhythm, improvise a rhythm using

the claves, perform consequent phrases after the tester performed antecedent phrases,

improvise melodies using bells, and compose a piece reflecting feelings during a

thunderstorm. Vaughan found that scores were correlated with the TTCT factor of

originality. She also found correlations between creativity and musical intelligence.









Vaughan and Meyers (1971) designed a version of the test that required divergent

thinking skills in music. An antecedent/consequent performance question was asked

(similar to the previous test) in which the student was required to play a consequent

phrase using only the pentatonic scale (the tester played a diatonic melody). Inter-judge

reliabilities ranged from .76-.90.

Vaughan's research yielded three major points: 1) musical ability is positively

correlated with musical creativity, 2) musical creativity can be cultivated over time, and

3) the traditional music curriculum may inhibit creativity.

Gorder

Gorder's test (Measures of Musical Divergent Production, 1976, 1980) was based

on Guilford's Structure of ntellect Model, which measured divergent thinking skills in

the following musical areas: musical fluency (producing multiple ideas from given

information in a limited amount of time), musical flexibility (producing ideas that shift in

character), musical originality (producing ideas rarely used by the population to which

the ideas belong, novel, or remotely associated with the given information), and musical

elaboration (producing detailed or complex ideas above that called for in a response).

Gorder added a fifth area: musical quality (producing responses that appeal to judge's

musical sensitivity). The test was administered to high-school instrumentalists.

Reliability for each area was measured at .90 for originality and quality, .88 for fluency,

and .70 for flexibility and elaboration.

Webster

Based on Guilford's theories that creativity consists of divergent thinking factors,

Webster developed two tests for measuring musical creativity (MCTM, Webster, 1977,

1987; MCTM-II, Webster, 1994). The MCTM tests measure divergent thinking skills, as










well as convergent thinking skills associated with musical syntax. The 1977 test was

designed to measure the compositions, improvisations, and analyses of 77 high school

students. Fluency, flexibility, originality, and elaboration were rated in the test and

reliabilities ranged from .80-.97. The 1987 version of the MCTM was similar to the first,

but was designed for 2nd- and 3rd-graders. Musical extensiveness (time on task),

flexibility (the number of instruments used in combination and the ability to move from

extreme to extreme-low/high, soft/loud, fast/slow), originality (manipulation sound in a

unique way), and syntax (a logical shaping of form) were measured. The MCTM-II is in

three parts: Exploration (musical flexibility), Application, and Synthesis.

Sogin

Sogin (1990) developed Thinking Creatively i i/h Music and Movement to measure

the musical fluency (the number of responses) and originality (judged using a five-point

scale) of 8th- and 9th-grade subjects. The test consists of a warm-up, the use of percussion

instruments to portray a storm, an improvisation on a keyboard or bells, a composition

that is to reflect one or all of five given textures (soft, smooth, spongy, and squishy), and

a movement task.

Implications for the present study

Research in the measurement of musical creativity has several implications for the

present study. First, it supports the measurement of musical creativity-musical creativity

can be reliably measured. Second, the research supports the use of Guilford's model

(fluency, flexibility, originality, and elaboration) as criteria when assessing the creativity

of music compositions. Third, it adds an additional element: musical quality (sensitivity).

All these are identified as criteria for composing music and will be included in the









assessment rubrics. Additionally, the notion of assessing and cultivating creativity is

supported-creativity can be nurtured.

Quantitative Assessment of Compositions

Quantification is the assignment of a number to represent an amount or degree of

something-numbers are associated with behaviors, objects, or events. In addition,

quantitative assessment must be operationally defined, be reproducible, and be valid. It

must allow comparison with a unit or standard of that same thing, and must be clear and

objective. Quantitative data are usually required by those who make monetary decisions,

and can help report the success or failure of a student in the simplest terms. When a

measure is quantified, it signifies values, but fails to show causes.

Today, music educators commonly use quantitative measures for tasks such as

grading, student evaluation, festival and contest ratings, auditions, and ensemble chair

assignments. This is possible because quantitative assessment need not only use standard

measurement units such as meters, points or hertz. Impressions, judgments, and

sensations can also be quantified (Asmus & Radocy, 1992). Objective composition

assignments, when the criteria are specific and clear, can easily be assessed using

quantitative measures-wrong notes or rhythms, length of piece, or the adherence to a

specific technique can all be quantified (anything that is specified can be quantified).

Even subjective elements in a piece can be quantified. Models of creativity, such as those

by Csikszentmihalyi (1988) and Amabile (1983), suggest that creative products in a

domain can be assessed by a field of experts in that domain. The experts will be judging

the products against established models. Therefore, musical elements that make a piece

successful in the domain of academic music can be specified and quantified.









The following research discussed is an overview of studies in the quantitative

assessment of compositions. Studies by Webster, Hassler and Feil, Moore, Kratus, Bangs,

Smith, Webster and Hickey, and Brinkman will be covered, as well as the views of

Colwell.

Webster

Webster (1977) developed rating scales for use in Thinking Creatively 1 i/l Music

to measure the compositions, improvisations, and analyses of 77 high school students,

and developed Measurement of Creative Thinking in Music-II to assess the musical

flexibility, extensiveness (time on task), syntax, and originality of primary grade

children's compositions (see above).

Hassler and Feil

A creativity test developed by Hassler and Feil (1986) measured the creative music

ability of 30 high school students. Open-ended rating scales accounting for basic

production abilities and enabling experts to assess musical quality were used. They were

based on divergent factors from Guilford, and on Webster's and Gorder's scales. Four

judges measured first impression, originality, imaginativeness (melodic, sound space,

varying and ornamenting, with variations, harmonic, rhythmic, sensitivity and

expression), general impression, and final appraisal of original compositions (notation

and recordings were used).

Moore

The Ability to Compose Music Exercise, designed by Moore (1990), rated the

ability of high school music students to complete a given melody (rational musical

ability) and to compose an original melody based on words and pictures (intuitive

musical ability). A 5-point scale that ranged from no expression to great deal of









expression was used. The purpose of this study was to investigate the relationship

between curriculum and learner based on the individual's learning style

(concrete/rational, random/sequential) and the cognitive demands of music composition

(intuitive/rational). Moore believed that assessment tools should be based on the actual

process of composition, should contain both rational and intuitive abilities (reworking

and composing), should allow works to be heard by the student, and should result in

variability between students and yield a good range of scores. Results showed that there

were no significant relationships between curriculum and learner.

Kratus

Kratus (1991) developed a rating scale for measuring the craftsmanship of songs

composed by children between the ages of 7 and 11 using a seven-point Likert scale. He

also designed rating scales that measured both process and product of third-grade music

compositions in a 1994 study in order to study the correlation between audiation and

compositional ability. The rating of the compositional process was concerned with

exploration, development, repetition, and silence, and the rating of the products with

tonal and metric cohesiveness, pattern use (repetition and development), and

extensiveness (pitch range and length of songs). Interjudge reliabilities were high.

Overall, he found that students with higher levels of audiation tend to show a greater

amount of development and cohesiveness, and a lesser amount of exploration and pitch

range.

Bangs

Bangs (1992) designed the Dimensions of Judgment tool for assessing the

compositions of third-graders based on Amabile's consensual assessment techniques. Her

tool consisted of 19 five-point subjective items, none of which contained specific criteria.









All students received domain relevant and creativity relevant training. They then

composed a piece of music. The students were then randomly placed in one of three

groups; intrinsic motivation treatment, extrinsic motivation treatment, and control. After

treatment, the students again composed a composition. The compositions were randomly

mixed and assessed using Bang's assessment tool. Interjudge reliability was adequately

high. Results showed that intrinsic motivators increased creativity ratings and extrinsic

motivators decreased ratings.

Smith

Smith (1993) assessed the compositions of 6- to 12-year old pianists. Items rated

were use of musical materials, structure, originality, and expressiveness. These four

categories reflect the four main constructs of music composition: musicianship,

craftsmanship, creativity, and communication. Each item in the assessment contained

descriptions and specific criteria.

Webster and Hickey

Webster and Hickey (1995) designed rating scales that were both objective and

subjective in nature. The rating scales contained both specific and global criteria. Specific

criteria were designated for musical elements such as rhythm, texture, and timbre, as well

as for expression. Global considerations were designed for originality, aesthetic value,

craftsmanship, syntax, and unusualness. The researchers found that specific/objective

analyses are most predictive for the constructs of craftsmanship and technical quality, and

that global/subjective analyses are most predictive for the constructs of

originality/creativity and aesthetic value.

Objective analyses have been successfully used in assessing tasks that contain

specific descriptions of what was to be rated (Webster & Hickey, 1995). However, the









rubrics and rating scales in the literature have been developed for use in objective

analyses of children's compositions, and are inappropriate for use in assessing

undergraduate compositions. The criteria set forth in the former do not apply to

contemporary composition. The following example illustrates this point.

Example of a Rating Scale used by Webster and Hickey (1995); 7=high, 1=low:

Circle the rating number that you feel is appropriate for the following:

Tonal cohesiveness-the degree to which the pitches in a composition are
constructed around a tonal center or centers. 7 6 5 4 3 2 1

Composition in the university is not necessarily concerned with the issue of tonal

cohesiveness. Many other compositional techniques are used, most of which are not

concerned with traditional tonality. It is critical that rubrics are designed that are

appropriate for university use.

Brinkman

A three item form was developed by Brinkman (1999) to assess the original

melodies of 32 high school instrumentalists. It was based on Amabile's consensual

assessment technique. Three expert judges rated 64 randomly ordered melodies. Included

in the form were originality, Ie'i/ieici. value, and craftsmanship, which were rated using a

7-point Likert-scale. Scores of the judges were totaled to obtain an overall 'creativity'

score for each subject. Reliability of the 'creativity' score was consistently high

(originality, .84; craftsmanship, .77; and aesthetic value, .76).

Colwell

Colwell (2002) states that a rubric can be most useful on a task in which there is a

general consensus as to what comprises excellence. He argues that they are effective in

enhancing extrinsic student motivation, clarifying objectives, and focusing student effort.









However, he also argues that rubrics can be damaging to the assessment process if

misused. He believes that their use can lead to standardization and a lowering of

divergent and original thought. When exposed to rubrics, students in the language arts

often focus on the product and "write to the rubric" while overlooking the overall process

of writing.

Implications for the present study

The quantitative research discussed has several implications for the present study.

First, the research implies that many musical elements, which are both objective and

subjective, can be quantified and assessed. Second, many of the criteria for displaying

creativity in music composition are identified, which includes syntax (convergent

thinking), cohesion (pattern use), originality, imagination, first impression, general

impression, expressiveness, sensitivity, pitch, rhythm, structure (musicianship), aesthetic

value, novelty, extensiveness (divergent thinking), and craftsmanship. These can all be

reliably quantified and will be used in the assessment rubric in the present study. Also,

the research supports the use of the Likert scale as well as Amabile's consensual

assessment technique, in which expert judges are used to assess creative products (music

professors will use rubrics to assess their students work and will be used as subjects in the

present validation study).

Qualitative Assessment of Compositions

Qualitative assessment techniques do not normally quantify their measures.

Therefore, they are rarely used to measure success or failure. Qualitative measures are

best used when assessing causes, and when dealing with instructional issues. They are

process-oriented and offer rich descriptions that can aid the teacher and student in

improving learning and performance. The following is a list of characteristics describing









qualitative research techniques, which can be applied to qualitative assessment (taken

from Bresler & Stake, 1992).

* It is holistic. It is case oriented and relatively non-comparative.
* It is empirical and descriptive. It takes place in the natural setting of the task.
Language, not numbers, is used for feedback.
* It is interpretive. Assessors rely on intuition with many important criteria not
specified.
* It is empathic, based on the intentions of the observed.
* When done well, all its interpretations are validated.

The following qualitative research studies by Moorehead and Pond, Cohen,

Bunting, DeLorenzo, and Christensen were designed to observe student behavior in

classroom settings over long periods of time. The process involved with these

assessments is similar to the process of teaching and learning in undergraduate

composition environments, therefore, these studies are relevant to the present study.

Moorhead and Pond

Moorhead and Pond (1941-51) set the stage for the design of practically every

qualitative study concerning musical creativity that followed. They tried to understand

children's musical creativity by observing them in open-ended environments over a

period of four years at the Pillsbury School in Santa Barbara, California. This study

provides a direction for a legitimate use of naturalistic observational methods. They did

not attempt to intervene, but rather to observe and understand each individual child in the

natural setting of the task. They worked towards the classification of the children's

musical products. Classifications included "insistent and savage" sonic physical activity

(rigid rhythms indifferent to melody and color variety), song (private rhythmically and

melodically complex entities), and chant (public tunes, often sung in groups). They found

that when children were provided with freedom to pursue their own interests and









purposes, the children develop musically as naturally as they would with any other type

of endeavor. They also found that children created a wide variety of music which

contained the following: wide intervals in pitch, contrasting tone colors, symmetric

rhythms, flexible/asymmetric rhythms, and free rhythms.

Cohen

Cohen (1980) observed the creative musical behavior of kindergarten children over

a three-year period in a free environment. A second in-depth study, based on the data

from her first study, was designed to understand the spontaneous musical creativity of

two kindergarten students while they were involved in musical play for the possibility of

gaining insight into the creative processes of adults. Cohen did not attempt to perform a

conventional study in which the researcher sets up a plan, follows it, and reports its

success or failure. Instead, she took a naturalistic approach and searched through many

years of observations to try to understand children's spontaneous music.

Cohen found that information can only be assimilated to schemas (mental

structures) that already exist within a child. Therefore, movement influences children's

musical gestures. Additionally, she suggested that there were three stages to the musical

creative process: 1) the exploratory stage, which included the exploration of the total

sound producing experience involving all of their senses, 2) the mastery stage, which

consists of repeated predictions and comparisons in order to gain control over sound

production, and 3) theproduction stage, in which organized or ordered musical gestures

are produced. Ultimately Cohen found that children's creative musical processes should

be encouraged in free and open settings and should not be based on previously accepted

adult models.









Bunting

Bunting (1987) provides another good example of qualitative assessment in music.

He put together a detailed account of three composition assignments by some of his high-

school students, which included the final compositions, sketches and fragments that lead

up to the final products, his interactions with the students, as well as the effect of the

compositional processes. He was mainly interested in the student's musical development.

Besides an obvious approach of judging a student's achievement by observing technical

features of their work, he suggested that teachers ask the following questions when

assessing:

* What resources and skills does the student draw from when composing?
* To what extent has the student avoided mechanical responses to find the expressive
meaning of his materials?
* What exploratory composition processes has the student learned to use and with
what results?
* To what extent has the pupil learned to articulate his own musical style?
* To what extent can the student control the process of individual composition
independent of the teacher?
* To what extent can the pupil appraise his own work, development, and future
needs? (1987, p. 52).

These questions are certainly asked by composition professors, and will likely be a

part of student assessments.

DeLorenzo

DeLorenzo (1989) observed the compositional processes of 82 sixth-graders from

four different schools over 16 general music classes. To examine decision making in

music, she assumed that exploration and evaluation of sound material, manifested

through production, selection, and organization of sound material, reflected the students'

inner thought processes. These thought processes were assessed based on a) perception of

the problem structure-the openness with which students perceived the creating task, b)









search for musical form-the degree to which the students allowed the musical events to

determine the form of the music, c) capacity to sense musical possibilities-the depth to

which students developed and shaped musical events, and d) degree of personal

investment-the level of absorption and intensity with which the students engaged in the

creative process. The study yielded several major characteristics of the creative process:

1) when the students are given choice they explored in greater depth, revised more often,

and developed the overall structure of their work, 2) when the students were given extra-

musical or structural plans they became less engaged in their work, 3) they tended to

explore throughout the entire composition process, and 4) they were more committed to

the product when they were able to make more musical decisions. Overall, the results

suggest that students benefit from teacher-guided exploration and discussion of musical

context and formal balance.

Christensen

Christensen (1992) did an 8-week descriptive field study of 4th-graders'

collaborative composition projects in order to try to understand creative musical thinking

based on the theory that learning is enhanced by the model using perception, production,

and reflection. Students composed and performed collaboratively, invented notations, and

reflected in writing and orally their thoughts concerning their musicianship, their

products, and their processes. Teacher observation, student self-report, reflections, and

notational sketches gathered throughout the creative process provided the data.

Christensen found that these creative projects aided the students in understanding

musicality, collaboration, and their own compositional processes. She developed a 5-step

model of the composition and notation processes: 1) Choosing a theme (selected from a

list), 2) Exploring sounds-a process which occurred mostly at the beginning of the









composition process and consisted of the joyful exploration of timbres and instrumental

possibilities, 3) Attaching meaning to sound-focusing on a specific idea, 4) Organizing

sounds-in this stage the pieces began to become coherent and structured, containing

sequences, beginnings, and endings, and 5) Finalizing the composition-the rehearsal,

refinement, performance, and possible revision of the composition. The results offer

support for an artistry-based approach to music education which includes collaboration,

inventive notation, and reflective self-evaluation.

Implications for the present study

The qualitative research discussed has several implications for the present study.

First, the studies offer a model on which to base naturalistic observational assessments.

The teaching and learning process in undergraduate music composition is often similar to

these studies, in which students are assessed in open or free environments in the natural

setting of the task. Undergraduate students, after completing basic composition skills

courses, have open environments in which to compose. Their work is assessed by their

teacher weekly, occurring over long periods of time. Sketches, fragments, and finalized

compositions are all used in the assessment. This research suggests that a part of these

assessments should be qualitative and should be concerned with causes and be expressed

with language. The assessment rubrics in the present study are designed to give the

teacher enough flexibility to give either quantitative or qualitative feedback, which can be

fit to each student's needs.

Although the present study is only concerned with developing rubrics for assessing

creative products, these qualitative studies show that assessing the process of composition

is an extremely important matter and should not be overlooked. When assessing their

students' work, teachers should understand where their students are situated within the









creative process. Some students may be in the process of exploration, while others may

be in the finalization stage. Each stage can be assessed according to the need of the

individual student. Other important considerations may include the following: do the

students explore frequently, express themselves, develop their own style, and monitor

themselves so they can make their own judgments?

Assessment Rubrics

This section will discuss how to develop and use assessment rubrics for assessing

music compositions and will include the research of Maud Hickey.

Hickey

The purpose of Hickey's 1999 study was to help teachers design rubrics for

assessing the music compositions of children. She argued that when assessing student's

music compositions, teachers need to provide students criteria about what makes a good

and a poor music composition. An assessment rubric can do just that. It is a tool that can

act as a guideline for students as well as an assessment tool for teachers. In a rubric, the

teacher lists the parts or categories of the assignment that they will evaluate. For each part

the teacher lists, the specific criteria according to which they intend to rate the student's

composition should be included. These criteria should represent qualities that range from

excellent, to mediocre, to poor. Rubrics can be handed to the student and used with each

of the student's compositions; a practice that gives the student guidelines, enables the

student to self-evaluate, and makes the assessment criteria clear to both the teacher and

the student (Hickey, 1999).

Hickey further developed her ideas on the assessment of compositions (2003). She

proposes that a teacher must design clear objectives if they want to plan worthwhile

experiences and define progress. This is possible, she states, even though some argue that









strict guidelines should be avoided because formulaic approaches to teaching

composition encourage conformity over individuality and technical skills over musical

sensitivity (Best, 1985; Thompson, 2000; Colwell, 2002). It is important to understand

that music composition is both subjective and objective.

When designing objectives in the arts, three important elements should be

considered-idea, technique, and structure (Hickey, 2003).

1. Appropriate and interesting musical ideas should be selected or designed for use by
composers. These shape the quality of the piece and the overall structure.
2. Technical ability is also extremely important in composition. Students should learn
what can be done and how to go about doing it. Composition is an art and a craft.
3. Composers structure their works two ways: 1) based on existing forms, and 2)
determined by the needs of the individual piece (organic structure).

Students must be provided with a range of models for their work, not for the

purpose of restricting their original ideas, but in order to free their thinking. Stravinsky

often stated that limits set him free (Stravinsky, 1947). Writing in the style of other

composers, studying counterpoint, copying scores, and studying professional

compositions are all ways in which students can all help to encourage students to develop

their ideas, techniques, and knowledge of structure, as well as developing their own

voice.

Qualitative forms of assessment require a high level of articulation and perception

of the quality of student work. Although this type of assessment is difficult, it is possible

to grade within the context of school or university if qualitatively based categories and

criteria are identified. In assessing musical performance, there is an understanding of

what it means to be a Grade 3 or a Grade 5 pianist. The same model can be applied to

composition-rubrics can be designed that contain categories and criteria for what makes









an acceptable undergraduate music composition. Categories in the rubrics will probably

include some of the following (Hickey, 2003):

* Communication of ideas, a sense of identity, shape, and style
* Musicianship, artistry, and expressive intention
* Technical skills and an awareness of practical considerations

Specifics may include:

* Presence, involvement, ability to evoke responsive listening (communication)
* Feeling for design or structure, musical character, imagination, unity and variety,
tension and release, development, pacing (musicianship)
* Tempo, articulation, balance, instrumental/vocal considerations, rhythmic/harmonic
considerations (technique)

Criterion in each of the categories can be simple, such as word descriptors like

excellent, satisfactory, or poor, or can include phrases such as:

* Fully involved and committed; the music is brought to life and is communicated
clearly (communication)
* Well-conceived artistic work, convincing with a sense of the music's aesthetic
significance (musicianship)
* Some technical inaccuracies, difficulties, or shortcomings, but competent overall
(technical skills)

Although successful qualitative assessment strategies can be developed, teachers

must be careful that they don't over-prescribe or over-standardize the criteria. Students

should develop their individual voice and compositional process as well as gain

knowledge of technical skills and compositional approaches from past composers.

Students should learn to make good musical choices.

Implications for the present study

Hickey's research has many implications for the present study. It supports the

theory that rubrics can be developed for assessing music compositions, which can

improve music composition instruction and assessment. It helps identify many of the

constructs and criteria of music composition and informs the overall design of the rubrics,






52


including three of the main categories (craftsmanship, musicianship, and communication

of ideas), and many of the sub-categories (criteria). It also supports the use of both

qualitative and quantitative assessment techniques-it has room for teacher comments

(which should include model works) and contains a Likert scale.














CHAPTER 3
METHODS

This chapter begins with a description of the participants and the materials used in

the study. Following is an explanation of how the rubrics were designed, which includes

the design of the overall model, sections covering each rubric individually, as well as

qualitative and quantitative aspects. Next is a discussion of how the supporting materials

were developed and why certain questions were asked. Finally, the procedures involved

in the study are covered.

Participants

Twelve music professors volunteered to take part in the study. The criterion for

participation is that they have experience with teaching composition to undergraduate

composition students. The participants varied by geographic region, school size, gender,

age, and years of teaching experience. Ages ranged from 34-74 and years of teaching

experience ranged from 5-50. All professors who participated hold a doctorate degree in

composition and all are active composers. They have experience teaching both private

lessons and skills courses. Music professors were asked to volunteer as participants in the

present study because 1) Hickey (2001) suggested that it is the music teachers that are the

most reliable assessors of their students' compositions; peers and professional composers

are not reliable assessors, and 2) Amabile (1982b), in explaining her consensual

definition of creativity, states that "a product or response is creative to the extent that

appropriate observers independently agree that it is creative. Appropriate observers are








54



those familiar with the domain in which the product is created or the response


articulated."


The following table displays the credentials of the participants that took part in the


study. Each participant was asked to provide the following information: name, job title,


number of years teaching, degree/major, current university, age, race, gender, and


whether or not they are an active composer. Eleven of the twelve participants provided


this information. Their names have been omitted in order to retain anonymity. They have


been listed in random order.


able 3-1. Participant credentials an personal information.
Job Title Number of Degree/Major Current Age Race Gender Active
Years University Composer?
Teaching
Professional 24 DMA Berklee 50 W M Yes
Writing Composition College of
Division Music
Professor of 10 DMA Marshall 41 W M Yes
Theory and Composition
Composition
Assistant 6 DMA Clarke 40 W F Yes
Professor Composition College
Assistant 5 DMA Del Mar 34 W M Yes
Professor of Composition College
Music
Associate 14 Doctor of Emporia 45 W M Yes
Professor of Composition State
Music University
Professor 35+ DMA University 65 W M Yes
Emeritus Composition of New
Hampshire,
Retired
Associate 15 Doctorate Crane 43 W M Yes
Professor of School of
Composition Music
Associate 28 PhD University 54 W M Yes
Professor Composition of Iowa
Lecturer 10 Doctorate in University 42 W F Yes
Composition of Southern
California
Assistant 20+ DMA Cameron 47 W M Yes
Professor Composition University
and Chair
Composer 50 PhD in University 74 W M Yes
Composition ofVienna,
_Retired


1 1 g j









Materials

The research-based rubrics designed by the researcher (see Appendix C) and the

supporting materials-directions for rubric use, explanations, definitions, and

clarifications, and a questionnaire (see Appendix B)-were the materials used in this

study. Their design is discussed below.

Rubric Design

The rubrics were designed based on research in music assessment, creativity

assessment, music composition, creativity models, aesthetics, music education, and

psychology; research which reveals the constructs and criteria of music composition.

First, the four main constructs of music composition were identified. Next, the criteria for

demonstrating each of these constructs within the context of undergraduate composition

were added. These were organized into assessment rubrics based on the work of Maud

Hickey (1999, 2003). The rubrics contain both quantitative and qualitative aspects-a

seven-point Likert scale and a section for comments.

The models of creativity and musical creativity discussed in the previous chapter

demonstrate that creative behavior is an extremely complex process. Important in the

overall process are content or knowledge, cognitive thinking skills, personality,

environment, motivation, creative products, and appropriate observers, all of which must

be conducive to creativity. As creative products are the end result of the creative process,

rubrics that assess creative products must be developed based on these models.

Hickey (2003) identified three of the four main constructs used in the present

rubrics: craftsmanship, communication of ideas, and musicianship. The creativity and

musical creativity models discussed in the previous chapter support this, as well as the

inclusion of creativity as a main construct. Overall, these models reveal four constructs of









music composition: craftsmanship, musicianship, creativity, and communication of ideas.

These constructs are supported by models of creativity and musical creativity based on

the following: 1) music composition is a creative activity (creativity), 2) craftsmanship

represents the application of domain-specific knowledge and technical skills, 3)

musicianship represents the application of musical thinking skills, musical decision

making, and intuition and insight, and 4) communication of ideas represents the

application of aesthetic sensitivity. There is also much support from other literature (see

below).

The criteria within these four main constructs were added by the researcher if used

in previous research and assessment tools, if regarded as important by composers,

educators, and psychologists, if included in composition textbooks, or if included within

the university music education curriculum. The following is a list of these constructs and

criteria, many of which were included in the assessment rubric in this study.

* Craftsmanship:
Technical skills and an awareness of practical considerations: compositional
techniques, general musical skills (rhythm, harmony, melody, tempo,
articulation, balance, instrumental/vocal considerations, notation), counterpoint,
orchestration.
* Communication of ideas, a sense of identity, shape, and style:
Presence, involvement, ability to evoke responsive listening, the ability to write
interesting music, expressiveness, first impression, general impression, aesthetic
value.
* Creativity:
Fluency, flexibility, originality, elaboration, domain-specific knowledge,
novelty and usefulness.
* Musicianship:
Feeling for design or structure, sensitivity, imagination, unity and variety,
tension and release, development, pacing, cohesion, the ability to choose good
musical materials to work with, musical syntax, expression using musical
elements.









It is understood that music compositions are holistic creations-craftsmanship,

communication of ideas, creativity, and musicianship are integrated and overlap in many

regards. However, these categories have been created in the present study, not to promote

a separation of skills, but to assist educators and students in the teaching and learning

process-sometimes specific aspects of music compositions must be assessed in order to

encourage students to work on specific skills.

The design of each rubric will now be discussed individually.

Craftsmanship

The inclusion of craftsmanship in the rubric is supported by the fact that technical

skills are necessary for success in music composition; practically every successful

composer throughout history has been technically proficient. These skills are at the core

of every music program and are discussed in the NASMHandbook (2001, pp. 78, 79, 81,

87). Additionally, several creativity models suggest that domain-specific knowledge is

necessary for creativity (Amabile, 1982b; Webster, 1987a, 1988, 1991), some musical

creativity assessment studies contains a category for craftsmanship (Webster & Hickey,

1995; Brinkman, 1999; Hickey, 2003), and several musical creativity assessment studies

and musical creativity models support specific technical skills (Vaughan, 1971; Webster,

1987a, 1988, 1991; Kratus, 1991; Webster & Hickey, 1995; Hickey, 2003).

Many composers and philosophers have discussed the importance of craftsmanship.

Dmitri Shostakovich argues:

The question of quality, of artistic skill, is the question of the life of art. How can
we talk of artistic gains when the composer does not have full command of his
medium? While attaching immense importance to the content of our art, we must
bear in mind that no idea will ever reach the listener nor be grasped by him if it is
expressed crudely or incompetently (Schwartz & Childs, 1978, p. 107-108).









Additionally, Bennett Reimer (1989) states:

Craftsmanship is the expertness by which the materials of art are molded into
expressiveness. The materiality of art is the battleground upon which the creative
struggle takes place. The absence of craftsmanship is signaled by shoddiness, by
disrespect for material, by forcing material to do something rather than doing what
it requires, by skill.., that manipulates material rather than serving its
expressiveness (p. 135).

Hindemith (1952) adds:

In music, as in all other human pursuits, rational knowledge is not a burden but a
necessity, and it ought to be recognized as such by all (p. 45).

The composer, therefore, must develop their craft so they can create true works of

art. Abbs (1987) argued that when creating, those that are unhampered by technical

constraints "produce, for want of technique and initiation into the symbolic medium,

artistic non-entities" (p. 44). The composer, therefore, must adopt constraints; in other

words, they must constrain themselves by learning techniques of composition. Actually,

there is always some level of constraint that a composer must deal with-the ensemble,

the musical material, the limits of the instruments, the limits of the performers, or the

purpose (i.e., film score or modern dance). These constraints, many believe, actually are

windows to creativity. Stravinsky:

My freedom thus consists in my moving about within the narrow frame that I have
designed myself for each one of my undertakings. Whatever diminishes constraint,
diminishes strength. The more constraints one imposes, the more one frees one's
self of the chains that shackle the spirit (1947, p. 87).

Therefore, the composer must be creative within the given circumstances or

constraints. The constraints may actually enhance their musical experiences and be a

vehicle to authenticity.

Craftsmanship and technical skills are learned by studying compositional

techniques of the past, and are covered in composition courses and general music









courses. These include skills such as the knowledge of the fundamentals of music,

orchestration, compositional techniques, notation, and counterpoint. Schoenberg,

Hindemith (Ludus Tonalis), Bartok (Mikrokosmos), Kodaly, and Stravinsky all stressed

the importance of counterpoint. Stravinsky:

This first contact with the science of counterpoint opened up at once a far vaster
and more fertile field in the domain of musical composition than anything that
harmony could offer me. It was only later that I realized to what an extent those
exercises had helped to develop my judgment and my taste in music. They
stimulated my imagination and my desire to compose; they laid the foundation of
all my future technique, prepared me thoroughly for the study of form and
orchestration (1936, p. 15).

Composers learn by composing: they learn how musical materials are used

compositionally by putting them into action. There have been several important texts

written on 20th-century music composition (Hindemith, 1942; Palmer, 1947; Persichetti,

1961; Cope, 1977, 1997). They all tend to cover some or most of the following: pitch

material (overtones, intervals, chords, polychords, harmony, key centers, set theory,

microtones, etc.), melody, rhythm, texture, timbre, dynamics, compositional techniques,

extended instrumental techniques, notation, form, phrasing, counterpoint, and styles. The

categories in the craftsmanship rubric in the current study are based on the categories

covered in these texts, in the NASMHandbook (2001), and in undergraduate coursework.

Communication of ideas

Communication ofIdeas is included in the rubrics (see Hickey, 2003) because

many philosophers, musicians, and composers believe that it is important for music to

communicate "something." Copland (1952) states:

Quite apart from my own curiosity, there is always the question of how
successfully one is communicating with an audience...every move toward logic
and coherence in composing is in fact a move toward communication (p. 46).









But what does music express? What does music communicate to the listener? To

the performer? Many have believed (especially 18th-century musicians) that music

expresses the emotions and inner feelings of the composer and must arouse these

affections in the audience (Geminiani, 1751), or that it should express human thoughts,

the human spirit, and the world in which we live (Bloch, 1933). Many others believe,

however, that specific emotions or feelings can not be expressed or communicated with

music-it is musical ideas that are communicated, ideas that can not be expressed with

words (Gurney, 1880; Copland, 1952; Vaughan Williams, 1955; Stravinsky & Craft,

1962). "The nature of the beautiful in music is... specifically musical" (Hanslick, 1854, p.

47). Regardless of the difficulty in assessing what music actually communicates, we can

assume that music does communicate something-that it is a medium of expression

(Schwartz & Childs, 1978, p. 196). Expressiveness is included in the communication of

ideas rubric in the present study and is supported by the aforementioned philosophies as

well as the following research: Swanwick and Tillman, 1986; Moore, 1990; Smith, 1993;

Webster and Hickey, 1995; Hickey, 2003.

Initial impression, general impression, interest, and involvement are included in the

Communication ofIdeas rubric in the present study and are supported by research by

Hassler and Feil (1986), Csikszentmihalyi (1988), and Custodero (1996), and

philosophies of musicians such as Virgil Thompson. He suggested that when judging a

piece of music one should go through three major operations. The first has three sub-

components: 1) listening or becoming acquainted with the piece as long as it holds one's

attention (interest), 2) going on listening, and 3) the aftertaste (first impression). The

second operation consists of making fuller acquaintance with the piece, that is, if the first









operation was successful (involvement). The third operation consists of reflected

judgment (general impression) (French, 1948).

Aesthetic value is included in the rubric and is supported by research and studies by

Webster (1987a, 1988, 1991), Sternberg (1988a), Webster and Hickey (1995), and

Brinkman (1999), the aesthetically-based philosophy of Bennett Reimer, as well as the

recommendations of NASM (2001, p. 87). Reimer states:

The essential nature and value of music education are determined by the nature and
value of the art of music. The branch of philosophy concerned with the questions of
the nature and value of the arts is called c\/tIh'1ic Aesthetics is the study of that
about art which is the essence of art and that about people which has throughout
history caused them to need art as an essential part of their lives (1989, pp. 2-3).

He also argues:

Every good work of art, no matter when it was made and no matter how it was
made, is good because its artistic qualities succeed in capturing a sense of human
feeling...the experience of art is related to the experience of life at the deepest
levels of life's significance (1989, pp. 51-52).

He continues:

In all teaching-learning interactions with art, aesthetic meaning should be sought
(1989, p. 93).

We as educators, therefore, must assess the aesthetic value of our students' work in

order to encourage them to write music that expresses their humanity.

In order to communicate ideas to an audience, the composer must communicate

ideas to the performer. Therefore, the writing must be technically proficient, idiomatic,

and must be detailed enough to let the performer know exactly what the composer has in

mind. Steve Reich (b. 1936), the minimalist composer comments:

When I began work on Proverb, I had the text in front of me. My first job was to
look at the words and have some tune begin to suggest itself in my mind, write it
down at the piano, play it and sing it. It's very important when you're writing a
vocal piece to sing it, because that will keep you attuned to the idiom of the voice.
That is one of the most important things you can do, because if musicians don't









enjoy performing your piece, then no matter what the music critics say, your piece
will not live. And if the musicians do enjoy playing it, and the audience enjoys
listening, it doesn't matter what the music critics say, your piece will be played and
enjoyed (McCutchan, 1999, p. 16).

Creativity

Since music composition is considered a creative endeavor and it is included in

NASM's requirements (NASM, 2001), it is necessary that creativity be a major part of

the present assessment rubric. The models by Guilford (1967) and Amabile (1982)

discussed earlier are the basis for most assessments of creative products. Fluency,

flexibility, originality, and elaboration, plus an overall judgment of the creative quality of

the composition will be included in the rubric. Other research using these models as a

basis includes those by Vaughan (1971), Gorder (1976, 1980), Webster (1977, 1987a,

1988, 1991), Hassler and Feil (1986), Sogin (1990), Smith (1993), Webster and Hickey

(1995), and Brinkman (1999).

Musicianship

Musicianship is a major part of the assessment rubrics because it is believed to be

an integral part of music making and therefore music education (see Hickey, 2003). Elliot

(1995) stated that "music education ought to be centrally concerned with teaching and

learning musicianship." He defines musicianship as a combination of five forms of

musical knowing: 1) formal knowledge (facts, concepts, descriptions, theories-knowing

that, 2) informal knowledge (the ability to think critically, make judgments, and problem

solve), 3) impressionistic knowledge (intuition), 4) supervisory knowledge (the ability to

manage one's own musical thinking), and 5) procedural knowledge (knowledge in

action-knowing how). Additionally, the NASMHandbook (2001, p. 81), besides









recommending that students acquire domain-specific skills, suggests that the student

should be able to "develop and defend musical judgments." Copland states:

The composer is no longer simply a craftsman; he has become a musical thinker, a
creator of values-values which are primarily aesthetic, hence psychological, but
hence, as an inevitable consequence, ultimately of the deepest human importance"
(1952, p. 44).

It was stated earlier that it is understood that overall musicianship, technical skills,

creativity, and communication overlap in many regards-music composition is a holistic

experience. However, educators sometimes must separate the categories in order to

analyze specific aspects of a composition. The musicianship rubric in the present study,

therefore, will focus on the ability to make musical judgments, such as the selection of

musical materials (Hickey, 2003), musical sensitivity (Gorder, 1976, 1980), musical

syntax (Webster, 1977, 1987a, 1988, 1991; Webster & Hickey, 1995), and large-scale

structural decisions such as cohesion, pacing, and tension and release (Hickey, 2003).

Sensitivity is believed to be an important part of musicianship and is included in the

assessment rubric. Sensitivity is concerned with "the depth and quality of feeling

captured in the dynamic form of a work. The absence of sensitivity is betrayed by works

in which the obvious overwhelms the subtle, in which the surface of feeling is offered

rather than challenges to feel more deeply" (Reimer, p. 136).

Other rubrics

The rubrics entitled other rubrics were added to enable the teacher to rate how each

element covered by the craftsmanship rubric was used creatively, used musically, and

communicated. Also, an overall rating scale of the piece is added.

The completed rubric can be found in Appendix D.









Quantitative and qualitative assessments

The rubrics contain both quantitative and qualitative aspects because both are

important in academic assessments (Hickey, 1999; Hickey, 2003). Quantitative

assessments are used for tasks such as grading, student evaluation, festival and contest

ratings, auditions, and ensemble chair assignments. Research has shown that both

objective and subjective items can be quantified (Asmus & Radocy, 1992). In the present

study, the rubrics are designed using a seven-point Likert scale (see Webster & Hickey,

1995; Hickey, 2001). Most music teachers and educators, however, understand that

students also require a qualitative assessment, one that offers the students comments

about specific aspects of their work. Therefore, the rubrics in the present study contain

areas where the teachers can write comments and refer to model works (Hickey, 1999;

Hickey, 2003).

Design of the Supporting Materials

The supporting materials used in the study include explanations, definitions, and

clarifications concerning the rubrics, directions for evaluating the rubrics, and a short

questionnaire (see Appendix B). In order to make the participants familiar with the study,

a brief description of its purpose and structure were stated first. Next, a series of

questions was asked of the participants in order to attempt to validate the rubrics.

The first question was asked in order to test whether or not the rubrics contain the

constructs and criteria for undergraduate music composition (construct and criterion

validity)-do the rubrics contain the skills and factors necessaryfor success in

undergraduate composition? In other words, do the rubrics contain the constructs of

undergraduate music composition? The second question was concerned with practicality

and whether or not there is a need for the rubrics in undergraduate education-would you









use this type of rubric for university music composition education? Why or why not? The

third question was asked in order to confront the problematic issues of the quantification

of both objective and subjective elements and the giving of grades. The answers to this

question also informed the final rubric design-how effective is the use of the Likert-scale

(from 7-1) to quantify assessment results in these rubrics? The final two questions were

concerned with construct and criterion validity and with the design of the rubric. Answers

to these questions helped further identify the constructs of music composition as well as

aid in the design of the final rubric-what would you change about, delete from, or add

to the rubrics? Do you have any additional comments (i.e. \euigthi/i, drawbacks)?

Following the main body of questions, the participants were asked the following in

order to find out about their background and experience, and whether or not they

represent a diverse group: name, job title, number of years teaching, degree/major,

current university, age, race, gender, and whether or not they are an active composer.

These can be found in Table 1.

The final section of the supporting materials contains important explanations,

definitions, and clarifications to ensure that all information in the rubrics is clear and

unambiguous. It covers global issues as well as each individual rubric.

Procedures

An email was sent by the researcher to the Society of Composers Inc. listserv

asking for volunteers to take part in the study (see Appendix A). All participants were

required to be teachers of undergraduate composition students. Eighteen composition

professors responded. The rubrics (see Appendix C) and all supporting materials (see

Appendix B) were sent via US-mail to the eighteen professors. Twelve of the eighteen






66


professors completed the study and sent responses (see Appendix D). The responses of

the professors were then summarized and discussed.














CHAPTER 4
RESULTS

This chapter is a summary of the responses sent by the participants. First I will

discuss the responses to the first three questions set forth in the questionnaire 1) Do the

rubrics contain the skills and factors necessary for success in undergraduate composition?

In other words, do the rubrics contain the constructs of undergraduate music

composition? 2) Would you use this type of rubric for university music composition

education? Why or why not? 3) How effective is the use of the Likert-scale (from 7-1) to

quantify assessment results in these rubrics? In discussing the fourth question in the

questionnaire (What would you change about, delete from, or add to the rubrics?) I will

cover each rubric individually. I will finish the chapter by discussing the responses to

question five (Do you have any additional comments-i.e., strengths, drawbacks?) and

any other global issues.

Question 1: Do the Rubrics Contain the Skills and Factors Necessary for Success
in Undergraduate Composition? In Other Words, Do the Rubrics Contain the
Constructs of Undergraduate Music Composition?

Eleven of the twelve participants agreed, for the most part, that the rubrics contain

the constructs and criteria of undergraduate music composition. The main constructs

include craftsmanship, musicianship, creativity, and communication of ideas. Some

stated that the rubrics contain a comprehensive list that could be used to give specific

feedback to the students. This list is believed to be beneficial if it is used flexibly.

However, several participants believe that the list is too thorough.









One participant believes that the rubrics do not contain the constructs of music

composition, that "they actually suggest extensive elements that need to be addressed by

the student." The rubrics, the participant stated, "become too convoluted and may hinder

actual composing" (see Appendix C, Participant 9).

Question 2: Would You Use this Type of Rubric for University Music Composition
Education? Why or Why Not?

Most of the participants stated that they would use a rubric like this one in their

composition instruction-"I would use this type of rubric in college teaching because it is

comprehensive enough and flexible enough to allow an instructor to really communicate

with a student about the strengths and weaknesses of their compositions" (see Appendix

C, Participant 4). Several of the participants stated that they already use such a rubric.

However, several participants stated that they would use the rubrics only in a less formal,

more flexible manner. In this way, the rubric could be tailored to a specific student for a

specific piece.

One of the twelve participants stated that they would not use this type of rubric

because the rubric is too detailed, too advanced for beginners, and would take too much

work. Another said that the rubrics should be used by students to evaluate established

works to see if a high rubric score is truly indicative of a good composition. Additionally,

one participant believes that the rubrics would be best suited for non-majors, not for

serious composers.

Question 3: How Effective is the Use of the Likert-Scale (from 7-1) to Quantify
Assessment Results in these Rubrics?

Many of the participants seemed somewhat indifferent to the use of the Likert-

scale. A few believe that it is a good measure, and others believe that it is as good as any

other scale (A, B, C, D, F; 0-100%). Of those who would use the scale, several believe









that a 7-1 scale is too detailed-that a 5-1 or a 3-1 scale would be better. One professor

suggested adding descriptions to the scale (7=always, 4=often, 1=never). Others state that

they would not use this scale alone-written comments are often the most useful,

especially when dealing with subjective elements.

Question 4: What Would You Change about, Delete from, or Add to the Rubrics?

These responses help answer the following: what are the criteria for displaying

craftsmanship, musicianship, creativity, and communication of ideas? Each rubric will

now be discussed individually.

Craftsmanship

Many of the participants seemed to have a good overall impression of this rubric.

Some stated that craft is the easiest to judge; therefore the rubric is very useful, especially

if the weights of each category are defined. One participant suggested that this rubric be

weighted more heavily than the others because it is the easiest to quantify.

Some of the terminology in this rubric was a concern for several participants. Some

commented that they did not like the use of the term technically proficient. Others did not

like the use of compositional technique, pitch material, and sound production media

because they are vague and undefined.

Many participants suggested making changes to this rubric. First, pitch, rhythm,

and melody are believed by one participant to be hard to quantify, and possibly should be

removed. Compositional Technique, also, should possibly be removed because it is

believed to be determined by the remainder of the list. The following was recommended

to be added to the list: overall quality, phrasing, harmonic rhythm, overall tonal

structure, texture (in place of counterpoint), register, appearance, text setting, shape (in

place ofform-form implies pre-existing forms and may be problematic in works with










original forms), and compositional technique selected (Is the compositional technique

selected best for the situation?).

Communication of Ideas

The participants had two main concerns with this rubric. The first deals with

terminology. Terms such as expression of ideas, initial impression, and overall

impression should be better defined. For example, does expression of ideas mean

"expressiveness," and does one get the general impression after many hearings of a

piece? After just one hearing? Additionally, clarity should not be associated with

communication-sometimes composers do not wish to be "clear," and initial impression

should be weighted lower because sometimes one has a low initial impression of a great

work.

The second issue with this rubric is concerned with its subjectivity and difficulty of

quantification. Many of the participants who commented on this rubric believe that most

of it can be left out-that by including ua\thetic value as a single category everything

will be covered. One participant stated that even though we talk about issues such as

involvement, aesthetic value, and communication of ideas, it is awkward to see them

included in a printed scale.

Creativity

Most of the participants did not have any issues with this rubric. However, several

of the participants are hesitant to include elements of creativity in an undergraduate

assessment because of its subjectivity and because it is viewed to be too advanced an

issue for undergraduates. One participant believes that this rubric should be a single

category (see Amabile, 1982). Another, however, believes that the rubric is very useful at

this level. Additionally, several of the participants did not like some of the terminology










and vague definitions. "Different, novel, and appropriate," said one, "seem contradictory"

(see Appendix C, Participant 9).

The following are a list of comments concerning individual categories:

* Novelty: "The issue of novelty is dangerous." "Is there anything novel?" "Is novelty
valued?" "Novelty should not be valued-depth should." "What about 'Post
Modern' pieces?"
* Fluency: "It should be removed." "It is not useful." "Sometimes a piece has too
many novel elements."
* Flexibility: "It is not useful and should be removed." "It should be taken care of in
a new motivic development category in another rubric."
* Elaboration: "It should be taken care of in another rubric-if a work is boring it is
low in elaboration." "The wording under elaboration should be changed to: The
musical ideas are appropriately presented, liquidated, elaborated, or developed."
* Originality: "It should not be expected of undergraduates." "It should be removed."

Musicianship

Many of the participants agreed that this rubric is useful and easy to use. It allows

the teacher to comment on drama and structure. A few participants suggested some

changes, which include the following: syntax and pacing should be combined; a

miscellaneous category should be added; an appropriate length category should be

added; a junction category should be added; and tension and release perhaps should be

changed to contrast or consonance and dissonance.

Other rubrics

These rubrics seemed redundant to several of the participants. They recommended

that the rubrics be combined with the Craftsmanship rubric. Also, musical elements are

not expected to be used creatively or musically in most assignments for undergraduates.

However, one participant believes that the creativity and musicality sections of this

rubric, along with the Musicianship rubric are the most user-friendly.









Global additions

There were many comments made that did not fit into any specific rubric, most of

which are suggested additions. The following are believed necessary additions to the

rubrics: intent of the piece, the weight of each element, apre-composition category, a

student level & background category, a miscellaneous category (added to each rubric-

helps tailor rubrics to specific students and pieces), a section for adding points (a

composite score form), and a general comments rubric in which subjective items could be

listed. Additionally, it was recommended that the following categories be taken into

consideration because they all go into end of the semester grades: effort, consistency,

self-discipline, the amount of music written, performances, and the amount of control the

student had.

Question 5: Do You Have any Additional Comments-i.e., Strengths, Drawbacks?

Overall, the participants seem to believe that the rubrics have good potential; that

they offer a way for teachers to clearly communicate with each student and they help

explain the basis for grading. When speaking about rubrics previously used in class, one

participant states, "I find them [rubrics] extremely helpful in getting through the task of

grading and the students seem to use the rubrics when doing their assignments. It takes

the mystery of what I'm looking for in an assignment-let me emphasize at this point

that there should be no mystery because I pass out a sheet listing everything that I expect

and we also do assignments using the exact format, etc., however, even though I am

redundantly clear, it doesn't really click until they look at the form I use to grade" (see

Appendix C, Participant 6).

Some participants liked the formalization of the elements of composition while

others would like to use the rubrics less formally. Some of the participants believe that









the rubrics should be used only with lower-level students who require concrete feedback;

others believe that the rubrics would work well for their undergraduate students.

Additionally, it was suggested that the rubrics be applied in another study to see how well

they can be implemented in an actual assessment. One participant urges caution, though,

and believes that the rubrics may hinder actual composing (it is important to remember

that real creative works don't always fit into rubrics).

Several of the participants stated that flexibility of the scale is important-"for a

diverse group of teachers/students a cross section of the entire scale for craft,

communication, creativity, and musicianship would probably be useful" (see Appendix

C, Participant 3). This will enable teachers to retain both objectivity (for summative

rubrics-quantification) and subjectivity (for formative rubrics-written comments).

Overall, written comments are valued over quantification-"the Likert scale seems

sufficient to quantify the elements. Again, I might use it informally to rate a composition,

but would prefer to couch my comments in more descriptive language to the student" (see

Appendix C, Participant 2). It also seems that it is of great importance for teachers to

change the rubric, not only from piece to piece and student to student, but also as the field

itself changes. Additionally, the weight of each category needs to be taken into

consideration. It was suggested that objective elements be weighted more heavily than

subjective ones.














CHAPTER 5
CONCLUSION

The purpose of this study was to develop and validate assessment rubrics for use in

assessing undergraduate music compositions. The rubrics were developed based on

research in music assessment, creativity assessment, music composition, creativity

models, aesthetics, music education, and psychology. Validity was examined by having

teachers of undergraduate composition students examine and comment on the rubrics.

The following questions guided the study.

* What are the constructs of undergraduate music composition?
* Can these constructs be developed into assessment rubrics?
* Can these rubrics be validated by experts in the field of undergraduate composition,
in this case, composition professors?

This chapter is a discussion of these questions.

Before beginning the discussion, it is very important to understand that the

professors who volunteered to participate in this study may have previously been

interested in the notion of using rubrics for composition assessment and therefore the

results may be biased. The participants may not be a true representation of the population.

What Are the Constructs of Undergraduate Music Composition?

The participants agree, for the most part, that the rubrics designed for this study

contain the constructs of music composition (eleven of the twelve professors agree). They

supported the identification of craftsmanship, musicianship, creativity, and

communication of ideas as the four main constructs of undergraduate music composition.









Can these Constructs Be Developed into Assessment Rubrics?

Maud Hickey (1999) suggested that teachers design rubrics to assess their students'

creative works because it gives the teacher a way to clearly identify the criteria for what

makes a good music composition. Many of the participants in the present study agree-

assessment rubrics are good for clearly communicating with students and help explain the

basis for grading. Many of them already use such rubrics. Others said they will begin to.

The rubrics seem to have good potential as there seems to be interest in the improvement

of composition assessment. Overall, the participants in this study would use the rubrics

designed by the researcher. Some prefer it as is, and others would use it in a more flexible

and less formal manner. Some like quantification and others feel that written comments

offer the students a more useful critique than a quantified assessment and are therefore

more important. Therefore, there is a need in undergraduate music composition for valid

assessment rubrics.

The participants in the study also identified the criteria (the categories in the

rubrics) by which the four main constructs of undergraduate composition are displayed

by their students. They commented on the rubrics designed by the researcher and made

suggestions for additions, deletions, and changes. These comments imply that a rubric

can be developed based on the four constructs of undergraduate music composition. The

revised rubric in appendix E was designed based on the suggestions. Overall, the present

study shows that rubrics can be developed through a process of informed design

(research) and expert evaluation.









Can these Rubrics Be Validated by Experts in the Field of Undergraduate
Composition, in this Case, Composition Professors?

The participants in this study agreed that the constructs of undergraduate music

composition were present in the rubrics and stated that they would use rubrics for

assessing their students' work. The rubrics designed for this study have construct validity.

The participants could assess their students for the constructs of craftsmanship,

musicianship, creativity, and communication of ideas by observing the criteria within

each. However, they made suggestions for additions, deletions, and other changes to the

criteria within the rubrics. The following is a summary of the participant's responses.

The Craftsmanship rubric is believed to be fairly clear and easy to use. However, it

was suggested that the weights of each category be defined and for the rubric as a whole

to be weighted higher than the other rubrics because of its objectivity. Also, several

additions were suggested, which will be listed later. Additionally, some of the professors

had issues with terminology and the definition of terms.

Some of the professors who commented on the Creativity and Communication of

Ideas rubrics urged caution and suggested making changes to these rubrics. Because of

the subjective nature of the categories, the difficulty in clearly defining each element, and

the notion that creativity is not always seen in undergraduates, it was suggested to delete

many of the specifics in the rubrics and make creativity and aesthetic value one category

each. This change would be supported by Amabile's consensual assessment technique

(1982). However, several of the participants would include all the individual categories

related to the creativity and communication of ideas rubrics in their undergraduate

assessments.









The Musicianship rubric was believed by most of the professors in this study to be

fairly easy to use. It provides teachers a way to comment on design and structure.

The Other Rubrics were, for the most part, seen as redundant, and don't offer any

additional insight. Too much detail would cause useless work and would not offer the

students a useful critique. These rubrics should be combined with the craftsmanship

rubric.

The following is a list of additions concerning the Craftsmanship and Musicianship

rubrics, as well as global additions:

* Additions to the craftsmanship rubric: Overall quality, phrasing, harmonic rhythm,
overall tonal structure, texture (in place of counterpoint), register, text setting,
appearance, shape (in place of form-form implies pre-existing forms and may be
problematic in works with original forms), and compositional technique selected (Is
the compositional technique selected best for the situation?).
* Additions to the Musicianship rubric: a miscellaneous category, an appropriate
length category, and a function category.
* Global additions: intent of the piece, the weight of each element, motivic
development (perhaps in the Creativity rubric), a pre-composition category, a
student level & background category, a miscellaneous category (helps tailor rubrics
to specific students and pieces), a section for adding points (a composite score
form), a general comments rubric in which subjective items could be listed, and the
following categories concerning the process of composition: effort, consistency,
self-discipline, the amount of music written, performances, and the amount of
control the student had.

Several important issues are revealed through this study. The craftsmanship and

musicianship rubrics were least criticized, possibly because they are most easily defined,

assessed, and quantified. Professors likely have much more experience with the criteria

within these rubrics due to their inclusion in the music curriculum during their many

years of experience as both student and teacher in the field of music. Therefore, the

rubrics for craftsmanship and musicianship, especially when including all additions and

changes suggested by the participants, have construct and criterion validity.









The more subjective items, such as creativity and communication of ideas, had

mixed reviews from the participants. Some of the participants would use the rubrics as is,

others would define the categories more clearly, and others would either make the rubrics

one category each or would not apply the construct to undergraduate assessment. Perhaps

this is due to the individual views and responses of different teachers to these subjective

categories or perhaps because they are not often covered in general music courses.

Creativity is often not even expected of undergraduates. In all my years of music study

(10+) issues related to creativity and communication were rarely brought-up by

professors and were not covered in course materials. However, previous research does

support the notion that creative musical behavior is an important educational objective

and can be nurtured and developed (Vaughan, 1971; Vaughan & Meyers, 1971;

Greenhoe, 1972) and some of the participants in the present study agree that creativity is

an important part of the content of undergraduate composition. Perhaps music educators

could add courses to the curriculum that cover the more subjective categories such as

creative behavior, issues concerned with communicating musical ideas, and aesthetics. In

conclusion, the rubrics for creativity and communication of ideas have construct validity.

Additionally, they have criterion validity especially when taking into account the

responses of the participants and especially if the rubrics can be used flexibly. A flexible

use of the rubrics will enable any teacher to use them in an assessment. This issue will be

discussed below.

Final Thoughts and Observations

After examining the comments of the participants who took part in this study, it is

clear that no two teachers have the same teaching style-there is difference from

instructor to instructor. Suggestions for changes, additions, and deletions varied greatly.









Some seem to like the comprehensive form, while others desire a scaled down assessment

tool. In this regard, several participants suggested designing a more flexible rubric,

perhaps a comprehensive list of elements which can be selected from. With a flexible

form, rubrics can be designed by professors to fit their own needs, as well as the needs of

their students. They can be made to fit individual situations, to be used with specific

assignments, and to be used for specific students. They can be formative and/or

summative, with the terminology and the weight of each element selected by the teacher.

Regardless of the detail of the form, it can be implemented in a personal, case-by-case

manner.

Therefore, based on the results of this study, and taking into consideration

flexibility and all additions and changes, the rubric was revised (see Appendix E). Within

the revised rubric, teachers can choose which categories they want to assess during any

given lesson as well as the type of assessment-summative or formative. If a student

needs to work on certain skills related to craft, then only those items can be discussed. If

a teacher wants to make a general comment on aesthetics, then they can. Teachers can

also define each category based on their needs and the needs of their students and can

weigh each category as they see fit.

When designing the revised rubric, the researcher took into account only additions

and changes suggested by the participants. These include all categories added to the

individual rubrics, an overall flexibility by which professors can define terms and weigh

each category, student level and background categories, and summative and formative

forms. Suggestions for deletions were not implemented for two reasons: 1) suggestions

for deletions of any specific category were not unanimous, and 2) the separate categories









have been created not to promote a separation of skills, but to assist educators and

students in the teaching and learning process-sometimes specific aspects of music

compositions must be assessed in order to encourage students to work on specific skills.

Although this study was concerned with the assessment of creative products, it was

suggested by one participant to add several categories concerning the process of

composition, which includes the following: effort, consistency, self-discipline, the

amount of music written, performances, and the amount of control the student had. This

is supported by the qualitative research discussed in chapter two as well as the models of

creativity and musical creativity. It is clear that assessments of undergraduate

composition must be concerned with the process of composition as well as the product.

This study has fulfilled a need in undergraduate music composition instruction in

that a valid assessment tool has been developed. It can be used by any teacher of

undergraduate composition and aid them in instruction, that is, if they choose to use it.

Ultimately, it seems like it is up to administrators to include assessment and instruction

techniques in continuing education for professors as well as graduate teaching assistants.

In this way, assessment rubrics can slowly work their way into undergraduate teaching

and learning practices.

Suggestions for Future Research

Although these rubrics have construct and criterion validity, further research is

necessary. A follow-up study is needed in which the revised rubric based on the results of

the present study (see Appendix E) is examined for validity. It should also be examined

for inter-rater reliability by using it in an actual assessment. Also, a rubric should be

designed to include assessments of the process of composition as well as the product.

Additionally, once rating tools are designed that are appropriate for use in undergraduate









composition assessment, other factors that affect compositional creativity can be

examined, such as problem-finding abilities, domain-specific knowledge, music aptitude

and achievement, intrinsic vs. extrinsic motivations, personality, environment, divergent

thinking skills, flow experiences, self-monitoring, risk taking, work ethics, and training in

the arts. Reliable and valid rubrics can also inform course design.

The results of this study also raise several questions. First, if professors favor

formative assessment over summative assessment and flexibility over formality, how do

composition professors give grades and is this grading reliable? Second, should creativity

not be expected of undergraduates or is it an educational objective that should be

cultivated and developed? Finally, does the traditional music curriculum inhibit

creativity?

The continual development of assessment tools by teachers should always be

encouraged. It will benefit the field as a whole-students will receive clear, useful

critiques, and teachers will have a formal way of communicating their thoughts to their

students. It should always be remembered, however, that rubrics must be used with

caution. They must not become extrinsic motivators which would lower creativity (see

Amabile, 1982; Csikszentmihalyi, 1996) and hinder actual composition.















PART II
IDENTITY CRISIS, A COMPOSITION FOR WIND ENSEMBLE, PERCUSSION,
ELECTRIC ORGAN, AND ELECTRIC BASS













CHAPTER 6
SUPPORTING INFORMATION ON THE COMPOSITION

This chapter covers the concept of, compositional process of, and musical materials

used in Identity Crisis.

Concept

There seems to be a three-part model of musical experience: the composer, the

performer, and the listener. Each has its own essential role in the experience of music and

each must take the other into consideration. Intrinsic to this model are craftsmanship,

sensitivity, imagination (originality & creativity), and authenticity (Reimer, 1989). In

order to experience music in its fullest sense, each member of the model must be

themselves, be honest, act creatively, have understanding of craft (at least in perception),

be sensitive to expression, and be authentic.

The main conceptual force of the present composition is concerned with

authenticity. Theoretical models of authenticity all share one common point: authenticity

begins from within the individual and is not directly influenced by outside factors, but

occurs within a certain set of given circumstances that cannot be avoided. The purpose of

the composition Identity Crisis is for me to compose authentically.

According to Erikson (1968), the identity is "a subjective sense as well as an

observable quality of personal sameness and continuity, paired with some belief in the

sameness and continuity of some shared world image." Having individual values, group

identities, in addition to satisfying the need for affiliation, help people define themselves









in the eyes of themselves and others. When individuals feel a conflict between their sense

of self and their sense of how they fit into the world, an identity crisis forms.

Authenticity can be seen in those who experience, confront, and resolve the identity

crisis. They are referred to as identity-achieved. On the other hand, inauthenticity is

exemplified by the identity-foreclosed-those who make commitments without

questioning them or considering alternatives. The commitments are often conventional

ones, identical or similar to those of their parents. Those who are identity-diffused are

also inauthentic. They keep from making definite choices about their futures. They

remain unable to make complete commitments to careers, values, or personal

relationships. Those in the moratorium group are struggling to make such commitments,

but they experience an ongoing crisis as they try to "find themselves."

In Identity Crisis, a large-scale work for wind ensemble, percussion, electric organ,

and electric bass, I am concerned with resolving my own identity crisis that is a result of

the internal conflict between the music I really love and the expectations and demands of

the academy. My personal musical values, which are concerned with the importance of

sub-consciousness, intuition, expression, emotion, simplicity, and acceptance for all

musical styles, are in conflict with the rather rational, scientific approach in academia.

This type of conflict often has forced me to act in an inauthentic way, giving up my

views, or at least feeling guilty for them, in the academic environment. I attempt to

resolve my identity crisis and act authentically in this composition by acting upon my

own personal beliefs and values within the given set of circumstances (studying in the

academy). In the composition, the use of the wind ensemble is symbolic of the academy

and its traditions, and the use of intuition as the primary compositional process, as well as









the use of the electric organ, electric bass, and rhythms and melodies that stem from rock

and jazz is symbolic of my musical values.

Compositional Process

The compositional process for Identity Crisis did not include any pre-compositional

thought except for some of the instrumentation. At the recommendation of my

composition professor, the piece started as a work for traditional wind ensemble. At first I

was discouraged because it felt as if I was merely going through the motions of

composition. Later, I realized that I needed to make a change, so I added the electric

organ, the electric bass, and the extended percussion section in order to make the music

more authentic-more personal. Most of the compositional process was concerned with

finding simple musical ideas (i.e., melodies, rhythms, and motives) and developing them

intuitively. I wrote what I liked and whatfelt right. Overall, the process was organic.

Musical Materials

The pitch material used in Identity Crisis is modal in nature and primarily includes

the Locrian mode and the Lydian-b7 scale. Both of these scales offer varying degrees of

consonance and dissonance, therefore offering tension and release. The Locrian mode

does not contain a perfect-fifth above the pitch center so resolution can easily be avoided.

However, if desired, resolution can occur between the pitch center and the third. The

Lydian-b7 scale does contain a perfect-fifth above the pitch center and therefore can

easily resolve. However, only four of the seven scale degrees contain a perfect-fifth

above them (as opposed to six of seven in the Gregorian modes), enabling the composer

to create much tension.









Rhythm is an important feature of Identity Crisis. Most of the musical material is

rhythmic in nature, even in the winds. Syncopation common in jazz and rock is used

throughout and is enhanced by the extended percussion section.

Identity Crisis contains several large-scale contrasting sections which include a

fragmented, mosaic-like section; a static, non-expressive section; and several sections

containing a minimalist-like, repetitive, rhythmic drive. The overall form was organized

intuitively.

The main motives of the piece were all introduced within the first seventeen

measures. Figure 6-1 illustrates the opening motive in the marimba that provides much of

the material for the piece. It consists of a stepwise, rising and falling, syncopated melody.

6 > >--~-

P

Figure 6-1. Excerpt 1 from Identity Crisis, by Tom Nelly (mm. 6-9).

Figure 6-2 shows a second important motive in Identity Crisis. It consists of a

rising and falling arpeggio stated in the marimba and the vibraphone.


..... 9. ......... . .


-Q - --
Vib.


Figure 6-2. Excerpt from Identity Crisis, by Tom Nelly (mm. 11-13).

The third important motive in the piece is illustrated in Figure 6-3, which consists

of a rising glissando followed by consecutive stepwise descending gestures.


wise descending gestures.







87




4

Electric *a

n .. .. .. .----



Figure 6-3. Excerpt from Identity Crisis, by Tom Nelly (mm. 15-17).

In composing Identity Crisis, I seem to have conquered my identity crisis in the


academic musical world. I have intuitively written something I like, while at the same

time keeping-up with the standards of the academy.















CHAPTER 7
IDENTITY CRISIS, FOR WIND ENSEMBLE, PERCUSSION, ELECTRIC ORGAN,
AND ELECTRIC BASS


The score for the composition begins on the following page.