University of Maryland, USA
Date: Thursday 4th December 08
Time: 12.30 – 1.30 pm
Room: 936
All are welcome
Abstract
The primary purpose of this study was to describe what comprises an
undergraduate compositional identity. Building upon recent research
investigating musical identities with a social psychological framework
(Macdonald, Hargreaves, & Miell, 2002), I examined the confluence
of socially based experiences that shaped four undergraduate
composers' lives.
Specifically, this study investigated the concept of undergraduate
compositional identity by examining the development, experience, and
compositional voice of undergraduate composers. This approach
parallels the research of Davidson (2002) which examines three primary
factors of musical identity development: (1) environmental factors,
(2) casual but frequent exposure to music and performance contexts,
and (3) role of key others. Students' compositional voice and style
illustrated their compositional development.
To provide a thorough depiction of the composers' experiences I
utilized both case study design and a narrative approach. Participants
in the study were traditional-aged undergraduates between 17-24 years,
enrolled as full time undergraduate composition majors at a small
Northeastern school of music. Semi-structured interviews,
correspondence with participants, and observations at the school site
were used for data collection. Data analysis included coding as well
as storyboard techniques to facilitate organization and presentation
of narratives and case studies.
Analysis of within case data revealed that the four undergraduate
composition majors were supported throughout their musical development
by accommodating home environments, consistent exposure to quality
musical experiences, and knowledgeable teachers and mentors.
Additionally, the composers' styles were constantly evolving and
fluid, shifting between personally held opinions of musical
expressions and the expectations of their composer-teachers.
Cross-case analysis revealed eight themes that prominently shaped the
participants' compositional identity: (1) support of family, (2) the
piano as a symbol, (3) view of self as performer, (4) pursuit of
multiple undergraduate degrees, (5) role of competition, (6) role of
sound sources and muses, (7) view of virtuosic writing, and (8) future
career goals. In sum, an undergraduate compositional identity was
subject to the tides of students' ever-evolving self-identities as
independent and expressive young people, subjugated to the push and
pull of the expectations surrounding a composition degree. Suggestions
for future research and implications for music education are provided.
Biography of presenter
Bruce Allen Carter, Ph.D. Assistant Professor of Music Education
University of Maryland, College Park
Bruce Carter, Ph.D. (Northwestern University), is assistant professor
of music education at University of Maryland, College Park. During the
past two years at the University, Bruce has taught a variety of
instrumental courses in addition to advising graduate research
projects concerning string pedagogy, composition, and creativity.
Before appointments at the university level, he taught elementary and
secondary strings as well the International Baccalaureate music
program in Fairfax County, Virginia. Having taught string orchestra
for seven years at multiple levels, Bruce has developed a number of
research interests in string pedagogy. Recently, he began exploring
issues of kinesthetic awareness and how the implementation of Dalcroze
Eurhythmics into elementary and middle school strings programs
benefits young string players. Additionally, he is exploring ways of
cross-pollinating musical pedagogies to foster an inter-textual
approach to musical development.
Dr. Carter's current qualitative research explores the role of
compositional identity in undergraduate music major's experiences.
Specifically, his work examines the concept of undergraduate
compositional identity by examining the development, experience, and
compositional voice of undergraduate composers. This approach
parallels the research of Davidson (2002) which examines three primary
factors of musical identity development: (1) environmental factors,
(2) casual but frequent exposure to music and performance contexts,
and (3) role of key others. Lastly, by building upon recent research
investigating musical identities with a social psychological framework
(Macdonald, Hargreaves, & Miell, 2002), he examines the confluence
of socially based experiences that shaped four undergraduate
composers' lives.
