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The role of musical imagination in t...

Zerull, David Scott.

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The role of musical imagination in the musical listening experience.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The role of musical imagination in the musical listening experience./
作者:	Zerull, David Scott.
面頁冊數:	211 p.
附註:	Adviser: Donald E. Casey.
Contained By:	Dissertation Abstracts International54-05A.
標題:	Education, Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9327327

The role of musical imagination in the musical listening experience.
Zerull, David Scott.

The role of musical imagination in the musical listening experience. - 211 p.

Adviser: Donald E. Casey.

Thesis (Ph.D.)--Northwestern University, 1993.

Traditionally, imagination has been considered by many solely to be an aspect of the creative process--a process which produces novel approaches to problem solving or new products of art. Contemporary thinking has broadened the construct of imagination and many now regard it as an important aspect of experiencing art and music.Subjects--Topical Terms:

1017808
Education, Music.

The role of musical imagination in the musical listening experience.
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100 1 $a Zerull, David Scott. $3 1269562
245 1 4 $a The role of musical imagination in the musical listening experience.
300 $a 211 p.
500 $a Adviser: Donald E. Casey.
500 $a Source: Dissertation Abstracts International, Volume: 54-05, Section: A, page: 1719.
502 $a Thesis (Ph.D.)--Northwestern University, 1993.
520 $a Traditionally, imagination has been considered by many solely to be an aspect of the creative process--a process which produces novel approaches to problem solving or new products of art. Contemporary thinking has broadened the construct of imagination and many now regard it as an important aspect of experiencing art and music.
520 $a The purpose of this study was to examine the role of musical imagination in the musical listening experience. To investigate the role of musical imagination, a framework of musical imagination was developed from the writings of authorities who have speculated on or who have described imagination and the musical experience. In an attempt to verify this framework of musical imagination, a protocol analysis project was conducted. Three subjects, all expert musicians (a composer, a performer, and a critic) were each asked to listen to recorded musical selections. Data were gathered in two listening sessions. In the first, the subjects were asked to listen to the three musical selections of varied familiarity and think aloud. The second, involved the clarification or explanation of words used in the initial listening session in the context of the music. The tapes of the listening sessions were transcribed and analyzed for evidence of specific mental functions which were identified in the framework of musical imagination.
520 $a The analysis of the transcripts largely supported the functions of the framework. The examination of the follow-up transcripts suggested that the musical listening experience is unique to the individual and is shaped by his or her education and experience. Among the expert listeners there was substantial agreement concerning certain aspects of the music heard, that may reflect a consistency of imaginative thinking which could be interpreted as further evidence supporting the premise of this inquiry.
520 $a Finally, a revised framework of musical imagination is presented which incorporates the changes resulting from the protocol analysis. Implications of this research were thought to include: (a) Curricular revisions for public school music, (b) teaching strategies that focus attention on imaginative processes, and (c) the promise of thinking aloud procedure as an evaluative tool in music education.
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