Collins
Collins
Collins
DAVID COLLINS,
Doncaster College, England
Introduction
With the exception of research carried out by Bamberger (1977, 1978, 1991), studies
of the music composition process have used predominantly positivistic approaches, in
experimental, laboratory, non real-world scenarios for data collection. The aim of this paper is
to describe the cognitive processes, in real-time, of a composer in the act of writing music by
assuming an alternative qualitative stance, using a constructivist, naturalistic case-study
methodology.
Background
Method
As highlighted above, the aim of this paper is to describe some of the cognitive
processes, in real-time, of a composer in the act of writing music; it assumes an qualitative
stance, with a constructivist, naturalistic idiographic case-study methodology.
A professional composer (regularly involved in writing music to commission, with his
own computer-based studio) was chosen for this in-depth study. He had not received any
formal training in music nor was a fluent instrumentalist; he relied heavily upon music
technology. He had received a recent commission which acted as the basis of this study; apart
from a completion space of a year, there were no other constraints as to length of piece, genre,
instrumentation etc.
The data was collected using the following methods:
1. MIDI save-as files: This technique built upon that used by Folkestad (1996) The
particular software chosen for this MIDI save-as protocol was a commercial
package, 'E-magic Logic Audio v.3.6'. This software allows music data (MIDI) to
be stored and edited using a variety of graphical displays: arrange window, score
window, list, matrix etc. Each save-as was made when the composer felt that he
had added something significantly new or made a significant change to the
ongoing composition. Each file included its own date and time stamp.
1. Verbal protocols: The composer was asked to retrospectively report on his
processes of composition (plans, immediately following the compositional activity
on audio tape).
1. Verification sessions: This informal interviewing strategy informed issues such as
linking MIDI data files with the correct verbal protocol, explaining vague or
inconclusive comments in the verbal protocol etc.
1. Interviews: Semi-structured interviews were carried out with the composer in order
to verify emerging data from the structural mapping and verbal protocols. These
were carried out at the initial stages of the composition, and once the composition
had been completed.
Data analysis
Findings
Real-time mapping, thematic analysis of the verbal protocol and structural mapping
indicated the generation of an ongoing set of sub-goals and sub-problems where, the
composer-as-problem solver was making a tangible time-based product without a clearly
defined or prescribed end-state. Moments of 'illumination', where the composer 'saw' the
broader picture, occurred at particular times, that is, after 1) putting themes in place and 2)
carrying out small-scale editing; but these moments often occurred after moving backwards
and forwards within the composition rather than in a linear (or 'logical') sequence. These
insight-moments, relating to gestalt restructuring and reformulating (Wertheimer, 1945;
Duncker, 1945) occurred several times throughout the evolving composition in
contextualised, 'work-in-progress' solution spaces (as opposed to the stage theorists de-
contextualised single moment of 'illumination'). Within each solution space there also
occurred various strategies of problem solving: a) general, b) specific and c) 'insightful'. At
times, particular specific solutions were verbalised but deferred to a later stage in the process.
Moments of insight acted as a 'ladder up' to better grasp the overall structural view of the
evolving composition, but reflected emerging systems theory, these were just a part of a
process which involved an extraordinary degree of small-scale changes. Furthermore, the
composer was seen to be involved in reflexively connecting with the emerging composition in
order to help galvanise his creative thought, which may be termed an iterative feedback
process (Bamberger,1978; Kratus, 1989).
The findings also indicated that a form of simultaneity, or the simultaneous handling
of multiple operations, occurred in the form of a) those deferred solutions which may have
arisen concurrently with other solutions within a particular solution space but not
implemented until the composer reached a secondary or later solution space, and b) in the
form of nested restructuring- the reformulation of problems which occur close to the event of
a previous restructuring process, and in fact 'enter' in real-time the solution space occupied by
the initial restructuring process.
Conclusions
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