{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/22164"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/22164","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Teaching composition: Facing the power of the respondent","abstract":"\"General qualitative considerations of the social situation of contemporary experimental composers allows a positive view of the necessity of teaching. Comparison of the concert and the classroom as forums for the dissemination of the composer's ideas shows that the respondent in both situations wields more power than is usually recognized. If the composer's activity is seen as including not only writing pieces but also everything a composer does to give those pieces an intended social context, including speaking, discussing, and writing prose, then teaching can be seen as a compositional activity. This entails (1) examination of the role of discourse in determining the fate of any statement (referred to in this paper as \"\"the power of the respondent\"\"); (2) questioning traditional images of teacher and composer and accompanying arguments; (3) looking at teaching as a performance that can be composed; (4) relating the content of teaching to eliciting compositional activity; (5) examining under which circumstances one might learn from a composition.\"","abstract_html":""General qualitative considerations of the social situation of contemporary experimental composers allows a positive view of the necessity of teaching. Comparison of the concert and the classroom as forums for the dissemination of the composer's ideas shows that the respondent in both situations wields more power than is usually recognized. If the composer's activity is seen as including not only writing pieces but also everything a composer does to give those pieces an intended social context, including speaking, discussing, and writing prose, then teaching can be seen as a compositional activity. This entails (1) examination of the role of discourse in determining the fate of any statement (referred to in this paper as ""the power of the respondent""); (2) questioning traditional images of teacher and composer and accompanying arguments; (3) looking at teaching as a performance that can be composed; (4) relating the content of teaching to eliciting compositional activity; (5) examining under which circumstances one might learn from a composition."","abstract_has_math":false,"creators":["Enslin, Mark Crawford"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Brun, Herbert"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-05-07T13:31:04Z","date_published":"2011-05-07T13:31:04Z","updated_at":"2026-07-22T22:25:19Z","subjects":["Music","Education, Music"],"languages":["eng"],"rights":["Copyright 1995 Enslin, Mark Crawford"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9522107","(UMI)AAI9522107"],"render_values":[{"text":"AAI9522107","href":null,"code":true},{"text":"(UMI)AAI9522107","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/22164","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Brun, Herbert"]},{"key":"dc:creator","label":"Author","values":["Enslin, Mark Crawford"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-05-07T13:31:04Z","10000-01-01","1995"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["D.M.A."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music","Education, Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 1995 Enslin, Mark Crawford"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9522107","(UMI)AAI9522107","http://hdl.handle.net/2142/22164"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"General qualitative considerations of the social situation of contemporary experimental composers allows a positive view of the necessity of teaching. 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Comparison of the concert and the classroom as forums for the dissemination of the composer's ideas shows that the respondent in both situations wields more power than is usually recognized. If the composer's activity is seen as including not only writing pieces but also everything a composer does to give those pieces an intended social context, including speaking, discussing, and writing prose, then teaching can be seen as a compositional activity. This entails (1) examination of the role of discourse in determining the fate of any statement (referred to in this paper as \"\"the power of the respondent\"\"); (2) questioning traditional images of teacher and composer and accompanying arguments; (3) looking at teaching as a performance that can be composed; (4) relating the content of teaching to eliciting compositional activity; (5) examining under which circumstances one might learn from a composition.\"","Made available in DSpace on 2011-05-07T13:31:04Z (GMT). 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