{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/70864"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/70864","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Musical Thinking as Exemplified in Music Criticism","abstract":"The purpose of this study was to consider the thought processes involved in the formulation of written music criticism. Using John Dewey's definition of thinking as a basis, the works of metacritics Francis Sparshott, Theodore M. Greene, and D. W. Gotshalk and critics Virgil Thomson and M. D. Calvocoressi were surveyed, and their outlines of the critical process were used to develop a paradigm for the thought process involved in the formulation of music criticism. Thirty pieces of written music criticism from the work of six music critics were randomly seclected and the critic's statements were categorized according to the proposed paradigm. The statements from a stream of consciousness narrative produced by a music critic while listening to an orchestral concert were then categorized according to the paradigm, and a comparison was made between the thought process revealed by the written criticism and the stream of consciousness narrative.","abstract_html":"The purpose of this study was to consider the thought processes involved in the formulation of written music criticism. Using John Dewey's definition of thinking as a basis, the works of metacritics Francis Sparshott, Theodore M. Greene, and D. W. Gotshalk and critics Virgil Thomson and M. D. Calvocoressi were surveyed, and their outlines of the critical process were used to develop a paradigm for the thought process involved in the formulation of music criticism. Thirty pieces of written music criticism from the work of six music critics were randomly seclected and the critic's statements were categorized according to the proposed paradigm. The statements from a stream of consciousness narrative produced by a music critic while listening to an orchestral concert were then categorized according to the paradigm, and a comparison was made between the thought process revealed by the written criticism and the stream of consciousness narrative.","abstract_has_math":false,"creators":["Richardson, Carol Peterson"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ed.D.","degree_level":"Dissertation","degree_discipline":"Music Education","degree_department":null,"school":null,"contributors":["Colwell, Richard J."],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-12-16T04:13:12Z","date_published":"2014-12-16T04:13:12Z","updated_at":"2026-07-22T22:26:03Z","subjects":["Education, Music"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(UMI)AAI8823233"],"render_values":[{"text":"(UMI)AAI8823233","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/70864","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Colwell, Richard J."]},{"key":"dc:creator","label":"Author","values":["Richardson, Carol Peterson"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2014-12-16T04:13:12Z","10000-01-01","1988"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music Education"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ed.D."]},{"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":["Education, Music"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/70864","(UMI)AAI8823233"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The purpose of this study was to consider the thought processes involved in the formulation of written music criticism. Using John Dewey's definition of thinking as a basis, the works of metacritics Francis Sparshott, Theodore M. Greene, and D. W. Gotshalk and critics Virgil Thomson and M. D. Calvocoressi were surveyed, and their outlines of the critical process were used to develop a paradigm for the thought process involved in the formulation of music criticism. Thirty pieces of written music criticism from the work of six music critics were randomly seclected and the critic's statements were categorized according to the proposed paradigm. The statements from a stream of consciousness narrative produced by a music critic while listening to an orchestral concert were then categorized according to the paradigm, and a comparison was made between the thought process revealed by the written criticism and the stream of consciousness narrative.","Evidence was found in the written criticism to support the components of the paradigm, and further evidence supporting the paradigm was found in the stream of consciousness narrative. It was also found that the musical thinking involved in the formulation of music criticism is a product of the critic's funded experience and has distinct components of sensitivity/feeling, knowledge/education, and imagination. Further processes involved were identified as expectation, comparison, prediction, and evaluation, and evidence was found to support the Deweyan notion of thinking as a nonlinear, nonlogical process.","Made available in DSpace on 2014-12-16T04:13:12Z (GMT). No. of bitstreams: 1 8823233.pdf: 5381116 bytes, checksum: 978eb7354eb79159f7d65bc4e70553a2 (MD5) Previous issue date: 1988","Embargo set by: Seth Robbins for item 71030 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","157 p.","Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 1988."]},{"key":"dc:title","label":"Title","values":["Musical Thinking as Exemplified in Music Criticism"]}]}],"canonical_facts":{"dc:contributor":["Colwell, Richard J."],"dc:creator":["Richardson, Carol Peterson"],"dc:date":["2014-12-16T04:13:12Z","10000-01-01","1988"],"dc:description":["The purpose of this study was to consider the thought processes involved in the formulation of written music criticism. Using John Dewey's definition of thinking as a basis, the works of metacritics Francis Sparshott, Theodore M. Greene, and D. W. Gotshalk and critics Virgil Thomson and M. D. Calvocoressi were surveyed, and their outlines of the critical process were used to develop a paradigm for the thought process involved in the formulation of music criticism. Thirty pieces of written music criticism from the work of six music critics were randomly seclected and the critic's statements were categorized according to the proposed paradigm. The statements from a stream of consciousness narrative produced by a music critic while listening to an orchestral concert were then categorized according to the paradigm, and a comparison was made between the thought process revealed by the written criticism and the stream of consciousness narrative.","Evidence was found in the written criticism to support the components of the paradigm, and further evidence supporting the paradigm was found in the stream of consciousness narrative. It was also found that the musical thinking involved in the formulation of music criticism is a product of the critic's funded experience and has distinct components of sensitivity/feeling, knowledge/education, and imagination. Further processes involved were identified as expectation, comparison, prediction, and evaluation, and evidence was found to support the Deweyan notion of thinking as a nonlinear, nonlogical process.","Made available in DSpace on 2014-12-16T04:13:12Z (GMT). No. of bitstreams: 1 8823233.pdf: 5381116 bytes, checksum: 978eb7354eb79159f7d65bc4e70553a2 (MD5) Previous issue date: 1988","Embargo set by: Seth Robbins for item 71030 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","157 p.","Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 1988."],"dc:identifier":["http://hdl.handle.net/2142/70864","(UMI)AAI8823233"],"dc:subject":["Education, Music"],"dc:title":["Musical Thinking as Exemplified in Music Criticism"],"dc:type":["text"],"thesis:degree_discipline":["Music Education"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Ed.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:26:03Z"}