John Kratus
Biographic Data
| ID | 4351323 |
|---|---|
| NAME | John Kratus |
| GIVEN NAMES | John |
| FAMILY NAME | Kratus |
| SIGNATURE | KRATUS J |
| AFFILIATIONS | Michigan State University |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1989 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
The Music No One Has Heard Yet
Although student performance is at the heart of music education, the addition of student composition can provide a more meaningful form of music education. This chapter uses personal narrative and reviews of anthropological, psychological, and philosophical literature to support the inclusion of composition in children’s music education. The word “composition” is deconstructed to examine its meaning and unintended consequences. The impediments to…
Effect of Available Tonality and Pitch Options on Children's Compositional Processes and Products
The purpose of this study was to investigate the effect that different melodic configurations on an Orff xylophone have on the ways children compose and on the musical characteristics of their compositions. Subjects were 48 fourth graders with no formal instruction in composition. They were individually asked to compose a song on a xylophone that was configured in one of four ways: (1) pentatonic with 5 bars, (2) pentatonic with 10 bars, (3) melo…
Relationships Among Children's Music Audiation and Their Compositional Processes and Products
The purpose of this study was to examine the relationships among music audiation, I the processes of composition, and the musical characteristics of songs composed by 9-year-olds. Subjects (N = 40) were given the Intermediate Measures of Music Audiation and were asked to compose a song on a synthesizer during a 10-minute period. A pair of independent judges analyzed recordings of the composition periods to determine the amount of time subjects en…
Structuring the Music Curriculum for Creative Learning
Introducing creative learning opportunities into the music curriculum requires the development of clearly articulated goals and objectives. This article offers a systematic approach for organizing students' creative learning in music, focusing on goal-oriented instruction. It emphasizes the importance of defining specific, measurable, achievable, relevant, and time-bound (SMART) objectives for creative projects. The author provides a framework th…
A Time Analysis of the Compositional Processes Used by Children Ages 7 to 11
The purpose of this study was to examine the amount of time that children of different ages, sexes, and proficiency levels spent on various compositional processes while creating a melody. The author gave 60 children (ages 7, 9, and 11) 10 minutes to compose a song on an electronic keyboard and asked each child to play his or her song and repeat it. Analysis of the 10-minute compositional periods indicated the amount of exploration, development, …
A Time Analysis of the Compositional Processes Used by Children Ages 7 to 11
The purpose of this study was to examine the amount of time that children of different ages, sexes, and proficiency levels spent on various compositional processes while creating a melody. The author gave 60 children (ages 7, 9, and 11) 10 minutes to compose a song on an electronic keyboard and asked each child to play his or her song and repeat it. Analysis of the 10-minute compositional periods indicated the amount of exploration, development, …
Effect of Available Tonality and Pitch Options on Children's Compositional Processes and Products
The purpose of this study was to investigate the effect that different melodic configurations on an Orff xylophone have on the ways children compose and on the musical characteristics of their compositions. Subjects were 48 fourth graders with no formal instruction in composition. They were individually asked to compose a song on a xylophone that was configured in one of four ways: (1) pentatonic with 5 bars, (2) pentatonic with 10 bars, (3) melo…
A Time Analysis of the Compositional Processes Used by Children Ages 7 to 11
The purpose of this study was to examine the amount of time that children of different ages, sexes, and proficiency levels spent on various compositional processes while creating a melody. The author gave 60 children (ages 7, 9, and 11) 10 minutes to compose a song on an electronic keyboard and asked each child to play his or her song and repeat it. Analysis of the 10-minute compositional periods indicated the amount of exploration, development, …
Structuring the Music Curriculum for Creative Learning
Introducing creative learning opportunities into the music curriculum requires the development of clearly articulated goals and objectives. This article offers a systematic approach for organizing students' creative learning in music, focusing on goal-oriented instruction. It emphasizes the importance of defining specific, measurable, achievable, relevant, and time-bound (SMART) objectives for creative projects. The author provides a framework th…
Relationships Among Children's Music Audiation and Their Compositional Processes and Products
The purpose of this study was to examine the relationships among music audiation, I the processes of composition, and the musical characteristics of songs composed by 9-year-olds. Subjects (N = 40) were given the Intermediate Measures of Music Audiation and were asked to compose a song on a synthesizer during a 10-minute period. A pair of independent judges analyzed recordings of the composition periods to determine the amount of time subjects en…
Effect of Available Tonality and Pitch Options on Children's Compositional Processes and Products
The purpose of this study was to investigate the effect that different melodic configurations on an Orff xylophone have on the ways children compose and on the musical characteristics of their compositions. Subjects were 48 fourth graders with no formal instruction in composition. They were individually asked to compose a song on a xylophone that was configured in one of four ways: (1) pentatonic with 5 bars, (2) pentatonic with 10 bars, (3) melo…
The Music No One Has Heard Yet
Although student performance is at the heart of music education, the addition of student composition can provide a more meaningful form of music education. This chapter uses personal narrative and reviews of anthropological, psychological, and philosophical literature to support the inclusion of composition in children’s music education. The word “composition” is deconstructed to examine its meaning and unintended consequences. The impediments to…
Art (5 works) · Diverse Music Education Insights (5 works) · Visual arts (5 works) · Neuroscience and Music Perception (4 works) · Psychology (4 works) · Communication (3 works) · Communication (3 works) · Composition (language (3 works) · Linguistics (3 works) · Aesthetics (2 works)