BurlandKarenDavidsonJane W. 2001. “Investigating Social Processes in Group Musical Composition.” Research Studies in Music Education16:46–56. doi:10.1177/1321103x010160010901.
2.
BurnardPamelaAnne YounkerBetty. 2008. “Investigating Children’s Musical Interactions within the Activities Systems of Group Composing and Arranging: An Application of Engestrom’s Activity Theory.” International Journal of Educational Research47:60–74. doi:10.1016/j.ijer.2007.11.001.
3.
Consortium of National Arts Education Associations. 1994. Dance, Music, Theatre, Visual Arts: What Every Young American Should Know and Be Able to Do in the Arts: National Standards for Arts Education. Reston, VA: Music Educators National Conference.
4.
Editorial: Parkinson’s Law [Editorial]. 1955. Economist, November19, 635.
HickeyMaud. 1997. “Teaching Ensembles to Compose and Improvise.” Music Educators Journal83 (6): 17–21.
7.
HickeyMaudLipscombScott. 2006. “How Different Is Good? How Good Is Different? The Assessment of Children’s Creative Musical Thinking.” In Musical Creativity, edited by DeliégeIrèneWigginsGeraint A., 97–110. New York: Psychology Press.
8.
HopkinsMichael T. 2013a. “A Descriptive Case Study of Two Veteran String Teachers’ Perceptions of Including Composing in Middle School Orchestra.” Bulletin of the Council for Research in Music Education196:25–44.
9.
HopkinsMichael T. 2013b. “Factors Contributing to Orchestra Teachers’ Inclusion of Composing Activities in Their Curricula.” String Research Journal4:15–36.
10.
HopkinsMichael T. 2015. “Collaborative Composing in High School String Chamber Music Ensembles.” Journal of Research in Music Education62 (4): 405–24.
11.
JohnsonDavid W.JohnsonRoger T.1998. “Cooperative Learning and Social Interdependence Theory.” In Theory and Research on Small Groups, edited by TindaleR. ScottHeathLindaEdwardsJohnPosavacEmil J.BryantFred B.Suarez-BalcazarYolandaHenderson-KingEaaronMyersJudith, 9–36. New York: Plenum Press.
12.
KaschubMichele E.SmithJanice P.2009. Minds on Music: Composition for Creative and Critical Thinking. Lanham: Rowman & Littlefield Education.
13.
LeshnowerSusan. 2001. “Member2Member: Coaching Ideas—Teaching Leadership through Chamber Music.” American String Teacher51 (4): 47–48.
14.
MacDonaldRaymond A. R.MiellDorothyMitchellLaura. 2002. “An Investigation of Children’s Musical Collaborations: The Effect of Friendship and Age.” Psychology of Music30:148–63. doi:10.1177/0305735602302002.
15.
MiellDorothyMacDonaldRaymond A. R.2000. “Children’s Creative Collaborations: The Importance of Friendship When Working Together on a Musical Composition.” Social Development9:348–69.
16.
MorganL.HargreavesD.JoinerR.2000. “Children’s Collaborative Music Composition: Communication through Music.” In Rethinking Collaborative Learning, edited by JoinerRichardLittletonKarenFaulknerDorothyMiellDorothy, 52–64. London: Free Association Books.
17.
National Coalition for Core Arts Standards (NCCAS). 2014. “National Core Arts Standards: A Conceptual Framework for Arts Learning.” http://www.nationalartsstandards.org/.
18.
NorgaardMartin. 2005. “Integrating Music Theory and Composition into the String Curriculum.” American String Teacher55 (2): 58–62.
19.
OdenaOscar, ed. 2012. Musical Creativity: Insights from Music Education Research. Burlington, VT: Ashgate.
20.
RandlesClintStringhamDavid Andrew, eds. 2013. Musicianship: Composing in Band and Orchestra. Chicago: GIA Publications.
21.
RotjanMatthew. 2018. What’s Your Rep? Integrative Approaches and Perspectives to Repertoire Selection. American String Teacher68 (1): 38–42.
22.
RyanRichard M.DeciEdward L.2000. “Self-determination Theory and the Facilitation of Intrinsic Motivation, Social Development, and Well-being.” American Psychologist55 (1): 68–78.
23.
SeddonFrederick A. 2006. “Collaborative Computer-Mediated Music Composition in Cyberspace.” British Journal of Music Education23:273–83. doi:10.1017/S0265051706007054.
24.
SeddonFrederick A.O’NeillSusan A.2006. “How Does Formal Instrumental Music Tuition (FIMT) Impact on Self- and Teacher-Evaluations of Adolescents’ Computer-Based Compositions?” Psychology of Music34:27–45. doi:10.1177/0305735606059103.
25.
StravinskyIgor. 1970. Poetics of Music in the Form of Six Lessons. Vol. 66. Cambridge, MA: Harvard University Press.
TorranceE. Paul. 1974. Torrance Tests of Creative Thinking. Verbal and Figural Forms. Lexington, MA: Ginn.
28.
TrapkusPaul. 2018. “Structuring an Effective Chamber Music Class.” American String Teacher68 (3): 26–30.
29.
TurnerKristin. 2006. “Composition in Orchestra Class.” Teaching Music14 (2): 32–37.
30.
WebsterPeter. 1992. “Research on Creative Thinking in Music: The Assessment Literature.” In Handbook of Research on Music Teaching and Learning, edited by ColwellRichard, 266–79. New York: Schirmer Books.
31.
WigginsJacqueline H. 2000. “The Nature of Shared Musical Understanding and Its Role in Empowering Independent Musical Thinking.” Bulletin of the Council for Research in Music Education143:65–90.
32.
ZornJay D. 1973. “Effectiveness of Chamber Music Ensemble Experience.” Journal of Research in Music Education21 (1): 40–47.