Creativity in the Secondary Music Classroom

2012 ◽  
pp. 511-528
Author(s):  
Oscar Odena
Keyword(s):  
Music Education ◽  
Formal Education ◽  
Methodological Approach ◽  
Promising Practices ◽  
Cultural Perspective ◽  
Learning And Development ◽  
Music Classroom ◽  
Secondary Classroom ◽  
Musical Creativity ◽  
Teaching Learning

This article, which reviews key research in, and practices of, creativity in music education in order to assist the reader to better understand what is known about musical creativity in teaching, learning, and development between ages 12 and 18, aims to support teachers in promoting musical creativity in their classrooms. The choice of studies reviewed focuses on key research-based publications, mostly centered on formal education settings, and embracing all types of methodological approach. The first part of the article examines some of the meanings attached to the word “creativity,” drawing on aesthetics, musicology, psychology, and education; and the second focuses on a conceptualization of musical creativity for the secondary classroom, incorporating a cross-cultural perspective. The article concludes with a discussion of promising practices and some final considerations.

Teaching, Learning, and Curriculum Content

2012 ◽  
pp. 440-459
Author(s):  
Chris Philpott ◽  
Ruth Wright
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Theoretical Framework ◽  
Music Teaching ◽  
Curriculum Content ◽  
Music Classroom ◽  
Basil Bernstein ◽  
Curriculum Models ◽  
Democratic Rights ◽  
Teaching Learning

This article, which addresses the interfaces between learning, teaching, and curriculum in classroom music teaching, presents a theoretical framework drawn from the work of the British sociologist Basil Bernstein that allows for the analysis of different curriculum and pedagogic models in music education. To elaborate on this, a number of different curriculum models are presented and analyzed. Finally, the article shares some thoughts concerning future music curricula, based on Bernstein's principles of democratic rights in education, which focus on the possibility of promoting social justice in the music classroom.

scholarly journals Assessment in the Secondary Music Classroom

2012 ◽  
pp. 475-494 ◽  
Author(s):  
Martin Fautley ◽  
Richard Colwell
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Student Assessment ◽  
Music Pedagogy ◽  
Music Classroom ◽  
Secondary Music ◽  
Accountability Policy ◽  
School Music ◽  
Teaching Learning

The issue of assessment in music education in the secondary school is one of concern in a range of contexts, including teaching, learning, accountability, policy, and politics. In order to investigate assessment in the secondary school, there is a need to understand what assessment is; what the terminologies involved mean; what the implications of assessment are for learners, teachers, program organizers, administrators, legislators, and other interested stakeholders; and what constitutes secondary school music. This article considers the following issues in student assessment: the context of assessment, the uses and purposes of assessment, legitimizing assessment, and assessment and music pedagogy.

Music Learning Today

2020 ◽  
Author(s):  
William I. Bauer
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Promising Practices ◽  
Learning Context ◽  
Music Learning ◽  
Software Applications ◽  
Use Of Technology ◽  
Digital Pedagogy ◽  
Teaching Learning ◽  
Pedagogical Approaches

Grounded in a research-based, conceptual model called Technological Pedagogical and Content Knowledge (TPACK), the essential premise of Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes—creating, performing, and responding to music. Insights on how technology can be used to advantage in both traditional and emerging learning environments are provided, and research-based pedagogical approaches that align technologies with specific curricular outcomes are described. Importantly, the book advocates that the decision on whether or not to utilize technology for learning, and the specific technology that might be best suited for a particular learning context, should begin with a consideration of curricular outcomes (music subject matter). This is in sharp contrast to most other books on music technology that are technocentric, organized around specific software applications and hardware. The book also recognizes that knowing how to effectively use the technological tools to maximize learning (pedagogy) is a crucial aspect of the teaching-learning process. Drawing on the research and promising practices literature in music education and related fields, pedagogical approaches that are aligned with curricular outcomes and specific technologies are suggested. It is not a “how to” book per se, but rather a text informed by the latest research, theories of learning, and documented best practices, with the goal of helping teachers develop the ability to understand the dynamics of effectively using technology for music learning.

scholarly journals Teaching–learning resources and supports in the music classroom: Key aspects for the inclusion of visually impaired students

2018 ◽  
Vol 37 (1) ◽  
pp. 17-28 ◽  
Author(s):  
Angela Pino ◽  
Laia Viladot
Keyword(s):  
Music Education ◽  
Visually Impaired ◽  
Point Of View ◽  
Learning Resources ◽  
Structured Interviews ◽  
Music Classroom ◽  
Music Specialists ◽  
Visually Impaired Students ◽  
Teaching Learning ◽  
Key Aspects

Currently, there still exist barriers that prevent a satisfactory connection between music education and the visually impaired population. This is due to the teachers’ lack of preparation and their general ignorance of the functioning of the Braille music system, the materials, specialist support, and other tools needed for the inclusion of this type of students in the classroom. In order to familiarize the educational community with the resources and specialist support involved in inclusive music teaching, we conducted and analysed semi-structured interviews with the following persons: (1) the music specialists at the Organización Nacional de Ciegos Españoles Resource Centre (Spanish National Organization of the Blind); (2) a music teacher who had two visually impaired students in her classes; and (3) a blind student who studied music and had specialized in piano performance. The contributions made by this article consist of the categorization of the different teaching–learning resources involved in inclusion, information on how specialist support can be provided to facilitate these resources, and the relationships between resources and specialist support taking into account the point of view of teacher as the main figure responsible for inclusion in the music classroom.

The ecology for fostering the musical creativity of students with intellectual disabilities

2021 ◽  
pp. 025576142110312
Author(s):  
Marina Wai-Yee Wong
Keyword(s):  
Music Education ◽  
Intellectual Disabilities ◽  
Positive Reinforcement ◽  
Professional Training ◽  
Research Question ◽  
Cultural Perspective ◽  
Special Schools ◽  
Face To Face ◽  
Musical Creativity ◽  
Students With Intellectual Disabilities

Students with intellectual disabilities in Hong Kong are placed in special schools in their neighborhoods according to their categories of intellectual disabilities. Music teachers in these special schools implement a school-based music curriculum that includes the learning objective “creativity and imagination.” Reporting a qualitative multiple-case study with purposeful sampling and face-to-face interviews, this study poses the research question “What are the ecological elements for fostering the musical creativity of students with intellectual disabilities?” Respondents identify five elements as essential in fostering their students’ musical creativity: (1) opportunity for play and exploration; (2) providing support guidance and demonstration; (3) opportunity to develop a sense of engagement; (4) opportunity for making choices; and (5) providing positive reinforcement and feedback. A discussion of this data reveals how the dual impact of lacking professional training in music education for students with intellectual disabilities and cultural perspective diminishes respondents’ expectations of their students’ creative capacity.

Guiding Principles for Improvisation in the General Music Classroom

2019 ◽  
Vol 33 (2) ◽  
pp. 68-73 ◽  
Author(s):  
David C. Edmund ◽  
Elliott C. Keller
Keyword(s):  
Music Education ◽  
Safe Space ◽  
Fundamental Aspect ◽  
General Music ◽  
Music Classroom ◽  
The World ◽  
Guiding Principles ◽  
Musical Creativity ◽  
Fear And Anxiety

Improvisation is a fundamental aspect of musicianship and an important pursuit in music education. Children in music classes throughout the world are engaged with improvisation in a variety of modes and settings. Whether singing, physically moving, or playing an instrument, the act of improvising in front of others may raise one’s self-consciousness, potentially leading to feelings of fear and anxiety. We wish to share guiding principles for improvisation to alleviate many of the associated fears. The establishment of a classroom improvisation culture may breed willful participation and acceptance. When willful participation and acceptance become habitual, the goal of establishing a safe space for students to explore their musical creativity is more readily achieved. A manifestation of the guiding principles is shared in the form of two model improvisation experiences for the general music classroom.

Habits of Mind as a Framework for Assessment in Music Education

2019 ◽  
pp. 201-224
Author(s):  
Jillian Hogan ◽  
Ellen Winner
Keyword(s):  
Music Education ◽  
Arts Education ◽  
Habits Of Mind ◽  
Public High School ◽  
Student Agency ◽  
Thinking Dispositions ◽  
Music Classroom ◽  
Music Ensembles ◽  
School Music ◽  
High School Music

Music making requires many kinds of habits of mind—broad thinking dispositions potentially useful outside of the music room. Teaching for habits of mind is prevalent in both general and other areas of arts education. This chapter reports a preliminary analysis of the habits of mind that were systematically observed and thematically coded in twenty-four rehearsals of six public high school music ensembles: band, choir, and orchestra. Preliminary results reveal evidence of eight habits of mind being taught: engage and persist, evaluate, express, imagine, listen, notice, participate in community, and set goals and be prepared. However, two habits of mind that the researchers expected to find taught were not observed: appreciate ambiguity and use creativity. These two nonobserved habits are ones that arts advocates and theorists assume are central to arts education. The chapter discusses how authentic assessment of habits of mind in the music classroom may require novel methods, including the development of classroom environments that foster additional levels of student agency.

Courses for Secondary Instruments

2019 ◽  
pp. 344-363
Author(s):  
Molly A. Weaver
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Promising Practices ◽  
Education Curriculum ◽  
Music Teacher Education ◽  
Teaching Activities ◽  
School Based ◽  
Secondary Instrument ◽  
Institutional Model

The main purpose of this chapter is to synthesize the literature regarding courses for secondary instruments in the interest of making recommendations for promising practices. The chapter also is intended to “push boundaries from within the system” of music teacher education. That is, it is intended to be a resource for those who prepare preservice music teachers (PMTs) for the realities of P-12 school-based music education and who aspire to instill in these new colleagues a disposition toward change. The chapter is divided into six sections: importance of secondary instrument courses, characteristics and configurations of secondary instrument courses, focus and content of secondary instrument courses, peer teaching activities and field experiences within secondary instrument courses, recommendations for promising practices (including professional development beyond the preservice music education curriculum and an institutional model for secondary instrument courses), and future considerations.

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.

East meets West: Investigating the state of DJing culture and turntablism pedagogy in China

2021 ◽  
pp. 025576142199081
Author(s):  
Rhythy Quin
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Music Performance ◽  
Independent Learning ◽  
Performance Practices ◽  
Political Values ◽  
Music Classroom ◽  
Music Practice ◽  
Chinese Music ◽  
Self Discovery

In the West, the music practice of turntablism continues to gain traction and awareness both inside and outside of the music classroom, as DJing becomes more prevalent in mainstream music culture. This qualitative study investigates the extent and type of turntablism pedagogy in China, a country with different cultural and political values where traditional Chinese music remains the centre of Chinese music education. Twelve DJs from cities across China took part in a series of in-depth interviews. They were asked to recall their experiences learning how to DJ in China, as well as their opinions of turntablism’s inclusion in music education. Findings showed that participants preferred independent learning methods. In particular, participants significantly depended on Chinese social media applications to learn about turntablism and develop a national DJing culture. An absence of turntablism and popular music pedagogy in Chinese music education was the main reason for participants’ self-discovery and learning of turntablism. Findings also revealed a cultural disconnect between the younger generation engrossed in DJing versus the older generation’s fixation on traditional Chinese music to uphold nationalism and patriotism in society. This study examines an ongoing struggle regarding the extent to which popular music performance practices can be accommodated to work with the political aims of Chinese music education.

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