Exploring the Role of Creativity in the Secondary School Music Classroom: Awareness, Insights, and Perceptions of In-service Teachers

2017 ◽  
Vol 12 (4) ◽  
pp. 39-54
Author(s):  
John L. Vitale
1986 ◽  
Vol 3 (3) ◽  
pp. 341-352 ◽  
Author(s):  
Peter Owens

This article is a revised version of a talk given by the author before an international symposium on music education in Hortos, Greece, in 1985. It considers the current state of modern music, suggesting that there have been some important changes in direction since the avant-garde styles of the 1950s and 1960s; and it reflects on some of the implications of these changes for secondary-school music teaching.Some proposals are made for factors likely to facilitate the success of contemporary music which children hear or perform. In the original talk these points were illustrated with recorded examples, indicated here by numbers in the text. The role of children as contemporary composers themselves is also discussed in terms of the method and motivation by which creative work may be encouraged.The educational writers on whom the author bases much of his argument are clearly acknowledged throughout the text. Otherwise, opinions derive from experience of teaching and writing music for children in England and in France.


2021 ◽  
pp. 102986492110558
Author(s):  
Ioulia Papageorgi ◽  
Natassa Economidou Stavrou

The literature suggests that there is often no alignment between student preferences and what and how it is taught in the music classroom. A total of 749 Cypriot secondary school students, aged 12 to 14 years, responded to a survey addressing enjoyment of music, motivation for school music lessons, and perceptions of the music classroom environment. The survey included a questionnaire with six subscales: Involvement, Affiliation, Teacher Support, Task Orientation, Order and Organization, and Rule Clarity. High ratings for Affiliation, Teacher Support, and Rule Clarity suggest that, overall, students’ perceptions of the classroom environment were positive. They were not uniform, but varied on the basis of student characteristics. Girls rated Rule Clarity higher than boys. Younger students tended to rate Task Orientation, Order and Organization, and Rule Clarity higher than older students. Higher-achieving students tended to rate Affiliation and Teacher Support higher. Older boys rated Involvement lower than younger boys, whereas older girls rated Involvement higher than younger girls. It can be inferred that boys experienced a gradual increase in perceived Affiliation as their achievement improved, although the pattern was less consistent for girls. Girls tended to report higher motivation for school music lessons than boys. Motivation was enhanced by classroom environments in which students experienced higher levels of enjoyment of music, engagement, and support from teachers. The findings show that the music classroom environment should be characterized by student engagement, clarity of rules, good organization, clear goals, teacher support, and affiliation between classmates.


Author(s):  
Martin Fautley ◽  
Richard Colwell

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.


2018 ◽  
Vol 36 (3) ◽  
pp. 447-459
Author(s):  
José Palazón ◽  
Andrea Giráldez

This article presents an experiment with a group of secondary school music students in Spain. We used music score sheets enriched with Quick Response codes as a resource for the practice required to play a musical instrument. The first group (n = 56) was compared with another group (n = 56) that used traditional resources (textbooks and compact discs). The results of the research supported the fact that the students who used QR codes associated with videos – read by using mobile devices such as smartphones or tablets – achieved better results than those who used more traditional resources. The analysis of variance test showed that the learning resource had a significant effect on the scores obtained by the students. In other words, the marks of the students participating in the study varied significantly according to the resource used. There was no significant effect on the interaction of method and gender, so there is no relation between the students’ gender and the resources’ impact on the results obtained by students.


2007 ◽  
Vol 24 (2) ◽  
pp. 165-178 ◽  
Author(s):  
Angela E. Major

This paper reports an action research study of teacher and pupil talk about composing. Data were collected through video and audio recordings of composition lessons in a secondary school. Qualitative analysis of the data led to the development of a ‘typology of pupil talk about composing’ which distinguishes between six main types: exploration, description, opinion, affective response, evaluation and problem solving. The results of the study suggest that as children engage and empathise affectively and acquire ownership of their work, they appear to be able to talk more confidently about it. As children make sense of their work, they may well be able to understand more than their talk reveals. The role of teachers in nurturing talk about composing work in the classroom is considered in relation to the findings. By designing appropriate composing tasks, they may be able to promote the development of more mature forms of evaluative talk in younger children, and of their critical listening and appraising skills. The development of more mature, ‘higher’ forms of evaluative talk in younger children might be promoted by teachers in designing composing tasks.


2011 ◽  
Vol 28 (2) ◽  
pp. 135-157
Author(s):  
Jonathan Savage ◽  
Martin Fautley

This paper explores secondary school music teachers' current practice with regard to the organisation and assessment of composing at Key Stage 4. It draws on research undertaken on a nation-wide basis in England, via the use of two online surveys and face-to-face interviews. In terms of the organisation of classroom composition, the study found that the place of staff notation is currently under-theorised in terms of a developmental musical thinking tool, as opposed to what might be termed a ‘storage system’. The research also found that ICT has brought composing to a wider range of participants. Considerably more time is spent on composing than other musical processes within a typical Key Stage 4 music classroom. The study found that music teachers are, in general, satisfied with the sorts of assessments which are being done at Key Stage 4. Examination Board criteria for assessing composing are universally utilised but there is a feeling that whilst these criteria are fit for purpose, they do not always reflect the effort that students have put into their work. Some styles which are ‘set’ by examination boards are seen as being inappropriate for some students to access.


2012 ◽  
Vol 22 (1) ◽  
Author(s):  
John Vitale

This study investigates teacher stress, anxiety, and burnout through my experience teaching music in a suburban Toronto secondary school between 2002 and 2008. Primary data sources include a rich collection of journal entries I have written over a six-year period, which were retrospectively analyzed in this study. Hence, this study is principally rooted in reflective practice. In addition, this study is informed through autobiographical and phenomenological lenses. These other two lenses have allowed me to incorporate secondary source data (anecdotal notes, emails, text messages, and video footage) that were repurposed for this study. Findings have exposed two principal thematic representations from the data, namely; (a) those that directly or indirectly addressed extracurricular performances, and (b) fear of failure. Reexperiencing my experience has been exceedingly therapeutic and cathartic for me, providing insight and transparency into the demanding nature of music pedagogy at the secondary school level. In addition, findings have helped me to refine and develop my current and future pedagogy as a teacher educator.


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