A new model of the group composing process of lower secondary school students

Assessment rocks? The assessment of group composing for qualification

“…Each individual is dependent not only upon the knowledge of others but the shared knowledge of the context in which the collaboration occurs (Eraut 2000). In a musical ensemble, for example, each person may play a different instrument in a different way from the others, with varying levels of skill, and yet communicate knowledge collectively through shared understanding of the musical, social and stylistic context (Fautley 2005). Furthermore, some of this knowledge may be tacit, where group members know more than they can tell (Polanyi 1967).…”

“…Working towards the shared goal of composing often engenders a high level of interdependence between group members (Allsup 2003;Campbell 1995;Thorpe 2009). In group composing, processes, resources and ideas are distributed across the group so that compositional process and product become shared artefacts 'owned' by all members of the group (Fautley 2005). Furthermore, composing together in contemporary genres, in which the musicians are thoroughly enculturated, can be a highly charged and deeply meaningful process involving profound identity construction (Davis 2005;Faulkner 2003;Green 2002;Miell and Littleton 2008).…”

Assessing complexity. Group composing for a secondary school qualification

“…In earlier research into the collaborative composing of three rock bands (Thorpe, 2008), I developed a model based on those of Webster (1990, 2002) and Fautley (2005) to investigate how young people composed music together in three heavy metal and rock bands. Consistent with Webster and Fautley's models and other research into informal music practices (for example, Green, 2002; Allsup, 2003; Jaffurs, 2004; McGillen & McMillan, 2005), I found that group composers moved back and forth within and between divergent and convergent stages, taking on various roles and tasks as they did so.…”

A generative model of teachers’ thinking on musical creativity

“…However, she did not collect any data on the teacher's perceptions of musical creativity. Fautley (2004Fautley ( , 2005a examined individual teacher interventions in the composing processes of groups of school students aged 11-14 and suggested a model for the group composing process, but again, did not focus on the teachers' thinking. MacDonald, Byrne and Carlton (2006) studied the relationships between creativity, Csikszentmihalyi's concept of flow and the quality of the compositions by 45 university students undertaking a group composition task.…”

“…These broadly support the four-fold framework. For example, a number of enquiries studied the composing and improvising processes of students and professional musicians, with an emphasis on collaborative processes, sometimes with the use of IT (Barrett, 2006;Barrett and Gromko, 2007;Berkley, 2004;Burnard, 2005;Younker, 2002, 2004;Clarke, 2005;Collins, 2005;Fautley, 2004Fautley, , 2005aMacDonald, Byrne and Carlton, 2006;McCord, 2004;McGillen, 2004;Nilsson and Folkestad, 2005;Sawyer, 2006b;Seddon, 2005Seddon, , 2006Seddon and O'Neill, 2003;Soares, 2006;Söderman and Folkestad, 2004;Young, 2003).…”