Ebb and flow of assessment in music

Sheridan, Mark A.; Byrne, Charles

doi:10.1017/s0265051702000220

Cited by 22 publications

(22 citation statements)

References 8 publications

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“…In past decades, important theories and models were developed to discuss music creativity and the framework in which it appears and develops (Csikszentmihalyi, 1996;Elliott, 1995;Sheridan & Byrne, 2002;Swanwick, 1979;Webster, 1992Webster, , 1994Webster, , 2002Webster, , 2003. Researchers have been concerned with the processes by which people-and especially pupils-engage in musical creative activities of composition (e.g.…”

Section: Creativity In Music Educationmentioning

confidence: 99%

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Zbainos¹,

Anastasopoulou²

2012

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Creativity's enhancement through education has been widely discussed and promoted in Greece, especially in the past few decades. In the music domain, teaching philosophy and practice seem to focus on ways that can encourage children to learn and apply their knowledge through creative music activities. This paper reports on the outcomes of a study undertaken with 112 general music teachers of different ages and scientific backgrounds, who teach in 235 primary and secondary schools in Greece. Being the first time that such research is being conducted in Greece, the main aim of the study was to reveal how Greek music teachers think, feel about, and influence pupils' creativity and the teaching conditions that may enhance or inhibit it. It is believed that such a study may contribute to the development of creativity enhancement projects through music teaching. The findings suggest that creativity is associated by Greek music teachers with a natural gift that cannot be addressed in all students, and can only be partly taught in music classroom. They also indicate that teachers do not have an explicit understanding of music creativity as well as creativity assessment, since most of them tend to assess students' creative performance on the basis on non musical criteria (i.e. participation, eagerness, etc.). Results also show that creative musical activities are more often applied in primary education, while in secondary education they are successively replaced by music theory and history. Finally, teachers' negative views about the music curriculum, textbooks and number of teaching hours are identified. Such findings lead to suggestions for numerous changes in music teachers' education, establishing training in teaching for creativity as a fundamental priority.

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Section: Creativity In Music Educationmentioning

confidence: 99%

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Zbainos¹,

Anastasopoulou²

2012

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“…This is particularly true for the music curriculum, which seems to derive its 'grown-up' status from the fact that it is assessed in very similar ways to other more 'serious' subjects in the curriculum. The dominance of assessment procedures in Scottish secondary music education has been discussed by Sheridan & Byrne (2002), who raise five key factors that need to be addressed. These are:…”

Section: A S S E S S I N G M U S I C a L C R E A T I V I T Ymentioning

confidence: 99%

“…Some implications for educators and learners in the music classroom are explored and a proposed self-directed learning tool is discussed. Some of the issues on the assessment of creativity in music raised by Sheridan & Byrne (2002) are also discussed. This paper highlights the subjective nature of existing assessment procedures, considering whether examiners need extended criteria as opposed to a single dimension of creativity.…”

mentioning

confidence: 99%

Assessing creativity in musical compositions: flow as an assessment tool

Byrne¹,

MacDonald²,

Carlton³

2003

Brit. J. Music. Ed.

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This study was designed to examine any links between the concept of flow or optimal experience and the creative output of student compositions. The creative products of group compositions by university students ( n=45) were rated for creativity and on a number of standard criteria and compared with scores obtained from Experience Sampling Forms (Csikszentmihalyi and Csikszentmihalyi, 1988) completed by each participant. A significant correlation was found between optimal experience or flow levels of students and the quality of their group compositions as measured by creativity ratings. Some implications for educators and learners in themusic classroom are explored and a proposed self-directed learning tool is discussed. Some of the issues on the assessment of creativity in music raised by Sheridan and Byrne (2002) are also discussed. This paper highlights the subjective nature of existing assessment procedures, considering whether examiners need extended criteria as opposed to a single dimension of creativity. The formative assessment nature of the flow paradigm is also explored

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“…Yet they acknowledged that the vision of getting children to evaluate their own work could compromise the opportunity those children had to undertake the experimentation essential to future enjoyment of, or success in, the arts (cf. Sheridan and Byrne 2002). Being driven by the need to assess could also stultify the necessary creative partnership between teacher and pupil: The head teachers saw the lack of a national test for expressive arts as part of the basis of the subjects' appeal for their staff, or part of what made it harder for them to focus on assessment in this area.…”

Section: Pt1mentioning

confidence: 99%

Dread and passion: primary and secondary teachers' views on teaching the arts1

Wilson

MacDonald

Byrne

et al. 2008

The Curriculum Journal

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This article reports on a study of the views of Scottish teachers concerning the delivery of arts subjects within the 5-14 curriculum. Data were gathered through focus group interviews with primary, secondary and primary head teachers, and a questionnaire survey of 232 teachers in 10 Scottish LEAs. Research issues included the balance of the curriculum; assessment; the specialist knowledge required to teach each subject with confidence; how the arts were valued by parents and schools; and the benefits which may accrue to pupils and the school through participation in the arts. This article compares findings from primary teachers with those from secondary teachers. While differences were apparent in terms of confidence with teaching and assessing the arts, and how they felt arts subjects were valued, all participants strongly endorsed the benefits of arts education, particularly in terms of pupils' personal development. The implications of these findings are discussed in relation to current literature.

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Ebb and flow of assessment in music

Cited by 22 publications

References 8 publications

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Assessing creativity in musical compositions: flow as an assessment tool

Dread and passion: primary and secondary teachers' views on teaching the arts1

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