Giving value to musical creativity

Kinsella, Victoria; Fautley, Martin

doi:10.4324/9780367816179-8

Cited by 3 publications

(3 citation statements)

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“…Teaching music to students with learning disabilities Musical inclusion and music and disability continue to climb the agenda for music educators within the UK and elsewhere (Fautley & Daubney, 2018;Kinsella et al, 2018). There is a body of literature discussing music-making for participants with learning disabilities; however, these sources generally take a community music or therapeutic music stance, rather than a music education perspective (Streeter, 1993;Schalkwijk, 1994;Paterson & Zimmermann, 2006;Ramey, 2011;Ott, 2011;Williams, 2013).…”

Section: Uk Conservatoire Curriculamentioning

confidence: 99%

“…Considering inclusive music tuition for students with disabilities more broadly, there is a growing evidence base of research (Cross, 2005(Cross, , 2007McCord & Fitzgerald, 2006;Adamek & Darrow, 2010;Bell, 2014;Jellison & Draper, 2015;Darrow, 2015;Darrow & Adamek, 2012Kinsella et al, 2018;Laes & Westerlund, 2018;Pickard, 2019Pickard, , 2020. Despite this, music educators continue to report a lack of confidence and training when working with students with disabilities (Salvador, 2010;VanWeelden & Whipple, 2014;Hammel & Hourigan, 2017).…”

Section: Uk Conservatoire Curriculamentioning

confidence: 99%

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Investigating the impact of volunteering with Melody Music Birmingham on the professional development and career pathways of Royal Birmingham Conservatoire students

Pickard

Rushton

2022

Brit. J. Music. Ed.

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This article evaluates the impact of volunteering with a music education project for children and adults with learning disabilities on the professional development and career trajectory of music students at a Conservatoire in the United Kingdom. A mixed-methods online questionnaire captured the impact of volunteering with Melody Music Birmingham. Findings suggest that volunteering was a powerful aspect of the respondents’ learning, potentially influencing their career choices, perceptions and attitudes. Further training and experiences for Conservatoire students in engaging with, supporting, and delivering music-making for people with learning disabilities are recommended.

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Section: Uk Conservatoire Curriculamentioning

confidence: 99%

Section: Uk Conservatoire Curriculamentioning

confidence: 99%

Investigating the impact of volunteering with Melody Music Birmingham on the professional development and career pathways of Royal Birmingham Conservatoire students

Pickard

Rushton

2022

Brit. J. Music. Ed.

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“…The enaction of curriculum through in‐person classroom music teaching is responsive to pupil music‐making and creating, requiring music teachers to respond through music as well as in conventional dialogue. The music teacher has therefore been described as a learner and facilitator as well as a teacher, who ‘encourages pupils to engage in music actively, rather than a transmitted knowledge of music’ (Kinsella & Fautley, 2021, p. 65). Assessment of pupils' music during classroom music lessons requires engagement with musical processes and this has frequently been conceived as integral to its construction: ‘assessment should be about that which is intrinsically musical in music, no matter how tough that task is’ (Philpott & Evans, 2016b, p. 194).…”

Section: Introductionmentioning

confidence: 99%

Teaching music unmusically: The impact of the COVID‐19 pandemic on secondary school music curricula in England

Anderson

2023

The Curriculum Journal

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The COVID‐19 pandemic, which emerged during 2020, had a wide‐ranging impact on all forms of social engagement in England until February 2022, when all COVID restrictions were lifted. Schools were widely affected during this time in both tangible and tacet interactions. The impact of COVID restrictions on curricula for 11–14‐year‐olds in the Key Stage 3 secondary music classroom in schools has been among the more hidden educational impacts, and research in this area has been limited. This article discusses research conducted between November 2020 and June 2021, which took the form of an online survey with 59 classroom music teachers and semi‐structured interviews with 12 music teacher participants. Adopting a methodology of descriptive coding and thematic analysis for interviews and open‐response survey questions, the findings reveal 10 unintended consequences of COVID‐19 safety measures for curriculum music teaching in schools. The article concludes by developing the concept of the ‘funnelling’ of music teaching during this time and explores the lasting impacts of such treatment, tracing the implications for the future of music curriculum in school and policy contexts.

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How Transdisciplinary and Improvisational Creativities Can Nurture Young Composers and Teachers as Confident “Makers”

Burnard,

Cooke

2024

The Oxford Handbook of Music Composition Pedagogy

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Several studies on composition pedagogy in music education research suggest teachers are insufficiently knowledgeable about and lack confidence in composing. There is also overwhelming evidence of a lack of professional development in this area, suggesting the problem may be more deep-rooted. Perceiving how teachers act, understand, enact, and nurture young composers helps to fill the gap in the current literature. In this chapter we (a) challenge a monodisciplinary perspective on composing, (b) dismantle the myth that composing is a solitary act, and (c) make explicit how teachers and student teachers can become confident music composition pedagogues. We explore transdisciplinary and improvisational creativities that challenge individualistic views of composing. We present a way to re-see young composers and teachers as entangled in material and embodied processes where they are makers with each other and the world. We expand the concept of improvisational creativity from the usual understanding within the music discipline to a transdisciplinary creativity—that is, humans and non-humans pushing outward generatively to create different relationships between child, teacher, materials, and environments. We reconceptualize transdisciplinary creativity as that which seeks to de-couple the specific language of a discipline—in this case music composition—from its original context, in order to open up new possibilities for making and becoming makers/composers.

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Giving value to musical creativity

Cited by 3 publications

References 0 publications

Investigating the impact of volunteering with Melody Music Birmingham on the professional development and career pathways of Royal Birmingham Conservatoire students

Investigating the impact of volunteering with Melody Music Birmingham on the professional development and career pathways of Royal Birmingham Conservatoire students

Teaching music unmusically: The impact of the COVID‐19 pandemic on secondary school music curricula in England

How Transdisciplinary and Improvisational Creativities Can Nurture Young Composers and Teachers as Confident “Makers”

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