Measuring pre-service music teachers’ creative identities: a cross-cultural comparison of the United States and Singapore

Abstract

The purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the United States and Singapore. The Creative Identity in Music (CIM) measure was utilized with both US and Singapore pre-service music teacher populations (n = 274). Items of the CIM relate to music-making activities often associated with creativity in music education in the literature, including composition, improvisation and popular music performance. Results suggest, similar to findings of previous research, that while both populations are similar in their degree of creative music-making self-efficacy and are similarly willing to allow for creativity in the classroom, Singaporean pre-service music teachers value the areas of creative identity and the use of popular music listening/performing within the learning environment to a significantly greater extent (p < 0.0001) than their US counterparts.

Educación musical, creatividad y tecnología: Un estudio exploratorio sobre estrategias docentes y actividades creativas con software ex novo

“…Esta visión sesgada puede ser un factor distorsionador, pues da énfasis a los productos sobre los procesos y concibe los productos sin tener en cuenta lo que el alumnado piensa y (Young, 2016). Además de este factor, existe una insuficiente formación inicial docente en estrategias creativas (Kettler et al, 2018;Randles y Tan, 2019), lo que pone de manifiesto la necesidad de conocer (el objeto de este trabajo) y, en su caso, mejorar la formación en procesos creativos en la formación inicial del profesorado de música (Abramo y Reynolds, 2015). Finalmente, los procesos metodológicos pueden verse ayudados por el uso de la tecnología, que ha tenido amplias repercusiones en el desarrollo de la creatividad y composición musical (Chen y O'Neill, 2020), cuestión que se aborda a continuación.…”

“…Quizá la clave está en saber cómo utilizar eficazmente las herramientas tecnológicas para facilitar mayores oportunidades de aprendizaje al alumnado (Yalcinalp y Avci, 2019). Pero este contenido formativo del profesorado se da escasamente en los cursos de formación inicial y continua, por lo que se produce el problema de la generación de estrategias didácticas en relación con la creatividad y con la integración de la tecnología en esta (Randles y Tan, 2019).…”

Cognition and Music Performance

“…Other authors have proposed additional areas of research in music. Thus, for instance, in a series of transcultural studies, Randles (Randles, 2011;Randles and Smith, 2012;Randles and Muhonen, 2015;Randles and Ballantyne, 2018;Randles and Tan, 2019) has analyzed aspects associated with creativity, composition, improvisation, and the act of playing different types of music. He considers that these dimensions of music serve as areas of development for musicians; areas in which to acquire a sense of competency in order to achieve satisfactory professional development.…”

Social Support as a Facilitator of Musical Self-Efficacy

“…Other authors have proposed additional areas of research in music. Thus, for instance, in a series of transcultural studies, Randles (Randles, 2011;Randles and Smith, 2012;Randles and Muhonen, 2015;Randles and Ballantyne, 2018;Randles and Tan, 2019) has analyzed aspects associated with creativity, composition, improvisation, and the act of playing different types of music. He considers that these dimensions of music serve as areas of development for musicians; areas in which to acquire a sense of competency in order to achieve satisfactory professional development.…”