Routes to Understanding Musical Creativity

Burnard, Pamela

doi:10.1007/978-1-4020-3052-9_82

Cited by 12 publications

(8 citation statements)

References 53 publications

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“…Accordingly, the object of the study was the relationship between the actors (the student-teachers in this case) and the phenomenon (creativity in music) in an attempt to understand the conceptions that determine these student-teachers’ judgements, choices, and the explanations they ascribe to their practice regarding music in the primary classroom (Bowden, 2005). Burnard (2007) is of the view that phenomenological types of research into the “what” of human experience, and that shed light on the culturally situated nature of musical creativity, are necessary. Studies by Howell (2008), Bolden et al (2010), Newton and Newton (2009) and Newton and Donkin (2011) have successfully applied the same phenomenographic approach, as applied within this study, to studying student-teachers’ conceptions using questionnaires and interviews in other subjects ranging from science to art.…”

Section: Methodsmentioning

confidence: 99%

Pre-service student-teachers’ conceptions of creativity in the primary music classroom

Kokotsaki

2012

Research Studies in Music Education

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This study explores pre-service teachers’ (referred to as student-teachers) notions of creativity in music, particularly in relation to the classroom. Seventeen student-teachers wishing to pursue a career in primary education were interviewed and completed questionnaires. In general terms, all participants talked about the high value of creative musical activities for primary age pupils as they recognized a wide range of benefits. However, the analysis revealed that some student-teachers held richer conceptions than others. Student-teachers holding richer conceptions: (a) provided more articulate and detailed answers, and were able to describe the creative process more accurately and comfortably; (b) had taught the lesson that they described and were more enthusiastic and keen to talk about it; and (c) tended to emphasize the learning that would take place during the creative process. These findings are discussed in terms of their practical educational implications in the primary music classroom and beyond.

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Section: Methodsmentioning

confidence: 99%

Pre-service student-teachers’ conceptions of creativity in the primary music classroom

Kokotsaki

2012

Research Studies in Music Education

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“…First, our knowledge about how children learn with regards to active, meaningful, contextual, authentic, and collaborative learning from both within and outside the field of music education has expanded greatly over the past 30 years. For example, there is a growing interest in the literature about the social and collaborative aspects of creative musical activities (Green, 2007) and especially concerning the use of online collaborative technologies (Burnard, 2007). Second, advances in music and other digital technologies provide more powerful and easily accessible tools than ever (Brown, 2007;Bauer, 2014).…”

Section: Models and Practices For Teaching Composition And Musical Crmentioning

confidence: 99%

Music Cognition and Affect in the Design of Technology-Enhanced Music Lessons

Macrides

Angeli

2020

Front. Educ.

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The present study addresses the lack of an instructional design methodology that guides the integration of technology in music listening and composition activities, and enriches the framework of Technological Pedagogical Content Knowledge (TPCK)an essentially cognitive model-with the affective domain. The authors herein provide many examples that illustrate the music design principles and the expanded Technology Mapping instructional design process that have been proposed in previously published work. The practical examples provide concrete ideas on how to transform the musical materials into more understandable forms and how to associate them with emotions using technology. Besides its practical contribution, the research has also a theoretical significance for the theory of TPCK as it examines the interrelations between music content, technology, cognition, and affect, and identifies discipline-specific aspects of TPCK that include the affective domain. The empirical evidence of 191 secondary school students presented within the context of a music composition task using the software MuseScore, supports that both the TPCK framework as well as the proposed music guidelines can effectively guide teachers in designing lessons with technology while incorporating effect. Through the 4E perspective, technology and the proposed approach are viewed as agents of a distributed system that can support the embodied minds to develop musical and emotional understanding.

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“…Fourthly, the aim of most artistic creativity is to express ‘productive idiosyncrasy and individualized distinctiveness’ (Eisner, 2007, p. 423). Composing is a subjective act, as is a person's response to it (Asmus, 1999; Hickey, 1999, 2002; Burnard, 2007; Murphy & Espeland, 2007; Wiggins, 2007). In contrast, assessment involves generalising valid and reliable indicators of academic performance.…”

Section: Assessment and Group Composingmentioning

confidence: 99%

Assessing complexity. Group composing for a secondary school qualification

Thorpe¹

2017

Brit. J. Music. Ed.

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This article examines a unique music curriculum and assessment environment through the findings of a practical action research project carried out in secondary schools. I address two current international educational issues: the relationship between formal and informal learning in music, and how individuals’ contributions in collaborative groups might be summatively assessed. Following this I present a model of group composing and explain how it was used as a pedagogical tool in secondary music classrooms. The purpose of this was to help students and their teacher to conceptualise collaborative composing, thereby leading to a clearer understanding and more valid assessment of the processes in which they were engaged.

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Routes to Understanding Musical Creativity

Cited by 12 publications

References 53 publications

Pre-service student-teachers’ conceptions of creativity in the primary music classroom

Pre-service student-teachers’ conceptions of creativity in the primary music classroom

Music Cognition and Affect in the Design of Technology-Enhanced Music Lessons

Assessing complexity. Group composing for a secondary school qualification

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