The Sequence of Musical Development: A Study of Children's Composition

Swanwick, Keith; Tillman, June

doi:10.1017/s0265051700000814

Cited by 245 publications

(193 citation statements)

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“…Another is that children have to be able to demonstrate a high level of musical structure within their music making in order to be regarded as creative, and assessment should be based on predetermined achievement targets (e.g., Swanwick & Tillman, 1986;Kratus, 1989). In the present research, musical creativity is defined as a natural response of children to music, which can be observed from their infancy and can differ according to their age, their musical experience, and various socio-psychological factors that can affect their development.…”

Section: Introductionmentioning

confidence: 99%

An experimental study of the effects of improvisation on the development of children's creative thinking in music

Koutsoupidou

Hargreaves

2009

Psychology of Music

131

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A B S T R AC T This article reports a quasi-experimental study of the effects of improvisation on the development of children's creative thinking in music. The study was conducted in a primary school classroom with two matched groups of 6-year-old children over a period of six months. The music lessons for the experimental group were enriched with a variety of improvisatory activities, while those in the control group did not include any improvisation, but instead were didactic and teacher-centred. Children in the experimental group were offered several opportunities to experience improvisation through their voices, their bodies, and musical instruments. Webster's Measure of Creative Thinking in Music -MCTM II (Webster, 1987(Webster, , 1994 was administered before and after the six-month teaching programmes (i.e., pre-test and post-test) to assess children's creative thinking in terms of four musical parameters: extensiveness, flexibility, originality, and syntax. Analysis revealed that improvisation affects significantly the development of creative thinking; in particular, it promotes musical flexibility, originality, and syntax in children's music-making. K E Y W O R D S : child development, creative thinking, improvisation, training IntroductionCreativity tends to be associated with imagination, the unconscious, our intrinsic free spirit. It is a means of expression not only for skilful professionals, but also for any human being. Creative thinking in music is 'a dynamic mental process that alternates between divergent (imaginative) and convergent (factual) thinking, moving in stages over time ' (Webster, 1990a, p. 28). Musical creativity has been associated with children's cognitive and emotional development and its value is increasingly acknowledged in psychological and therapeutic studies. The importance of creativity has been stressed by many researchers and has been acknowledged in many different fields, including psychology, sociology, and education. It can contribute to the development Psychology of Music Psychology of Music

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Section: Introductionmentioning

confidence: 99%

An experimental study of the effects of improvisation on the development of children's creative thinking in music

Koutsoupidou

Hargreaves

2009

Psychology of Music

131

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“…For example, statements like the following emerged:  "I hold developmental stage in mind most of the time  The objectives are linked to the developmental stage the client is at" (Karkou and Sanderson 2006, p.83) The developmental framework seems to be in accordance to relevant literature in DMP which highlights strong influences from Laban and Laban-based models of movement development (Laban 1975;Sherborne 1990). Developmental models can also be found extensively within MT; the focus in this case is often on musical development (Hargreaves 1982;Swanwick and Tillman 1986). …”

Section: Developmentalmentioning

confidence: 99%

Aspects of Theory and Practice in Dance Movement Psychotherapy in the UK: Similarities and Differences from Music Therapy

Karkou¹

2012

Music, Health, and Wellbeing

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“…Même si Swanwick et Tillmann (1986) ont établi une genèse du dévelop-pement musical, certains chercheurs relèvent des faiblesses dans leur modèle sur les plans conceptuel et méthodologique (Hargreaves et Zimmermann 1992;Zulauf 2002). D'une part, ils contestent la fidélité des deux auteurs à la terminologie piagétienne ; les psychologues critiquent notamment une application boiteuse des concepts d'assimilation et d'accommodation.…”

Section: Le Modèle De Swanwick Et Tillmannunclassified

“…D'autre part, Swanwick et Tillmann (1986) ont recueilli un nombre important de productions musicales d'enfants afin d'établir les fondements de leur modèle (745 productions vocales et instrumentales réalisées par 48 enfants). Ces productions ont été réalisées uniquement par des sujets âgés de trois à neuf ans.…”

Section: Le Modèle De Swanwick Et Tillmannunclassified

“…Par la suite, nous résumerons les principaux fondements des théories constructiviste de Piaget et socioconstructiviste de Vygotsky, considérant l'impact majeur que les travaux de ces deux chercheurs ont eu auprès de nombreux psychologues de la musique. Enfin, cinq modèles du développement musical, soit ceux de Sloboda (1985), Swanwick et Tillmann (1986), Zenatti (1967Zenatti ( ,1990, Gordon (1988Gordon ( , 2003 et Hargreaves (1995) seront approfondis. En guise de conclusion, nous réitérerons l'importance qui doit être accordée à l'éducation musicale au cours de la petite enfance et le rôle positif qu'elle peut jouer dans le cadre d'un enseignement interdisciplinaire.…”

Section: Introductionunclassified

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La musique dans la vie des jeunes enfants : recension, analyse et critique de quelques théories du développement musical

Bolduc¹

2012

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Les recherches concernant le développement des capacités musicales chez les jeunes enfants sont en plein essor. Inspirés par différentes théories constructivistes et socioconstructivistes, quelques psychologues de la musique ont, depuis les 30 dernières années, élaboré différents modèles afin d’éclairer les savoirs musicaux présents à la période préscolaire. Cet article recense, analyse et critique cinq des principaux modèles qui ont été développés au cours de ces trois décennies. Il réitère également l’importance qui doit être accordée à l’éducation musicale au cours de la petite enfance, et du rôle positif quelle peut jouer dans le cadre d’un enseignement interdisciplinaire.Research on the development of the musical abilities of young children is on the rise. In the past 30 years, music psychologists inspired by constructivist and socioconstructivist theories have developed various approaches in order to better understand the musical knowledge of preschoolers. This article critiques and establishes an inventory of five main trends that have been developed over the last three decades. In addition, it reiterates the importance of music education in the preschool period and the positive role it can play in interdisciplinary curricula

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The Sequence of Musical Development: A Study of Children's Composition

Cited by 245 publications

References 4 publications

An experimental study of the effects of improvisation on the development of children's creative thinking in music

An experimental study of the effects of improvisation on the development of children's creative thinking in music

Aspects of Theory and Practice in Dance Movement Psychotherapy in the UK: Similarities and Differences from Music Therapy

La musique dans la vie des jeunes enfants : recension, analyse et critique de quelques théories du développement musical

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