Thinking Music Matters: Key Skills and Composition

Abstract

This paper is concerned with the idea that learning to compose music also enables students to think in ways that might be helpful in other contexts. In Britain and elsewhere it has become common to refer to this type of thinking as the 'core' or 'key' skill of critical thinking. Whilst the authors are sceptical about using such reference, they nevertheless argue that there are features of musical composition that are worth learning not only for their own sake but also because they are helpful in learning to think in other curricular contexts. Their small-scale empirical study of classroom practice in Scotland indicates that while this type of learning might be desirable, it is not likely to be realised in contexts in which the emphasis in assessment is on producing a folio of compositions for examination purposes. The authors found that teachers tended not to encourage thinking about the presumed merits of the composition, how merit might be determined and how the composition related to other curricular areas. The study has implications for policy makers and assessment authorities concerned to encourage the development of core or key skills and for teachers and learners who would like to extend their understanding of music into other areas.

Learning and music composition: An analysis of composers’ testimonies

“…This result can be first interpreted both on the basis of the existence of a widespread tradition of 'schooling' music composition and of the technical complexities of it (e.g., music annotation), the learning of which, for the majority of individuals, requires -or at least is facilitated by -a guided external initiation. Also, the same result aligns with the suggestion of several authors (Byrne et al, 2001;de Bruin, 2019;Love & Barrett, 2016;Ruthmann, 2008) that learning music composition may require pedagogical orientation, in a variety of forms (i.e., modelling, scaffolding, knowledge-sharing, problem-finding dialogue, coaching and feedback).…”

“…Within this framework, two key factors for learning music have been identified: parental support or encouragement (Burnard, 2012;Creech, 2009) and a stimulating school environment in which the institution, teachers and peers play a significant role (Burnard, 2012;Welch & Ockelford, 2009). Specifically, the early learning of music composition in an educational context seems to demand modelling (demonstration) and scaffolding (encouragement and support in stages) of young musicians by teachers to allow the creation of meaningful music products in a self-regulated way (Byrne, Halliday, Sheridan, Soden, & Hunter, 2001). The practise of modelling, knowledge-sharing, and problem-finding dialogue, while leaving decision-making to the students, was registered in the teaching of orchestral composition (Love & Barrett, 2016).…”

Mapping Music Education Research in the UK

“…• develop transferable skills which may raise academic achievement (Byrne et al, 2001;Harland et al, 1998;Weber et al, 1993;Zulauf, 1993);…”

Musical tastes of secondary school students' with different cultural backgrounds: A study in the spanish north african city of Melilla

“…-As an educational resource within the school curriculum that improves the students's skills of spatial-temporal reasoning; to increase cognitive development; to develop abilities that may enhance academic performance; to increase the self-identity and to aid the development of emotional abilities, creative abilities, psychomotor abilities and social abilities of students (Altenmüller & Gruhn, 1997;Byrne, Halliday, Sheridan, Soden & Hunter, 2001;Harland, Kinder, Haynes & Schagen, 1998).…”