Where are we Twenty Years On?—A Review of Australian Music Education Research for the period 1978-1997

Stevens, Robin

doi:10.1177/1321103x0001400106

Cited by 10 publications

(6 citation statements)

References 3 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The decision to re-examine existing rather than new data sets, which were drawn from a range of previous studies of composition, was deliberate. Recognised by qualitative Canada 20-21 years 6 Music majors Piece to given text 3 3 30 minutes researchers as a promising future research area (Stevens, 2000), the idea was to compare many instances of students composing with and without formal instrumental training in a range of contexts in order to provide a suf cient basis for generalisation (Glaser & Strauss, 1967). Reusing the same data from a variety of data sets for further interrogation of issues from previous studies (see Burnard, 1995Burnard, , 2000aYounker, 2000a, b) offered the opportunity to construct links between ndings, conceptual frameworks and theoretical positions developed from them.…”

Section: Methodsology: New Research From Old Datamentioning

confidence: 99%

Mapping Pathways: Fostering creativity in composition

Burnard¹,

Younker²

2002

Music Education Research

View full text Add to dashboard Cite

Despite the inclusion of composition in music curricula in the UK, USA, Canada and Australia, understanding the role of creativity in composing in schools remains a fragmented and dif cult issue. This paper sets out to draw upon an international understanding of how individual students from varied backgrounds encounter composition. The writers attempt to analyse the role creativity plays as students compose by re-examining students' individual engagement and re ection on composition. Based upon comparative analysis of students' composing activities and re ective talk, a series of models which re ect students' varying composing pathways will be presented. The purpose of such research is to develop teaching strategies that could foster creativity when composing. Metaphors for Conditions of CreativityCreative pathways, whether imposed or self-determined are channelled, limited and governed by constraints. Stravinsky (1947) made clear the role of 'constraints' as an essential aspect of his composing when he said 'my freedom consists in my moving about within the narrow frame that I have designed myself … the more constraints one imposes, the more one frees one's self of the chains that shackle the spirit' (p. 68). To convey the notion of absolute pre-determinism, we could use the metaphor of a tightrope walker as a continuum of possibilities being anchored to each 'momentary' act of creation. As a metaphor for 'freedom', we might think of a bungee jumper making a leap of faith, a ight of imagination or free-fall release of possibilities. Whilst these metaphors may help elucidate ideas about how constraints and freedom have signi cant in uence on creativity, there remain differing views on whether to place more emphasis on one than another, and what their impact on creativity might be.

show abstract

Section: Methodsology: New Research From Old Datamentioning

confidence: 99%

Mapping Pathways: Fostering creativity in composition

Burnard¹,

Younker²

2002

Music Education Research

View full text Add to dashboard Cite

show abstract

“…The situation contrasts interestingly with the position of physical education, where it is widely accepted that being physically active is a fundamental good and something that everyone should do throughout life” (Senate Inquiry, 1995, p. 14). The inquiry recommended improvements to the: the monitoring of curriculum change; implementation of professional development programmes; and the need to increase the number of specialist teachers available to primary schools. Fifteen years on, many of these recommendations have not been implemented, with current research similarly reporting the low status of arts and music in the schooling curriculum (Stevens, 2000).…”

Section: A Short History Of Arts Education In Australiamentioning

confidence: 99%

Storying music and the arts education: the generalist teacher voice

Garvis¹,

Pendergast²

2012

Brit. J. Music. Ed.

View full text Add to dashboard Cite

For students in Years 1–10 in Queensland, Australia, The Arts (hereafter referred to as ‘arts’) is one of eight Key Learning Areas in the core curriculum. Yet, while arts – comprising five strands including music – is a mandatory component of the curriculum, implementation varies widely. This occurs for a range of reasons, one of which is the common practice that generalist teachers are allocated delivery of the arts programme in their teaching load. Furthermore, research reveals that music and the arts are frequently considered to be the ‘frills subject’ in a school's timetable, often the first to be removed from the timetable when time is short and the first to feel the impact of budget cuts, including the engagement of specialist arts educators (Russell-Bowie, 2004). This study highlights the gap between policy rhetoric for music and the arts and the pedagogical reality in generalist classrooms. Using a narrative informed case study methodology, a story constellation derived from a beginning generalist teacher and a school principal is revealed. The discussion which follows provides a focus, through the generation of key values statements derived from the data, on the tensions this beginning teacher has experienced in his practice as a teacher responsible for teaching music and the arts, juxtaposed with a similar narrative of the school principal.

show abstract

“…Comparison of case studies of six students, representing contrasting ages, experiences, cultures and re-analysis of old data as exploration, is recognized as new research from old data -an uncharted methodology in music education (Stevens, 2000).…”

Section: Analysis Proceduresmentioning

confidence: 99%

Problem-Solving and Creativity: Insights from Students’ Individual Composing Pathways

Burnard

Younker

2004

International Journal of Music Education

View full text Add to dashboard Cite

Music educators are particularly keen to offer learning opportunities that enhance creativity. How this happens remains something of a mystery. Within an international context, this article reports on a study that used a cross-cultural perspective on creative thinking with a particular focus on examining the link between problem-solving and composing. The study compares the individual composing pathways of a sample of students drawn from a range of data sets that tracked students’ thinking as they composed, in terms of the ways in which problems were perceived, framed and solved. Several common themes were identified across students’ musical backgrounds, age and cultures from Australia, Canada and the UK. One such theme with educational implications was that perceiving a compositional problem and seeking solutions utilize different types of thinking.

show abstract

Where are we Twenty Years On?—A Review of Australian Music Education Research for the period 1978-1997

Cited by 10 publications

References 3 publications

Mapping Pathways: Fostering creativity in composition

Mapping Pathways: Fostering creativity in composition

Storying music and the arts education: the generalist teacher voice

Problem-Solving and Creativity: Insights from Students’ Individual Composing Pathways

Contact Info

Product

Resources

About