Introducing Creativity in the Ensemble Setting

Abstract

This article explores realistic ways with which ensemble conductors can facilitate the conceptual acquisition of their students via creative activities. Creativity, as included in the National Standards, is presented through the “eyes” of comprehensive musicianship.

Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding

“…Comprehensive musicianship is a total and integrated approach to music instruction that advocates that the development of music understanding (of elements) should be multidimensional; thus, students should engage in multiple music behaviors or skills, such as performing, creating, analyzing, evaluating, and listening. In the 1990s, the concept of comprehensive musicianship gave way to the National Standards for Music Education (Norris, 2010), which include nine areas of music behaviors or skills. Recently, the original list of nine standards were combined into the three Artistic Processes of performing, creating, and responding in the 2014 Music Standards (NAfME, 2014).…”

“…The comprehensive musicianship approach has been explored in relation to general music, choral, and instrumental music education since the seminar on comprehensive musicianship at Northwestern University (Norris, 2010). Additionally, since the National Standards for Arts Education were released (Consortium of National Arts Education Associations, 1994, 2014), various curricula and programs have been developed to meet the standards.…”

Curious, Collaborative, Creativity

“…Although a growing number of ensemble directors have felt the pressure to foster creative activities for their students (e.g., improvisation, composition, and arranging), limiting conditions such as lack of classroom time, the director's own perceived lack of creative accomplishment, and performance expectations imposed by community members make implementation of these activities complicated, if not impossible. 1 However, it is critical for teachers to work toward overcoming these challenges to move from teacher-centered instruction in which "students are regarded as passive receptors of knowledge" toward student-centered approaches in which "learners explore ideas related to their own insights." 2 While we could always use more rehearsal time, we can start to make positive changes toward a more creative classroom by placing the responsibility to be imaginative in the hands of our students and rethinking the design of performances.…”