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

Burnard, Pamela; Younker, Betty Anne

doi:10.1177/0255761404042375

Cited by 80 publications

(73 citation statements)

References 20 publications

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“…It also supports suggestions that practitioners need appropriate composing experience if they are to both assess work from a range of styles (Pilsbury and Alston, 1996) and engage with the students' composing processes (Berkley, 2001). These processes are not homogenous and the results from this enquiry corroborate observations from other studies regarding the influence of the music style and the students' individual differences on the composing processes (Burnard and Younker, 2004;Folkestad, 2004;Green, 1990;Seddon and O'Neill, 2003;Soares, 2006). All these recent studies exemplify the complexity of creativity in music education, which is not always reflected in teaching manuals and statutory guidelines.…”

Section: Conclusion: Educational Implications and Issues For Furthersupporting

confidence: 87%

A generative model of teachers’ thinking on musical creativity

Odenå

Welch²

2009

Psychology of Music

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This article draws on and extends a four-year investigation of creativity in music education with particular reference to the perceptions of six secondary school teachers (Odena & Welch, 2007;Odena, Plummeridge, & Welch, 2005). A comprehensive review of recent literature in musical creativity is provided, which complements and reinforces the theoretical framework of the original study. A qualitative approach was used for data gathering, including a video elicitation interview technique and Musical Career Path questionnaires. Transcripts were subsequently categorized using NVivo. Taking into account other recent studies, previously unpublished data is examined and a generative model of how the teachers' thinking about creativity might develop over time is suggested: the teachers' past in-and out-of-school experiences and their daily classroom teaching shape their perceptions of musical creativity; this occurs as a continuing interaction that has the potential to modify the teachers' perceptions over time. Educational implications are considered in the conclusion.

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Section: Conclusion: Educational Implications and Issues For Furthersupporting

confidence: 87%

A generative model of teachers’ thinking on musical creativity

Odenå

Welch²

2009

Psychology of Music

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“…Researchers have been concerned with the processes by which people-and especially pupils-engage in musical creative activities of composition (e.g. Burnard, 2006;Burnard & Younker, 2004) and improvisation (e.g. Kratus, 1995;Tafuri, 2006).…”

Section: Creativity In Music Educationmentioning

confidence: 99%

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Zbainos¹,

Anastasopoulou²

2012

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Creativity's enhancement through education has been widely discussed and promoted in Greece, especially in the past few decades. In the music domain, teaching philosophy and practice seem to focus on ways that can encourage children to learn and apply their knowledge through creative music activities. This paper reports on the outcomes of a study undertaken with 112 general music teachers of different ages and scientific backgrounds, who teach in 235 primary and secondary schools in Greece. Being the first time that such research is being conducted in Greece, the main aim of the study was to reveal how Greek music teachers think, feel about, and influence pupils' creativity and the teaching conditions that may enhance or inhibit it. It is believed that such a study may contribute to the development of creativity enhancement projects through music teaching. The findings suggest that creativity is associated by Greek music teachers with a natural gift that cannot be addressed in all students, and can only be partly taught in music classroom. They also indicate that teachers do not have an explicit understanding of music creativity as well as creativity assessment, since most of them tend to assess students' creative performance on the basis on non musical criteria (i.e. participation, eagerness, etc.). Results also show that creative musical activities are more often applied in primary education, while in secondary education they are successively replaced by music theory and history. Finally, teachers' negative views about the music curriculum, textbooks and number of teaching hours are identified. Such findings lead to suggestions for numerous changes in music teachers' education, establishing training in teaching for creativity as a fundamental priority.

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“…The settings of these previous are summarized as follows (see Table 1). (For specifics about each case, see Burnard & Younker, 2004 3.1. Introducing the tasks…”

Section: Understanding Interaction Through Analysis Of Activity Systemsmentioning

confidence: 99%

Investigating children's musical interactions within the activities systems of group composing and arranging: An application of Engeström's Activity Theory

Burnard

Younker

2008

International Journal of Educational Research

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

Cited by 80 publications

References 20 publications

A generative model of teachers’ thinking on musical creativity

A generative model of teachers’ thinking on musical creativity

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Investigating children's musical interactions within the activities systems of group composing and arranging: An application of Engeström's Activity Theory

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