Songcrafting: A teacher’s perspective of collaborative inquiry and creation of classroom practice

Muhonen, Sari

doi:10.1177/0255761413506657

Cited by 13 publications

(15 citation statements)

References 37 publications

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“…For this reason, music teachers have been encouraged to carry out activities that foster the emergence and discussion of multiple viewpoints (Blair, 2009). The aim is to involve students in collectively thinking about their musical experiences, as opposed to approaches to music education where the voice of the teacher silences or invalidates the voices of students (Muhonen, 2014).…”

Section: Discussionmentioning

confidence: 99%

Student-Centered Pedagogies in the Singapore Music Classroom: A Case Study on Collaborative Composition

Bautista¹,

Toh²,

Manchenido³

et al. 2018

AJTE

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This article responds to recent calls for situated examples of student-centered education. Our goal is to illustrate what studentcentered pedagogies may look like in the music education classroom, particularly in the context of collaborative composition activities. The sample case presented features a Primary 5 Singaporean music teacher implementing a collaborative composition lesson on Gamelan Beleganjur, a traditional music style from Bali (Indonesia). After describing the structure of the lesson, we analyze data from teacher interviews, classroom interactions (illustrated with pictures), and transcriptions of students' compositions. We argue that the content and design of the lesson itself, as well as the teacher's genuine interest in exploring students' musical ideas and fostering collaboration and creativity, led to the enactment of student-centricity. Our ultimate aim is to provide an additional resource that might inspire music educators (both specialists and generalists) in embracing student-centered education in their classrooms.

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Section: Discussionmentioning

confidence: 99%

Student-Centered Pedagogies in the Singapore Music Classroom: A Case Study on Collaborative Composition

Bautista¹,

Toh²,

Manchenido³

et al. 2018

AJTE

View full text Add to dashboard Cite

show abstract

“…Fostering learning through “artful” scaffolding involves the understanding of how prior experience, social and musical contexts and dialogue can support the learning process (Wiggins & Espeland, 2012). Collaboration, social interrelations, guided participation and group interaction are considered important foci in sociocultural research (Muhonen, 2014; Rogoff, 1990; Sawyer, 2012). Linking this to a conceptualization of creativity as a social process (for example as discussed in Negus & Pickering, 2004), creates a site in which composition can be understood as, in accordance with Folkestad’s definition (1996, p. 53): “a contextualised activity taking place in a relation between a person or persons, and the surrounding world.” Participation in such relationships can be described as taking part in situated learning in cultural and social communities of practice (Lave, 1991; Wenger, 1998).…”

Section: Framing the Studymentioning

confidence: 99%

Multiple modes of facilitation in a Norwegian creative musicking project

Viig

2017

Research Studies in Music Education

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In recent decades, the teaching and learning of composition has become an important topic for research in music education. Composition is established as one of the three main areas in the Norwegian curriculum Læreplanverket for Kunnskapsløftet (LK06, 2006), and the importance of creative competencies is being increasingly recognized worldwide, inside and outside formal music education institutions. A central research topic within the field of music education addresses the issue of how to facilitate and lead creative musicking projects. This article examines a composition workshop in which pupils from several Norwegian municipal schools of music and performing arts participate. The aim of the workshop was to create a new piece of music that would be performed at the end of the project period. An experienced composition workshop leader led the project, and four professional musicians took part. The empirical data for this study consisted of interviews, participant observation and video-recordings. Analyzed from a sociocultural perspective, the findings led to a deeper understanding of the facilitation role, revealing that it consists of multiple modes, such as scaffolding, co-participation and collaboration, as well as management and distribution of cultural tools. These findings are discussed in terms of understanding the complex knowledge and skills needed to facilitate creative musicking practices.

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“…The song-products were documented (e.g., through notation, recordings, CD's, song-books) and shared with the class, as well as with audiences inside and outside the school. A detailed description and analysis of the songcrafting practice has been presented elsewhere (Muhonen & Väkevä, 2011;Muhonen 2014).…”

Section: T H E C O N T E X T : S O N G C R a F T I N G E X P E R I E mentioning

confidence: 99%

“…This article considers the potentials for supporting students' creative agency (see Creativity, Agency, and Democratic Research in Music Education [CADRE], 2009) within the school music education programme by examining how my former students recall and narrate their experiences years after a specific collaborative composing practice I implemented and termed songcrafting (Muhonen, 2004(Muhonen, , 2010(Muhonen, , 2014.…”

Section: Introductionmentioning

confidence: 99%

Students' experiences of collaborative creation through songcrafting in primary school: Supporting creative agency in ‘school music’ programmes

Muhonen

2016

Brit. J. Music. Ed.

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The study reported in this article investigates students’ experiences (n=41) of their primary school songcrafting, examining the potential to support creative agency within school music education programmes. Songcrafting refers to a collaborative composing practice in which everyone is considered to be a capable creator of melodies and lyrics, and where negotiation, collaboration, and openness to the situation are essential. Through semi-structured individual interviews with students who had experienced songcrafting in the past, analysed with qualitative methods, it was found that the students' narration of songcrafting included meanings related to general agency, creative agency, musical participation within the classroom community, and documented and shared collaborative musical products, or ‘oeuvres’.The results of this study illustrate the various often unforeseeable meanings produced through participation in collaborative musical activities. Furthermore, they highlight the potential to enrich meaningful teaching practices and pedagogy through the examination of students' experiences, and exploring the potentials in narrating one's musical stories. These findings suggest that music education practices could benefit from the inclusion of a broader range of opportunities for the students to create their own music, and the sensitive facilitation of collaborative music creation processes.

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Songcrafting: A teacher’s perspective of collaborative inquiry and creation of classroom practice

Cited by 13 publications

References 37 publications

Student-Centered Pedagogies in the Singapore Music Classroom: A Case Study on Collaborative Composition

Student-Centered Pedagogies in the Singapore Music Classroom: A Case Study on Collaborative Composition

Multiple modes of facilitation in a Norwegian creative musicking project

Students' experiences of collaborative creation through songcrafting in primary school: Supporting creative agency in ‘school music’ programmes

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