Teaching composing in secondary school: a case study analysis

Abstract

This article reports a case study of an experienced teacher of composing working with secondary school students in a large urban centre in Ontario, Canada. Results suggest authentic assignments connect student composing to the 'real world', and so have meaning and life beyond the music classroom. Teachers can facilitate the development of theoretical music knowledge by supporting and enhancing the experiential learning that students accomplish on their own, through composing. Offering suggestions for change to compositions-in-progress, and cultivating a classroom ethos where students exchange this service amongst themselves, serves to enhance composing potential. By helping students infuse their work with personal knowledge, experiences, and interests, teachers can increase students' meaningful involvement in classroom composing.

Craft, process and art: Teaching and learning music composition in higher education

“…The emphasis is on students ‘revising and extending’ their work (Webster, 2003; Wiggins, 2005), and engaging in action learning where self-reflection is an important part of the process (Emmerson, 1989; Burnard & Younker, 2002; Wiggins, 2003). Trial and error and experimentation is an accepted and encouraged problem-solving approach (Hewitt, 2002; Kennedy, 2004; Berkley, 2004; Burnard & Younker, 2004; Bolden, 2009).…”

“…In this theme, teaching strategies allow freedom and space for compositional ideas to develop and opportunities are provided for students to receive formative feedback (Cope, 1997; Wiggins, 2003; Miller, 2005; Wilkins, 2006; Wiggins, 2007; Bolden, 2009). The teacher's role is as consultant, guide and advisor (Burnard, 1995; Berkley, 2004; Barrett, 2006; Ruthmann, 2007).…”

“…The teacher's role is as consultant, guide and advisor (Burnard, 1995; Berkley, 2004; Barrett, 2006; Ruthmann, 2007). Learning activities include presenting and workshopping work-in-progress, collaborative composition, peer feedback and reflective practice (Burnard, 1995; Kaschub, 1997; Byrne et al ., 2003; Faulkner, 2003; Kennedy, 2004; Fautley, 2005; Wiggins, 2005; Wilkins, 2006; Wiggins, 2007; Burnard & Younker, 2008; Bolden, 2009). Assessment strategies could include reflective journals and peer assessment (Kennedy, 2004), and would allow freedom for the student to choose their own path (Burnard, 1995; Burnard & Younker, 2002, 2004).…”

“…However, as Barrett (2006, p. 196) argues, ‘our understanding of those factors that contribute to teaching and learning in musical composition is still limited’. We have found a range of case studies of primary and secondary school students’ experiences of composing (Bunting, 1988; van Ernst, 1993; Hogg, 1994; Folkestad et al ., 1998; Kennedy, 1999; Younker, 2000; Kennedy, 2002; Stauffer, 2002; Bolden, 2009), and some of professional composers (Emmerson, 1989; Reed, 1990; Nuhn et al ., 2002; Han, 2004; Collins, 2005), but few that examine students' experiences of composing in universities and conservatoires.…”

Multiple modes of facilitation in a Norwegian creative musicking project

“…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). As some research findings propose, the role of the leader in composition learning can involve strategies of “standing back” (Cremin et al, 2006), posing questions, listening, diagnosing, and fixing through a comparison of different options involving the musical material (Bolden, 2009). The leader role can also be about participating actively in the collaborative process (Lawy et al, 2010; Muhonen, 2014), establishing a particular kind of relationship with the pupils, supporting positive learning experiences (Burnard & Swann, 2010; Watson & Forrest, 2008).…”