Presentation on theme: "F ACILITATING C REATIVE AND C OLLABORATIVE M USIC M AKING CHUA Siew Ling, CHAN Yen See, HO Hui Ping & SURIATI Suradi Teachers’ Conference 2014 | 4 June."— Presentation transcript:
F ACILITATING C REATIVE AND C OLLABORATIVE M USIC M AKING CHUA Siew Ling, CHAN Yen See, HO Hui Ping & SURIATI Suradi Teachers’ Conference 2014 | 4 June 14
L ET ’ S S TART WITH AN A CTIVITY ! In pairs, create a short 2-line song / rap / rhythm (3 mins)
I NTRODUCTION Value of Music Education Imagination, perspectives, alternate modes of thinking Positive impact on academic, social and emotional developments Strengthen sense of identity How can music pedagogies (creative and collaborative music making) better nurture 21CC?
Experience – Concept – Application 7 Principles of Student-Centred Arts Learning C ONTEXTUALISING P EDAGOGIES WITH TEACHER - LEADERS Student –centric Principles STAR Champions 21 st Century Competencies PAM Research Teacher-researchers for Arts Pedagogical Research Fund Kodaly / Orff / Dalroze Communities of Practice World Music Pedagogies STAR Associates developing and trialling: Balinese teaching packages after learning journey to Bali (OPAL) teaching of local music traditions Informal and Non-formal Approaches STAR Associates piloting pedagogies
Principles of Student-centred Arts Learning Knowing students (psychology/development in art/music) Making learning relevant through contextualising learning of arts Providing choices and empowering students to make decisions (in the arts processes, learning goals and criteria of success) Facilitating reflection-in-action, reflection-on-action and critical thinking Facilitating creativity in art and music making Creating a ‘flow’ (fluency, pacing, aesthetic flow) Creating a conducive arts learning environment (e.g., organisation for instruction, collaborative learning) 21 ST C ENTURY C OMPETENCIES & S YLLABUS L EARNING O UTCOMES
W HY C REATIVE M USIC - MAKING ? “The act of creating is itself of value” (Abeles, Hoffer and Klotman, 1984) To encourage students to be fluid, flexible, convergent divergent and lateral thinkers, and risk-takers To creatively express “ new musical ideas through composing, to find broad and specific musical ideas when listening, to interpret music when performing” (Blair, 2009) W HY C REATIVE M USIC -M AKING ?
Build upon each other’s ideas, and generate more ideas that will fit into each other’s Push the limits of students’ knowledge and ability Generate new ways of viewing situations that are outside the parameters of standard conventions (Marzano et al., 1992) WHY CREATIVE MUSIC-MAKING?
LET’S COLLABORATE 1.Now in pairs, turn to another pair and perform your composition 2.Each pair will give feedback and add a small idea to the song/rap/rhythm that was presented (2 mins each pair) 3.Comment on your experiences L ET ’ S C OLLABORATE !
WHY COLLABORATIVE MUSIC-MAKING? Pedagogical approaches situated in social environment are supported by social perspectives of learning (Rallis, 1995; Ravenscroft, 2011; Wenger, 2009) – According to S. Vygotsky’s (1978) social constructivist view of learning, learning takes place in a social environment with people’s interactions – Students are “stakeholders in the learning process, regardless of the particular field, […] and learn in ways that are far more enduring in their application to life situations” (Vega & Tayler, 2005)
A form of learning that denotes “socially distributed knowledge or distributed cognition” (Mehan, 1984) It shapes the classroom’s learning environment The creative work now belongs to everyone and “students are very much turned on when they are involved in making the decision that affects everyone” (Johnson, 2000) W HY C OLLABORATIVE M USIC -M AKING ? Creative and collaborative music making approaches can be found in established and well-researched music pedagogies (e.g., Orff, Informal, Non-formal)
Natural and authentic platform to facilitate critical thinking and reflection allow students to: – hear different views and refine their thinking – experience higher-order thinking and self-consciousness about one’s thought processes (Swartz & Perkins, 1990) – engage in reflection-in-action (Schön,1983; 1987) – construct their own understanding, improve on their creative approach, and achieve insightful learning W HY C OLLABORATIVE M USIC -M AKING ? C REATIVE + C OLLABORATIVE M USIC -M AKING ? Experience of Doing + Reflection = New knowledge, meaning and understanding
What does creative and collaborative music making look like, and what can it achieve? W HAT DOES C REATIVE AND C OLLABORATIVE M USIC M AKING L OOK LIKE, AND W HAT CAN IT A CHIEVE ?
Creative, Collaborative composition (Primary level) Click to play video E XAMPLES OF P RACTICE
Click to play video Creative, Collaborative composition (Secondary level) E XAMPLES OF P RACTICE
W HAT DOES R ESEARCH SAY ABOUT C REATIVE AND C OLLABORATIVE M USIC M AKING ?
Teachers’ Observations: Increased student motivation Increased student confidence Fostered appreciation, shown by parents through their feedback “Music lessons were the reason I came to school!” I MPACT OF P EDAGOGIES ON S TUDENTS ’ E NJOYMENT OF M USIC L ESSONS 98.1% (314 out of 320 students responses) were positive. Students enjoyed especially: collaborative learning with friends (23.8%) instrumental playing (20.6%) creating (14.7%) performing (10.3%) (congruent with teachers’ observations)
Peer learning is a predicting factor for their enjoyment of music lessons There are statistical differences in -students’ perception of their ability to create their own music -students knowing how to contribute to the group -students wanting to do well in music lessons Item% of SA & A Pre-Post- I am able to create my own music I feel confident in music lessons I have the skills to make music with my friends, without needing the teacher’s help all the time I have learnt to work better in a group in my music lessons this Semester I know how to contribute to my groups during music lessons F INDINGS FROM R ESEARCH ON I NFORMAL L EARNING & N ON - FORMAL M USIC T EACHING
FINDINGS FROM PAM RESEARCH Music lessons nurture 21CC: -Strong student-centric orientation -Greater student empowerment in making musical decisions (i.e., opportunities for students to think critically and creatively) -Greater depth of engagement in artistic experiences (creative and collaborative music making) F INDINGS FROM PAM R ESEARCH