Module 2
In Module 2, we looked at the creative process in music learning, particularly focusing on improvisation. Though music-making and creativity often go hand in hand, the act of being creative is a skill that students need time to develop. Creative thinking, especially, is a concept that teachers must teach their students.
Peter Webster (instructor of the course "Creative Thinking in Music") defines creative thinking as "the engagement of the mind in the active, structured process of thinking in sound for the purpose of producing some product that is new for the creator. Creative thinking is a dynamic process of alternation between convergent and divergent thinking, moving in stages over time, enabled by certain skills (both innate and learned), and by certain conditions, all resulting in a final product" (Webster, 2012, in Bauer, 2014, p. 49).
Part of stimulating and supporting creative thinking is the environment in which the creativity is supposed to take place. Hallam (2008) offers four suggestions related to environment. Teachers, he said, "can provide (a) creative opportunities, (b) necessary resources, (c) appropriate stimulation, and (d) sufficient time" (Hallam, 2008, in Bauer 2014, p. 50). After taking Dr. Webster's course in a previous semester, I believe that the environment really does play a large role in the creativity of the students. In this class, Hallum's second and third suggestions (resources and stimulation) could be seen through a technological lens. There are countess technologies available (many at an affordable price) that aid in the teaching of creative thinking and creative musical endeavors. These technological resources can often do more to stimulate and motivate students than traditional methods alone.
In his book, Dr. Bauer talks about using technology to develop aural skills. In my undergraduate training, we used a ear training software (MacGAMUT) to help with ear training and aural skills. I could see software like this being extremely useful in a general music or performance-based class in middle/high school. For my purposes in early general music, my students need more time for the four creative processes (Preparation, incubation, illumination, and verification) (Wallas, 1926, in Bauer 2014) before they have enough basic skills to make a program like that useful.
There were several websites and programs suggested specifically for improvisation in this unit. Additionally, Dr. Bauer goes into detail about how and why to teach improvisation in the text. I really like the Kratus (1996) sequence of improvisational learning which moves sequentially from novice to expert. This seven-level sequence is developmentally appropriate and progresses as the students grow and become more musically competent (Bauer, 2014, p. 52-53).
I think that improvisation is vitally important in music and that children should be introduced to developmentally appropriate forms of improvisation early in their musical training. In my classes, improvisation begins as early as Nursery (age 3) when children are participating in text improvisation by filling in words to songs (ex: suggesting a new kind of cake to make in the rhyme Paddycake). As they grow, they begin experimenting with movement improvisation, both in a group, and on their own in front of the group. In this way, they are using something they are familiar with (their bodies) and testing the feeling of trying something new in front of others. In Kindergarten and 1st Grade, students begin to improvise responses using known melodic patterns, and participating in "arioso" (conversations had through singing).
I will admit that I was overwhelmed and unsure about how to use the technologies suggested in this module for improvisation so early in my students' music education. Though free improvisation is discussed in the text, I feel that children need to have a vocabulary with which to improvise in order for the experience to be meaningful. It's possible that exposure to the creative process (even without a large musical vocabulary) would pique their interest and make them excited to learn more. I do plan to explore these technologies more, though, to see if they would be appropriate for use with my young students.
I do believe technological tools like MuseScore and Noteflight would be useful tools for the classroom. In addition, MIDI keyboards (a type of MIDI controller) could provide an easy way for students to have their melodies notated, played, and shared. MIDI, which stands for "musical instrument digital interface" "allows electronic musical instruments and computers to communicate with each other" (Bauer, 2014, p. 26). MIDI technology, hooked with a notation software could make composing, reading, and analyzing much quicker and easier in the classroom.
References:
Bauer, W. I. (2014). Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music. New York, NY: Oxford University Press.
Peter Webster (instructor of the course "Creative Thinking in Music") defines creative thinking as "the engagement of the mind in the active, structured process of thinking in sound for the purpose of producing some product that is new for the creator. Creative thinking is a dynamic process of alternation between convergent and divergent thinking, moving in stages over time, enabled by certain skills (both innate and learned), and by certain conditions, all resulting in a final product" (Webster, 2012, in Bauer, 2014, p. 49).
Part of stimulating and supporting creative thinking is the environment in which the creativity is supposed to take place. Hallam (2008) offers four suggestions related to environment. Teachers, he said, "can provide (a) creative opportunities, (b) necessary resources, (c) appropriate stimulation, and (d) sufficient time" (Hallam, 2008, in Bauer 2014, p. 50). After taking Dr. Webster's course in a previous semester, I believe that the environment really does play a large role in the creativity of the students. In this class, Hallum's second and third suggestions (resources and stimulation) could be seen through a technological lens. There are countess technologies available (many at an affordable price) that aid in the teaching of creative thinking and creative musical endeavors. These technological resources can often do more to stimulate and motivate students than traditional methods alone.
In his book, Dr. Bauer talks about using technology to develop aural skills. In my undergraduate training, we used a ear training software (MacGAMUT) to help with ear training and aural skills. I could see software like this being extremely useful in a general music or performance-based class in middle/high school. For my purposes in early general music, my students need more time for the four creative processes (Preparation, incubation, illumination, and verification) (Wallas, 1926, in Bauer 2014) before they have enough basic skills to make a program like that useful.
There were several websites and programs suggested specifically for improvisation in this unit. Additionally, Dr. Bauer goes into detail about how and why to teach improvisation in the text. I really like the Kratus (1996) sequence of improvisational learning which moves sequentially from novice to expert. This seven-level sequence is developmentally appropriate and progresses as the students grow and become more musically competent (Bauer, 2014, p. 52-53).
I think that improvisation is vitally important in music and that children should be introduced to developmentally appropriate forms of improvisation early in their musical training. In my classes, improvisation begins as early as Nursery (age 3) when children are participating in text improvisation by filling in words to songs (ex: suggesting a new kind of cake to make in the rhyme Paddycake). As they grow, they begin experimenting with movement improvisation, both in a group, and on their own in front of the group. In this way, they are using something they are familiar with (their bodies) and testing the feeling of trying something new in front of others. In Kindergarten and 1st Grade, students begin to improvise responses using known melodic patterns, and participating in "arioso" (conversations had through singing).
I will admit that I was overwhelmed and unsure about how to use the technologies suggested in this module for improvisation so early in my students' music education. Though free improvisation is discussed in the text, I feel that children need to have a vocabulary with which to improvise in order for the experience to be meaningful. It's possible that exposure to the creative process (even without a large musical vocabulary) would pique their interest and make them excited to learn more. I do plan to explore these technologies more, though, to see if they would be appropriate for use with my young students.
I do believe technological tools like MuseScore and Noteflight would be useful tools for the classroom. In addition, MIDI keyboards (a type of MIDI controller) could provide an easy way for students to have their melodies notated, played, and shared. MIDI, which stands for "musical instrument digital interface" "allows electronic musical instruments and computers to communicate with each other" (Bauer, 2014, p. 26). MIDI technology, hooked with a notation software could make composing, reading, and analyzing much quicker and easier in the classroom.
References:
Bauer, W. I. (2014). Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music. New York, NY: Oxford University Press.
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