Creative Musical Practice in an Educational Context

Creative Musical Practice in an Educational Context

Anna Linge (Kristianstad University College, Sweden)
DOI: 10.4018/978-1-4666-6603-0.ch009
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Abstract

This chapter is based on the author's doctoral thesis. She provides an account of a project on creativity in music education, more specifically a musical classroom for developing creativity. The aim of the study is to find examples or mechanisms of creative pedagogy. This study complements the current tradition for studying methods in teaching and learning music. Creative, prescriptive, and communicative designs of teaching and learning interact during sessions of music making. The empirical findings enable a discussion of the conditions that define creative music making as art and/or play as a socio-cultural activity.
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Background

Music education focuses on dealing with efficient methods as means to achieve fixed moral ends and technical skills. For a long time musical literacy was considered a measure of how to interpret the concept of musical works of art correctly (Goer, 1992; Green, 1997; Small, 1998; Wolf, 1987). This stand meant that musical activity developed from being a basic social skill to becoming an object of art expressed through the musical text or sheet music. The current shift into post-modernity or pre-modernity means that functions that used to hold modernity together erodes and fall to pieces (Carr, 2006). In music education, the shift could become fruitful because people emphasize and adopt a genuinely natural attitude towards musical interaction. For example, Green (2008) and Regelski (2007) found such development in traditional African music making (Kwami, 2001; Westerlund, 2002). Green (2008) found sociologically relevant informal learning processes going on and expanding musical acculturation outside school.

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