Week 3 Reflection

This week's video and reading continues to focus on creativity through creating original compositions. Bauer (2014) explores two types of composition approaches in the text, the standard musical notation and the non-notation composition approach. Both styles "allow children to grow, discover and create himself or herself through artistic and meaningful engagement with sound (Kaschub and Smith, 2009, 2013). This quotation leads me to ponder: If the teachers wants to foster creativity while looking into students composing original music, which approach is the best option?

Musical notation software, such as Finale, MuseScore, and Noteflight, allows composers to notate or write, edit, and playback musical ideas. It also allows the composer to share what has been created with other musicians to perform or with the world via the world wide web. Using notation software also strengthens music literacy and audiation. With all of the benefits that comes along with the notation program; there is one thing I realize is a somewhat of a disadvantage to "the other 80%" (Williams, 2011) of students not involved in the study of music. Using this type of software requires some aspects of music literacy. Students must have some sense of notation format, symbol to sound recognition, and music notation concepts and practices such as instrument range and other technical consideration.

Non-notation programs, such as GarageBand, Soundation, Mixcraft, and Audacity, allows students to sequence sounds. The program offers different types of loops, MIDI and digital audio sounds. These sounds can be selected from a prerecorded library, inputted from MIDI instruments and edited in various ways. The beauty of such a program is the simple fact that it is easy to use by young students or those with no background in music. These programs also allow "the other 80%" who don't read music engage by using their creativity to form original compositions. There are are really no disadvantages to using non-notation programs other than complications or technical difficulties with the equipment.

Comparing and contrasting these two compositional approaches allowed me to weigh my options as to how I would like to teach the improvisation/composing standard and creativity. Getting a chance to finally teach this standard is important to me because I get a chance to make a difference. I get the opportunity to foster critical thinking and give not just those enrolled in music education, but, everyone with a passion for music a way to express themselves musically. There is no right or wrong answer to the question in the introduction. After careful consideration of my school's atmosphere and previous experiences, non-notation programs would be the best option. I'm not always guaranteed proper matriculation within my music classes due to scheduling. It is still very much a dumping ground. No matter the circumstance, students will be using their creativity, finding themselves musically, gaining a deeper understanding of music through engagement (Bauer, 2014) and academic feedback, reaching the highest levels of Bloom's Taxonomy, all the while having fun composing their very own song.

References

Bauer, W. I. (2014). Pedagogical Approaches to Composition. In Music learning today: Digital pedagogy for creating, performing, and responding to music (pp. 59-60). New York, NY: Oxford University Press.

Kaschub, M., & Smith, J. (2009). Minds on music: Composition for creative and critical thinking. Lanham, MD: Rowman & Littlefield Education.

Kaschub, M., & Smith, J. (2013). Composing our future: Preparing music educators to teach composition. New York: Oxford University Press.

Williams, D. B. (2011). The non-traditional student in secondary schools of the United States: Engaging non-participant students in non creative music activities through technology.Journal of Music, Technology and Education,14(1), 24-39.