COMPOSING MUSIC AS LEARNING TOOL IN INSTRUMENTAL MUSIC EDUCATION - Irene Malizia, BA MA MA MA
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Irene Malizia, BA MA MA MA
PhD Research Projekt
COMPOSING MUSIC AS LEARNING TOOL IN
INSTRUMENTAL MUSIC EDUCATION
Doktorand*innenforum – 2nd Presentation
21st of January 2023
CONTENTS I. Project overview II. Overcome “stumbling blocks” III. Work in Progress IV. Progress report & Upcoming work
I. PROJECT OVERVIEW
RELEVANCE I. Projekt Overview
The integration of learning and playing an instrument with creative musical activities like
improvising and composing can improve musical and instrumental skills in many ways:
• Lead to a deeper musical and instrumental understanding (McPherson, Evans, 2007; Rei6nger,
2018)
• Promote autonomous learning (Barnes, 2001; Kalcher 2018; Rei6nger, 2008, 2018)
• Develop crea5ve thinking (Barre>, 1998, 2003; Wiggins, 2003)
• Develop crea5ve problem-solving skills (McPherson, 1998; Guilford, 1950; Hickey, 2003; Barnes, 2001)
PROBLEMS I. Projekt Overview
Research Status Problems
Composing was high considered in the history Too less focus on the learning process.
of instrumental pedagogy (e.g. Mahlert, 2011; Ernst,
2012; Dartsch, 2019)
Composing in instrumental music educa>on Composing as a systematic learning tool in
(e.g. Olive, Rei
RESEARCH QUESTIONS I. Projekt Overview
First Question
How does improvisation and composition enable active learning through free instrumental exploration and
creative problem-solving processes?
1.1 How can improvising support learners to observe and explore one or more
instrumental techniques?
1.2 How can composing support learners to understand and learn one or more
instrumental techniques?
1.3 To what extent the search of creative solutions can support learners to overcome technical
difficulties?
Second Question
To what extent can composing be a prac>cal method of blending crea>vity with concrete technical and
instrumental objec>ves?
METHODS I. Projekt Overview
Design Based Research (DBR)
• to create and study new forms of instruction (Prediger, 2015);
• must be interventionist (Prediger, 2015);
• generating theory on teaching and learning processes (Prediger, 2015; Lehmann-Wermser, Konrad,
2016);
• works on developing learning environments (Lehmann-Wermser, Konrad, 2016);
• should be iterative (Prediger, 2015; McKenney, Reeves, 2012; Lehmann-Wermser, Konrad, 2016);
• need for use of specific methods that allow direct investigation of the actions (Lehmann-
Wermser, Konrad, 2016).
Research method for data analysis: Qualitative videographyPARTICIPANTS I. Projekt Overview
Violin Students
4 participant 4 participant
Music School Music University
between 7 and 10 years old Ages 19 and up
At least one year of experience on the violin Bachelor and/or Master Level
First position with use of at least 2 of the 4 fingers
Simple use of the bow
5 individual lessons of 50 minutes per par>cipantII. OVERCOME “STUMBLING BLOCKS”
MY DUAL ROLE II. Overcome “stumbling blocks” Should I assume the dual teacher-researcher role? Advantages • Skills in teaching following this method • Personal involvement • Interventions easier to coordinate • Less search for participants (only students needed) • No need to explain the creative approach to other teachers = more authenticity in the teaching process
TEACHERS’ SKILLS II. Overcome “stumbling blocks”
Third Question
What skills do instrumental teachers need to promote composition activities as learning
tool in instrumental teaching?
It's no longer a research ques?on in my project because:
• It is a separate research aspect comparing to my research interest
• It makes my research too broad and dispersive
• I’m doing the intervention as teacher my self
A starting point for a personal reflection on my role as a violin teacher, considering also
my skills as a composer.III. WORK IN PROGRESS
DESIGN OBJECTS III. Work in Progress
The construction of the design object includes the specification and structuring of the technical learning
object. […] The learning object can include competence goals as well as teaching content (Lehmann-Wermser,
Konrad, 2016) and serve to increase the effectiveness of an action that leads to a specific goal (Cronholm, Göbel,
2018).
Design Object Competence goals
Improvisatory Exploration¹ • Autonomous instrumental exploration
Improvising
Improvisatory Experimentation • Active learning
• Develop of creative skills
Notation • Observation and understanding.
Composing
• Creative associations
Compository Experimentation • Deeper music and instrumental understanding
• Develop of creative skills
¹ Barrett, 1998, p.20DESIGN OBJECTS III. Work in Progress Improvisatory Exploration
DESIGN OBJECTS III. Work in Progress Improvisatory ExperimentaHon
DESIGN OBJECTS III. Work in Progress
Notation
2
1
1° Cycle (18-03-2022)
2° Cycle (01-04-2022)
33
55 2° Cycle (01-04-2022)
4
5° Cycle (13-05-2022) 2° Cycle (01-04-2022)DESIGN OBJECTS III. Work in Progress Compository Experimentation
DBR DESIGN III. Work in Progress
Iterative Process of my interventions
based on the Bremen-Model for the DBR Process (developed in the “FaBiT”
research group (Lehmann-Wermser, Konrad, 2016)
1° Cycle
Design Object
Design Testing
g
Ob
tin
j ec
Tes
t
Conception Design
ConceptionDBR DESIGN III. Work in Progress
IteraHve Process of my intervenHons
based on the Bremen-Model for the DBR Process (developed in the “FaBiT”
research group (Lehmann-Wermser, Konrad, 2016)
1° Cycle 2° Cycle 3° Cycle 4° Cycle 5° Cycle
Ob
ng
g
Ob
g
Ob
g
Ob
Ob
ng
tin
tin
tin
/
j ec
j ec
/
j ec
j ec
j ec
Tes
Tes
Tes
Tes
Tes
t
t
t
t
t
DO 1 DO 1 DO 2 DO 2 DO 3
DO 2 DO 3 DO 3 DO 4 DO 4
DO 3
DO 4 DO 4 DO 4
Concep/on Conception Conception Conception ConceptionVIDEO CODING III. Work in Progress
Thematic Analysis (Terry, Hayfield, Clarke, Braun, 2017)
A qualitative method that advocates for a flexible approach to coding and theme development. (Terry, Hayfield,
Clarke, Braun, 2017)
Fig. 2
1. Viewing of the entire video material (3h 03m 00s)
16
2. Reduction of the video material (to 1h 40m 15s) 14
12
(duration in minutes)
3. First coding: marking the use of the different design 10
8
objects (Fig. 2):
6
• Improvisatory explora>on 4
2
• Improvisatory experimenta>on 0
• Nota>on 1° Cycle 2° Cycle 3° Cycle 4° Cycle 5° Cycle
(1 cycle = 1 lesson à 50 Minutes)
• Composi>on
Improvisatory Exploration Improvisatory Experimentation
4. Second coding: marking of moments concerning Notation
Improvisatory Exploration Compository
ImprovisatoryExperimentation
Experimentation
problem solving learning processes. (Fig. 2) Problem
Notation Solving Compository ExperimentationIV. PROGRESS REPORT
&
UPCOMING WORKPROGRESS REPORT
MERYC
1st Presentation AMPF 2nd Presentation
Scholarship Scholarship Covid
WS 2020 SS 2021 WS 2021 SS 2022 WS 22/23
2022
Theore&cal Background
Design Based Research
Terminology
Interventions
Variando musica
Musikschule Thayaland
Video analysisUPCOMING WORK
MERYC
1st Presentation AMPF 2nd Presentation 3rd Presentation
Scholarship Scholarship Covid
WS 2020 SS 2021 WS 2021 SS 2022 WS 22/23
2022 SS 2023 WS 2023 SS 2024
Theoretical Background Interventions
Design Based Research MUK
Terminology Variando musica
Interventions Data Analysis
Variando musica
Musikschule Thayaland Working on publications
Data Analysis
Starting writing
the dissertationReferences
Barnes, J. M. (2001). Crea%vity and composi%on in music. In C. Philpo8, C. Plummeridge (Eds.), Issues in music teaching (pp. 92-104). Routledge / Falmer, New York.
Barre8, M. S. (1998). Children Composing: A view of AestheOc Decision-Making. In B. Sundin, G. E. McPherson, G. Folkestad (Eds.), Children Composing (pp. 57-81). Malmö Academy of Music.
Barre8, M. S. (2003). Freedoms and Constraints: Construc%ng Musical Worlds through the Dialogue of Composi%on. In M. Hickey (Ed.), Why and How to Teach Music Composi%on: a new
Horizon for Music Educa%on (pp. 3-27). MENC: The NaOonal AssociaOon for Music EducaOon, USA.
Cronholm, S., Göbel, H. (2018). Guidelines Suppor%ng the Formula%on of Design Principles. In Australasian Conference on Informa%on System.
Dartsch, M. (2019). Didak%k künstlerischen Musizierens für Instrumentalunterricht und Elementare Musikpraxis. Breitkopf & Härtel, Wiesbaden.
Ernst, A. (2012). Lehren und Lernen im Instrumentalunterricht. Scho8, Mainz.
Guilford, J. P. (1950). CreaOvity. American Psychologist, 5(9), 444–454.
Hickey, M. (2003). Crea%ve Thinking in the Context of Music Composi%on. In M. Hickey (Ed.), Why and How to Teach Music Composi%on: a new Horizon for Music Educa%on (pp. 31-53). MENC:
The NaOonal AssociaOon for Music EducaOon, USA.
Lehmann-Wermser, A., Konrad, U. (2016). Design-Based Research als eine der Praxis verpflichtete theore%sch fundierte Methode der Unterrichtsforschung und -entwicklung. Methodologische
Grundlagen, dargestellt am Beispiel eines Forschungsprojektes im Bandklassen-Unterricht. In J. Knigge (Eds.), A. Niessen (Eds.), Musikpädagogik und ErziehungswissenschaR. Münster, New
York, Waxmann 2016, pp. 265-280.
Mahlert, U. (2011). Wege zum Musizieren. Methoden im Instrumental- und Vokalunterricht. Scho8, Mainz.
McKenney, S., Reeves, T. C. (2012). Conduc%ng Educa%onal Design Research. Routledge, Abingdon.
McPherson, G. E., Evans, P. (2007), Capacità udi%vo-crea%ve. In J. Tafuri, G. E. McPherson (Eds.), Orientamen% per la didaVca strumentale (pp. 93-114). LIM, Lucca.
McPherson, G. E (1998). Crea%vity and Music Educa%on. Broader Issues - Wider Perspecitves. In Sundin, B., McPherson, G. E., Folkestad, G. (Eds.), Children Composing (pp. 10-34). Malmö
Academy of Music.
Prediger, S., Link, M., Hinz, R., Hussmann, S., Ralle, B., Thiele, J. (2012). Lehr-Lernprozesse ini%eren und erforschen – Fachdidak%sche Entwicklungsforschung im Dortmunder Modell. In: MNU
65(8), 452–457.
Prediger, S., Confrey, J., Gravemeijer, K. (2015). Design research with a focus on learning processes: an overview on achievements and challenges. In ZDM: the interna%onal journal on
mathema%cs educa%on (p. 1 – 25).
Reinmann, G. (2005). Innova%on ohne Forschung? Ein Plädoyer für den Design-Based Research-Ansatz in der Lehr-Lernforschung. In UnterrichtswissenschaR, 33(1/2005), pp. 52-69.
Swanwick, K., Cavalieri, Franca, C. (1999). Composing, performing and audience-listening as indicators of musical understanding. In Bri%sh Journal of Music Educa%on, 16(1), pp. 5-19.
Terry, G., Hayfield, N., Clarke, V., & Braun, V. (2017). ThemaOc analysis. The SAGE handbook of qualita%ve research in psychology, 2, 17-37.
Wiggins, J. (2003). A Frame for Understanding Children’s Composi%onal Process. In M. Hickey (Ed.), Why and How to Teach Music Composi%on: a new Horizon for Music Educa%on (pp. 141-
165). MENC: The NaOonal AssociaOon for Music EducaOon, USA.Thank you for your a0en1on.
I’m looking forward to an exci1ng discussion!
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