Pedagogical Creativity in "Good Enough" Music Teaching
Pedagogical Creativity in “Good Enough” Music Teaching
SPECIAL
EDITION IN CELEBRATION OF 10 YEARS OF CRITICAL INQUIRY
Innovative Explorations that Weave Together Pedagogical Approaches A Publication by the Singapore Teachers’ Academy of the aRts (STAR)
Foreword
In this special edition of Sounding the Teaching, we present a synthesis of the collective learnings from 10 years of Critical Inquiry (CI). The articles cited in this publication are examples drawn from 2016 to 2024.
This publication represents ground-up co-constructions of pedagogical knowledge in the context of the Singapore music classroom, presented in two parts that seek to answer the following questions:
Part 1: Using the frames of Learning Orientations in the Singapore Teaching Practice (STP), what are some examples of Dialogic Talk, Embodied Learning, Experiential Learning, Inquiry-based Learning, and Disciplinary and Interdisciplinary Learning that can be gleaned from teachers’ inquiry projects?
Part 2: How are different pedagogical approaches integrated through pedagogical creativity, and what are the teachers’ rationales for integrating them?
We used the phrase “good enough” analogous to Swanwick’s (2008) construct of “good enough music teacher” to suggest that creative pedagogical explorations need not aim for perfection, allowing risk-taking attitudes and growth mindsets to encourage creative explorations (Amabile, 2017). When referring to “pedagogical creativity”, we use Bylica & Bauman’s (2022) definition, which describes it as the “development of flexible practices that are responsive to student inquiry, oriented toward risk taking, and grounded in conceptions of pedagogues as curricular authors”. Pedagogical knowledge and creativities have the potential to lead to greater sense of professional wellbeing (Iryna Androshchuk et al., 2020; Stoloff & Goyette, 2022).
In Part 2, reflection questions have been included for readers to explore how insights from this synthesis can be applied to various contexts.
Citations to inquiry projects reflect the authors’ names in full to facilitate search.
All rights reserved. All parts of this publication are protected by copyright. No part of it may be reprinted, reproduced, stored in any information storage or retrieval system, or utilised in any form or by any means—electronic, mechanical, photocopying, recording, or other means now known or hereafter invented—without written permission from the Singapore Teachers’ Academy for the aRts.
Part 1
Learning Orientations
Learning Orientations in the Singapore Teaching Practice
Learning Orientations are frames for clustering pedagogies (i.e. pedagogical approaches, teaching strategies, teaching actions) that support the attainment of specific learning outcomes, including 21st Century Competencies (21CC) and the Desired Outcomes of Education. The STP sets out the following Learning Orientations:
Dialogic Talk
How language structures thinking
Embodied Learning
How the body’s contribution to meaning making is foregrounded in a creative experience
Experiential Learning
How experience is a central and essential part of learning
Inquiry-based Learning
How learning is guided by a driving question
Disciplinary and Interdisciplinary Learning
How disciplinary and interdisciplinary connections enhance understanding
For more details, refer to Learning Orientation STP via the OPAL2.0 portal
Learning Orientations in Music Teaching-Learning Scenarios
From the inquiry projects, the learning orientations found in these music teaching-learning scenarios are described below.
Dialogic Talk
Dialogic Talk is harnessed in reflective practice and metacognition development. Examples include using thinking routines; reflecting on students’ collaborative work; facilitating self-assessment, peer feedback and critical thinking; and scaffolding learning and assessment. These need not be limited to musical outcomes, and may also extend to the development of social and emotional competencies.
Embodied Learning
Embodied Learning is observed in musicmaking strategies such as body percussion, singing, instrument playing, listening, composing, improvising, and performing. It can also take place with tactile experiences with technology and music-teaching strategies such as the Orff-based approach, game-based learning, or any strategies which accommodate students with special needs.
Experiential Learning
Experiential Learning stems from informal learning approaches, which may involve blended learning, flipped learning, and technological tools and apps. Examples include authentic assessment tasks, differentiated tasks, songwriting tasks, and musical arrangements.
Inquiry-based Learning
Inquiry-based Learning can be used to develop students’ appreciation of music and different cultures. Such approaches can also incorporate real-world scenarios.
Disciplinary and Interdisciplinary Learning
Disciplinary and Interdisciplinary Learning can be fostered by creating broader learning experiences such as a maker-centric music classroom, Scratch programming, interdisciplinary projects, and other learning experiences beyond the music classroom.
Part 2
Pedagogical Integration
This section summarises the pedagogical creativities found in the CI projects that have led to the integration of different pedagogical approaches.
Using qualitative meta-synthesis (Thorne et al., 2004; Walsh & Downe, 2005), 61 articles, in which a combination of pedagogical approaches could be inferred, were selected.
The articles were coded based on their underlying rationales for the integration of approaches. The following themes, which undergird these rationales, (in alphabetical order):
Authentic Learning
Flow of Musical Processes
Student Empowerment
Student Engagement
Student Experience
Supporting Learning
Authentic Learning
The projects that are underpinned by authentic learning feature some of these characteristics:
Construction of real-world scenarios in composition assignments (Michael Cartwright, 2022, 2023), and learning beyond the classroom (Rachel Tham Chin Xin, 2024) could be implemented with:
• Problem-based learning or inquiry-based learning that caters for differentiation (Jeremy Lim, 2022; Michael Cartwright, 2022, 2023)
Comprise strategies that foster student identity (e.g. role taking in gamification of learning) (Tan Hui Ling Lynette, 2020), or encourage connecting with multidisciplinary lived experiences, requiring students to interact with others around them (Rachel Tham Chin Xin, 2024)
Blended with collaborative tasks that allow students to gain real-world experiences and problem solve in a team (Chua Siew Ling, 2019; Michael Cartwright, 2022, 2023; Ng Eng Kee, 2017; Tang-Chew, 2023), as well as learn how to provide and receive feedback (Michael Cartwright, 2023; Ng Eng Kee, 2017; Tang-Chew Pei Xi, 2023)
Insights
There are differing perspectives on the scope of authentic learning, ranging from the implementation of “authentic” processes to the perception of “authentic” experiences. This is also found in literature beyond the articles included in this CI project (Leung, Yip & Imada Eds, 2008; Maina, 2004) .
There is a relationship between students’ perception of the authenticity of tasks, and their motivation in completing them (Michael Cartwright, 2022, 2023; Sim Kok Heng, 2017; Tang-Chew Pei Xi, 2023).
Providing space and choices for students to create authentic scenarios will empower them (Michael Cartwright, 2023)
Various methods for grouping students (i.e. selfselection, teacher assignment, or by readiness or interest) can be used, as long as students perceive the task to be meaningful, and have their insecurities addressed and their motivation managed (Chua Siew Ling, 2019).
Reflection Questions
How can I consider what students would perceive as “authentic” and meaningful in tasks that I design for them?
How can I design learning experiences that provide space for student voice, and opportunities to connect with themselves and grow their identities?
Flow of Musical Processes
With flow as an underlying consideration, teaching approaches tend to focus on music processes such as listening, arranging or creating, and performing.
Listening
Active listening is embodied through movement (Koh Cheng Yeen, 2020), which can make unfamiliar music (e.g. Western Classical Tradition) more accessible to students.
Arranging or Creating
Like authentic tasks, creative tasks can potentially heighten student engagement, compared to conventional tasks (Lim Xian Quan Ronald, 2019)
They are often positioned as assessment tasks (Alwin Tan, 2022; Ng Eng Kee, 2017; Rachel Han, 2022; Stella Ng, 2022) so that other strategies can be integrated to help students accomplish the task. At the same time, students should not just experience the process. They should be empowered through learning the process (Xie Zhizhong, 2017)
Performing
Some performing activities integrate other strategies such as Accountable Talk and Socratic Questioning to empower students (Lim Hui Wen Jwen, 2018)
Some integrate progress tracking using visual and audio cues for self-directed learning (Elliot Ong & Jasmine Low, 2021).
Some introduce new ways of showcasing performances (e.g. FlipGrid) (Tan Guodong, 2021)
Some also integrate game-based approaches to instrumental practice (e.g. Lee Hui Yi Sharon, 2023) and learning of new songs (Allen Losey & Mohamed Salleh Mohamed Yasin, 2016)
Harnessing Technology
Technology can be harnessed to enable students to experience flow in music processes, such as through:
• Using Digital Audio Workstations (DAWs) for arrangement (Lee Jia Ling, 2021)
• Providing tactile experiences to help younger learners in composition (Chen Limin, 2021)
• Providing visualisation for composition work (Alwin Tan, 2022)
• Improving composition techniques (Stella Ng, 2022) and resources to support learning (e.g. videos) (Soh Pei Wen, 2020)
• Structuring lessons within blended and flipped learning approaches (Jasmine Peh, 2021)
• Leveraging online online platforms to facilitate peer assessment and self-assessment (Li Yue Zhi, 2018) (e.g. recording and reviewing videos of themselves) (Rena Lee, 2023)
Learning Environment
This frame fosters a positive learning environment and learning spirit among students (Soh Pei Wen, 2020).
Technology can be harnessed to manage learning outcomes (Stella Ng, 2021)
Insight
While musical processes can encourage the development of flow in learning experiences, the design of flow experiences need not be limited to musical processes (e.g. partnering the environs, instilling positive discipline).
Reflection Questions
In what ways can I encourage lifelong learning in my students so that their flow of musical learning goes beyond the classroom? How do I sustain student motivation beyond their engagement in musical processes?
Student Empowerment
Teachers’ pedagogical creativities, when underpinned by student empowerment, tend to focus on providing self-directed learning or involving learners in assessment.
Pedagogical approaches that support selfdirected learning include:
Inquiry-based and differentiation approaches (Lee Hui Min Grace, 2023) using learning stations (Tan Yi Han, 2024) and tiered tasks (Chew Lixian, 2021)
Combining varied structures of learning (e.g. critical learning, authentic learning, creative learning, active learning, aural and oral learning, pattern-based learning, collaboration learning)
Using technological tools such as Flat.io (Alwin Tan, 2022), GarageBand, and other virtual instruments (Cindy Lim & Jessica Leong, 2022)
Techniques to involve learners in assessment include:
Self-assessment that focuses on students’ understanding of rubrics (Sharon Ng Wai Yee, 2018; Tan Guodong, 2021)
Accountable Talk (Lim Hui Wen Jwen, 2018)
E-portfolio (Lee Yue Zhi, 2018)
Cultivation of reflective learning (Asaph Lee & Ang Xin Wei, 2022) , which also incorporates other strategies (e.g. video recording practice sessions)
Insights
Structure does not necessarily impede creativity. Pedagogical structures can be reshaped to “enable” students and in turn, “enable” teachers.
Reflection Questions
In what ways do I create opportunities for students to make musical decisions during lessons?
How do I balance guidance with allowing students to take ownership of their learning?
Student Engagement
Teachers’ pedagogical creativities that are underpinned by student engagement tend to be:
Inquiry-based constructivist approaches, such as:
• Inquiry-based learning with pair work to appreciate Western orchestral and local folk songs (Soh Pei Wen, 2020)
• Station rotation, with accommodations for visual, audio, and kinaesthetic learners (Tan Wen Siu & Teo Jiamin, 2020)
Differentiation and different modes of learning, such as by:
• Integrating flipped learning, blended learning, and differentiated instruction to motivate students as they learn at their own pace with controlled freedom (Chew Lixian, 2021; Eymani Helmi, 2021; Jeremy Lim, 2022; Marianne Woo, 2021)
• Broadening students’ mindsets, such as their perception towards listening (Soh Pei Wen, 2020), and triggering their curiosity (Soh Pei Wen, 2020) and inquiry (Lee Hui Min Grace, 2023)
• Integrating approaches that cater for different interests (Tan Wen Siu & Teo Jiamin, 2020) and learning preferences (Marianne Woo, 2021) , cultivating autonomy, such as by giving students the opportunity to choose songs (Jeremy Lim, 2022)
• Integrating approaches that equip students with a readiness to learn (Choy Yong En, Carene & Tan Wei Da, 2023), such as with flipped learning (Eymani Helmi, 2021), blended learning (Chew Lixian, 2021), harnessing technology like Student Learning Space (SLS) (Sandra Yuen, 2021) and setting appropriate challenges, such as challenge badges and tiered challenges (Jeremy Lim, 2022)
• Utilising approaches that enhance communication and social learning (e.g.
thinking routines) to facilitate teacherstudent communication (Sandra Yuen, 2021), creating, learning, and sharing (Vu Tien Dat, 2022)
Student engagement can also be achieved through these routes:
Integrating a more embodied learning nature, such as:
• Incorporating kinaesthetic, audio, and visual stimuli (e.g. Allen Losey, 2016; Tan Wen Siu & Teo Jiamin, 2020)
• Using hand signs and games (Allen Losey & Mohamed Salleh Mohamed Yasin, 2016)
Applying a learning management system (e.g. Sandra Yuen, 2021), such as:
• Providing substantial feedback and peer assessment through digital technologies (e.g. Parlay, Edpuzzle) and guidance in higher order thinking (Shawn Tan & Truman See, 2024)
Reflection Questions
How are students engaging in ways that deepen an understanding of who they are? How do I develop students’ resilience for sustained engagement?
Student Experience
Different strategies can be employed to facilitate students’ experience of the process of music Essentially, this method involves students experiencing the process and teachers unpacking the process, empowering students to conduct these processes independently (Xie Zhizhong, 2017). The strategies that facilitate students' learning of the process could draw from formal and informal learning, with plenty of exploratory spaces for students to experiment.
Different strategies can also be weaved in to enhance a flow experience for students. For example, a more structured approach (e.g. Orff-based) is combined with more exploratory approaches (Irene Chan, 2017) to curate aesthetic flow experiences for students.
Attention is also placed on students’ perception and reception of the authenticity of the task, as this influences their participation (Ng Eng Kee, 2017).
There are also embodied learning experiences, integrating Kodaly-based strategies (Chan Hui Juan Celine, 2018; Koh Cheng Yeen, 2020) of active music-making and movement—and even kinaesthetic play with collaborative learning in composition (Chen Limin, 2021)—and making feelings visible with graphic notation in song analysis and songwriting (Sim Kok Heng, 2020).
There can be game-based learning experiences. An example of this is the blending of gamified learning with group work, resulting in remarkable resilience in students as they repeatedly practise and make corrections in their ukulele playing (Lee Hui Yi Sharon, 2023). Another example of this is the integration of a recorder racer game app with interactive smart board lessons, harnessing technological tools to improve interactivity for visual, aural, and kinaesthetic learners.
Insights
Student experiences can be enhanced when teachers curate authentic, flow-based learning experiences that balance structure with unstructured exploratory approaches. They can also be further enhanced by integrating embodied and collaborative practices, or introducing games and technology.
Reflection Questions
How do I create a diversity of experiences to enhance student learning?
How can I understand the learning experience from my students’ perspectives?
Supporting Learning
Supporting learning often relates to dispositional development and embodied learning of students. It can support students’ sense of relatedness, competence, and autonomy (Chan Hui Juan, Celine, 2018) by integrating many strategies and activities in the curriculum, as well as reinforce the more emotional aspects of learning such as making feelings visible (Sim Kok Heng, 2020).
It can take the form of assessment strategies for self-reflection and self-assessment (Jane Chua, 2022; Lee Yue Zhi, 2018; Liu Jia Yuen Claire, 2018), which also fosters greater clarity for learning or broadens perspectives to improve future performance (Lee Yue Zhi, 2018)
For example, e-Pedagogy harnesses Information and Communications Technology (ICT) affordances to lower the barrier to participation (Lee Jia Ling, 2021), provide audio-visual guides (Elliot Ong & Jasmine Low, 2021), manage learning (Ng Ying Hui, 2021), and cater to differentiation (Elena Thein, 2022; Lee Jia Ling, 2021)
Informal learning is also harnessed as an effective means for differentiated learning (Chang Hui Miin, 2017) as it allows educators to design tasks and learning environments that provide students with autonomy in task selection, skill development, groupmate allocation, learning method preference, outcome expectation, and schedule flexibility (Sim Kok Heng, 2017).
Insights
Pedagogical frames such as differentiated instruction are useful, but they may not sufficiently make all learners feel included (Elena Thein, 2022). There is a need to integrate tools and strategies to better create and support a safe environment for learning (Jane Chua, 2022).
Clarity in intentionality is needed to sharpen strategies for specific learning improvements.
Implications
Harnessing technology does not negate the need to teach fundamental instrumental skills (Elliot Ong & Jasmine Low, 2021). Nevertheless, tools can be means to transform pedagogical approaches (Shawn Tan & Truman See, 2023)
Informal learning requires careful prior planning, adjustments to facilitate learning (Pauline Fong, 2016) and consideration of different learning pathways (Chang Hui Miin, 2017)
When developing tools and skills to manage and facilitate informal learning, the role of a teacher extends to that of a designer, coach, and facilitator (Sim Kok Heng, 2017). To this end, teachers must be adaptable to change, intentional, resilient to challenges, able to provide room for failure, and balance different strategies to ensure that diverse needs are met.
Reflection Questions
In what ways do I adapt my teaching to cater to diverse learning styles and readiness? How do I work with environs (e.g. physical and psychological) so that students feel confident about taking risks and supporting each other?
Final Thoughts
Teachers’ pedagogical creativities can be empowered, but not constrained by structures and pre-conceptions (e.g. of what is and is not “authentic”). Rather, they should be driven by the development of students’ identities.
Pedagogical creativities can be enhanced by working with the physical environs.
Teacher Identity
Pedagogical Structures & Physical Environs
Student Identity
Pedagogical creativities, when underpinned by agentic rationales (e.g. empowerment), can grow the teacher’s identity.
Pedagogical creativities, whether they are undergirded by student empowerment, “authentic” learning or flow of musical processes, can grow student identity.
Looking Ahead
Sustaining Music Teachers
Achieving a “good life” is when one lives for the betterment of oneself and one’s community, such as how music teachers help their students flourish (Smith & Silverman, 2020).
There is a relationship between creativity and wellbeing (Schmid, 2005; Torrissen & Lovoll, 2022).
Music teachers can sustain themselves with pedagogical creativities to expand their collective pedagogical knowledge and celebrate their agency, which can in turn develop their resilience, passion, and well-being.
