Sounding the Teaching IX: Playful Explorations for a Resilient Future by moe_star

sounding the teaching IX

Playful Explorations for a Resilient Future

A Publication by the Singapore Teachers’ Academy for the aRts (STAR)

We would like to express our appreciation to Principal, staff and students of Beatty Secondary School, CHIJ Secondary School (Toa Payoh), Edgefield Primary School, Fengshan Primary School, Geylang Methodist School (Primary), Haig Girls’ School, Kuo Chuan Presbyterian Primary School, Ngee Ann Primary School, Pasir Ris Crest Secondary School, Pioneer Primary School, Presbyterian Primary School, Queenstown Secondary School, South View Primary School, St Anthony’s Canossian Primary School, Tanjong Katong Primary School, Victoria School, Westwood Secondary School, West Grove Primary School, West Spring Primary School.

EDITORS: Chua Siew Ling, Melissa Ong, and Seah Cheng Tat DESIGN AGENCY: Garçon Design

ISN: 978-981-94-2367-5

All parts of this publication are protected by copyright. No part of it may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the Singapore Teachers’ Academy for the aRts.

sounding the teaching IX

Playful Explorations for a Resilient Future

A Publication by the Singapore Teachers’ Academy for the aRts (STAR)

Clifford Chua Academy Principal

SECTION 1 Playful Learning

Deeper Engagement and Understanding of Music through Play

Chaw Kim Leng Jessica Edgefield Primary School

How Do Game-Based Learning and Gamification of Recorder Learning Impact Lesson Effectiveness and Student Engagement?

Chng Hui Lin Jacqueline, Kuo Chuan Presbyterian Primary School

Choy Yong En Carene, South View Primary School

Melissa Ong Academy Officer (Music)

Chua Siew Ling Principal Master Teacher (Music)

The Power of Game-Based Learning

Welzl Valentin Xin Wei and Allen Losey Fengshan Primary School

Using Gamification and Blended Learning to Engage Students in Playing the Ukulele

Ng Kiat Ee Stella Queenstown Secondary School

SECTION 2 Playful Processes

Boosting Students’ Interest, Motivation and Confidence in Songwriting

Caryln Loh and Chen Yingqing Pioneer Primary School

Performing Arts-Based Learning (PABL): Igniting Curiosity and Deepening Understanding of Chinese Orchestra Music

Chueng Wan Ki Isaac and Ng Ying Hui Beatty Secondary School

How Can a Teacher Facilitate a Music Lesson with Movement and Drama to Enrich Music Learning?

Chan Pei Gee St Anthony’s Canossian Primary School

Off We Go with the Gruffalo: Exploring How Reader’s Theatre Enhances Students’ Emotional Understanding, Story Comprehension, and Creativity in Soundscape Creation

Chew Pei Xi and Chua Mashita West Grove Primary School

SECTION 2 Playful Processes

Promoting Playful Collaboration: Enhancing Collaborative Culture and Play-Based Learning among Primary School Music Teachers

Long Peizhen, Haig Girls’ School

Allen Losey, Fengshan Primary School

Eng Huiling Jasmine, Tanjong Katong Primary School 94

104

Record and Review: Supercharging Students’ Creative Space

Nur Atika Binti Mohamed Naim Victoria School

SECTION 3 Playful Approaches for Diverse Learners

116

Tiered Approach to Ukulele Learning Across Different Readiness Levels

Ahmad Musta’in Bin Ahmad Rumzi, Angeline Pang, and Gracelyn Ong Ngee Ann Primary School

126

Exploring the Connection between Advanced Challenges and High-Readiness Student Engagement

Tang Tai-Chi Westwood Secondary School

SECTION 4 Playful Practices with Technology

132

Employing Technology to Streamline Melodic Writing

Samantha Chan CHIJ Secondary School (Toa Payoh)

148

142

How can GarageBand be used as an Effective Tool in Teaching and Enriching Primary 4 Students’ Musical Understanding of Chords?

Yeo Wee Kiong Geylang Methodist School (Primary)

Exploring Students’ Engagement in Singing by Extending their Learning Using the SLS Platform and the 3E Approach

Celia Goh-Tan West Spring Primary School

154

Exploring the Role of Music Generative AI in the Lower Secondary Music Classroom

Ronald Lim and Lynn Ong Yi Hwee Pasir Ris Crest Secondary School

Foreword

Clifford Chua

At the 2023 MOE Work Plan Seminar, Minister for Education Chan Chun Sing noted that shaping the future involves redefining success for our students and empowering every child to be “a creator, connector, contributor”.

While teachers continue to innovate and explore new ideas to empower students as such, putting these ideas to work necessitates teachers having the “gumption to break new grounds”.

Teachers, in their care for students, might have inadvertently tried to overly structure and sequence learning. While these have benefits in providing safety and clarity to the learning process, it could perhaps advantage us to be comfortable with more ambiguity and less structure as we develop students’ critical, adaptive, and inventive thinking, as well as other emerging competencies for the 21st century.

One way to facilitate the development of these competencies is through play. The notion of play is not new to us. All of us have experienced play in one form or another; we play games, play with our children, or play with new ideas for our lessons. With these in mind, our teachers in this year’s CI NLC have embarked on playful explorations to consider how they can strengthen their teaching practices to build resilient futures in and through music education.

I would like to thank all the contributors for their playful and innovative spirit in exploring new pedagogical ideas, and their rigour in seeking to broaden, deepen, and strengthen music pedagogies in their own school contexts. I would also like to thank their School Leaders for their unreserved and continued support. May Sounding the Teaching IX inspire all readers to embrace playfulness as an empowering disposition in our work as educators.

Introduction

Melissa Ong

Academy Officer (Music)

Chua Siew Ling

Principal Master Teacher (Music)

Singapore Teachers’ Academy for the aRts

That play is integral to learning is a notion that has been discussed by educators such as Jean Piaget (1896 – 1980) and Lev Vygotsky (1896 – 1934).

Playful lessons and experiences promote creativity and help children understand abstract concepts (Mohtadi, 2021; Qasem, 2017). Play is also a gateway for children to gain new information about the world (Andersen et al., 2022; Schulz et al., 2022). When engaged in play, they experience focused attention, improved memory, and movement from effortful to automatic learning (Liu et al., 2017). This facilitates the joy of learning and fosters resilience (Garrett, 2014). Indeed, it is no wonder that music pedagogies such as the Kodaly and Orff approaches incorporate play.

Yet play is not limited to childhood and young learners. Even as teachers, we can find ways to play with our own approaches and free ourselves from overly rigid structures for teaching and learning. Our explorations give us room to be more responsive and flexible in navigating the dynamic environment where students’ needs evolve.

Some studies in this networked learning community have embarked on such explorations to investigate how they can facilitate playful learning in their classrooms. These include play-based learning for the acquisition of new music skills, and gamification and/or game-based learning to impact student engagement in learning the recorder, and notation literacy.

Other studies have also played with technology to explore different ways in which it can be used to enhance and support music teaching and learning. These include playing with music generative AI, using Hookpad to

streamline melodic writing, incorporating GarageBand to facilitate students’ musical understanding of chords, and harnessing Student Learning Space to strengthen students’ engagement in singing.

In our exploration of play we could also distinguish between play as a verb and playfulness as a disposition. As teachers, we should not only consider how to facilitate musical play or playful learning in our classrooms, but also how we ourselves can be playful. For example, how would adopting a playful disposition motivate us to trial new pedagogical approaches? Could it inspire lifelong learning? Or inject fun into our work?

A number of the studies engaged in playful processes as they considered different ways to facilitate and enhance musical learning and assessment. These include musicmaking processes, assessment, curriculum, learning within and across disciplines, and teachers’ collaborative culture.

Teachers have also played with different ways to engage heterogeneous learners. These include using different levels of challenges to engage students at differing levels.

We hope the 16 articles presented in this edition will encourage teachers to be playful in interacting with the ideas that have been shared, consider how some of these strategies might extend or challenge what they already know, and spark new pedagogical ideas to build more hopeful and resilient futures in music education.

Playful Learning

Deeper Engagement and Understanding of Music through Play

The Power of Game-Based Learning

Using Gamification and Blended Learning to Engage Students in Playing the Ukulele 10 22 34 44

How Do Game-Based Learning and Gamification of Recorder Learning Impact Lesson Effectiveness and Student Engagement?

Deeper Engagement and Understanding of Music through Play

Introduction

Chaw Kim

Leng Jessica

In my years of teaching music, I have observed how traditional and structured teaching methods in music education often fall short of fully engaging young learners. Children are naturally inclined to explore, create and experiment, yet conventional approaches can sometimes limit their curiosity. This realisation led me to question whether a more playful, exploratory approach could foster a deeper engagement and understanding of music. Inspired by research that highlights the benefits of play-based learning, I was curious to see how such learning could be facilitated to shape students’ musical abilities. This inquiry thus aims to explore how play-based methods may not only make learning more enjoyable but also support the development of essential musical skills in a dynamic and interactive classroom environment.

Inquiry Question

How does play-based learning influence the acquisition of new musical skills and engagement among primary school students in a music classroom setting?

Methodology

Target Audience

This inquiry uses mixed methods to explore a specific context of play-based learning in a music classroom. Students’ learning experiences are collated.

Level: Primary 1

Number of classes: 3

Student profile: mixed abilities

Data Collection

∆ Lessons in action

∆ Observations from video-recorded lessons

∆ Students’ work, responses and performances

∆ Post-surveys

Duration

Project timeline: A one-hour lesson each week, over five weeks

Play-based learning is driven by children’s natural curiosity and motivation as they engage themselves in activities that they find fun, meaningful and rewarding. It is enjoyable and keeps them fully engaged, both physically and mentally. Through play, children revisit and refine their ideas and learning, building on what they have already learned. The experience is just as important as the outcome, and this adds to making their learning meaningful. Play can take many forms, from imaginative play to structured games, all offering varied learning experiences. It encourages children to interact with others and their environment, fostering collaboration and exploration while allowing them to find meaning in the activity and express themselves creatively.

Play-based learning puts play at the centre of children’s growth and learning, helping them do so in a natural, engaging way. It includes both free play, where children explore and experiment on their own, as well as guided play, where teachers design activities that spark learning while keeping things fun.

We know that playful learning is taking place when children are (Mardell et al., 2023):

❶

Leading learning

When students take control of their own learning, they explore topics and activities that truly interest them and suit their learning styles. This flexibility of choice gives them ownership over their learning progress, making them more responsible for their learning. With ownership comes empowerment, as they realise they have the power to shape their learning journey and make decisions that reflect their goals. This autonomy boosts their motivation and engagement, leading to deeper and more meaningful understanding. As such, children gain confidence and become active, invested participants in their own education.

❷ Exploring the unknown

When students explore the unknown, their wonder and curiosity inspire them to ask questions and seek answers, making learning an exciting journey. This exploration connects to their innate desire to understand the world, making the process more meaningful. As they explore new ideas, children not only gain knowledge but also develop critical thinking, creativity, and a deeper love for learning that extends beyond the classroom.

❸ Finding joy

Students find joy in playful learning by experiencing feelings of delight and enjoyment as they explore new ideas through fun and engaging activities. The playful nature of learning keeps them engaged and excited, making the process enjoyable. This positive experience helps them stay motivated and fosters a deeper connection to the material, allowing them to learn in a joyful and fulfilling way.

Play-based learning could also be guided by suggestions as per Dubbels (2016) on how to ensure the success of a play-based learning lesson:

❶ Positive teacher disposition

∆ Growth mindset

∆ Emotional context of learning through play

∆ Setting the right mood

❷ Choices in assessment and content

∆ Using informative assessment

∆ Learner-centred practice

∆ Used as a moment of learning that can engage students in decision-making

❸ Process-oriented

∆ Giving effective feedback

∆ Allowing exploration in relation to their interests and prior knowledge

∆ Learning through emulation

∆ Discovery through practise

Research has shown that play-based learning has a powerful positive impact on children’s social and cognitive development as well as their academic skills (Danniels, 2018). Through play, children develop social competence

and self-regulation, which are crucial for their overall development. Additionally, this approach fosters the acquisition of essential academic skills, making it a highly beneficial method for early education. Play-based learning brings with it a range of benefits that supports a child’s overall development. It boosts cognitive growth by engaging children in activities that encourage critical thinking and deeper understanding. This approach also helps children improve their academic skills and enhances social skills, teaching children how to work together, communicate, and show empathy towards their peers. It sparks creativity, giving kids the freedom to explore ideas and express themselves in imaginative ways. Children’s problem-solving skills also grow, as they are challenged to think critically and find solutions through play. Emotionally, play helps children learn to manage their feelings and build resilience. Most importantly, play-based learning makes education fun and engaging, inspiring a lifelong love for learning.

While play-based learning has many benefits, it does come with a few challenges. One concern is the lack of structure, which can make it more difficult to maintain children’s focus and discipline in the classroom. Some children may find it difficult to stay on task or meet specific learning goals. Another concern is maintaining the balance between play and academic content, which might lead to learning gaps in students’ knowledge. Additionally, overemphasis on play may take away the importance of direct instruction which is necessary to encourage mastery of certain skills and concepts. To be effective, play-based learning must be thoughtfully integrated with structured teaching to provide a wellrounded education.

To address these challenges, play-based learning should be supported by these principles (Mardell et al., 2023):

∆ Play supports learning.

∆ Playful mindsets are central to playful learning.

∆ Playful learning is universal yet shaped by culture.

∆ Playful learning in school involves play with a purpose.

∆ Supportive school cultures enable playful learning to thrive.

Guided by the principles and suggestions above, teachers could employ the following practices to support playful learning.

❶ Empower learners to lead their own learning

∆ Get to know your learners

∆ Involve learners in decision making

∆ Reflect on learning with learners

❷ Build a culture of collaboration

∆ Use play to build relationships

∆ Facilitate purposeful conversations to build knowledge

∆ Foster a culture of feedback

❸ Promote experimentation and risk-taking

∆ Engage learners in open-ended investigations

∆ Encourage risk-taking as a fundamental to the learning process

❹ Encourage imaginative thinking

∆ Share stories to engage and enhance learning

∆ Use role-play in pretend scenarios

∆ Provide materials and experiences that engage the senses and the body

∆ Ask questions that invite curiosity and imaginative thinking

❺ Welcome all emotions generated through play

∆ Design for joy

∆ Use play to explore complex ideas

∆ Support learners in working through frustrations

Process

Students go through a lesson package consisting of five one-hour lessons, working towards the learning goal of creating and performing sounds to a stimulus by using different materials.

Lesson 1

Introduction

(Practices to support playful learning:

Build a culture of collaborative learning)

∆ Students sing songs about rain and thunder.

∆ Students learn lyrics of the songs by:

↗ Using cut-outs of the lyrics: students with the same lyrics come together to form a group, learning the words together; and

↗ Using call-and-response: students learn the song with the teacher.

∆ Actions to the songs are added gradually, with emphasis on making rain and thunder sounds.

∆ Through teacher demonstrations, students are introduced to methods of making sounds with materials, such as hitting, shaking and rubbing.

Lesson 2

Exploration

(Practices to support playful learning: Encourage imaginative thinking)

∆ Students listen (without visuals) to a soundscape performance of a thunderstorm where performers use only their hands and legs to create the sounds.

∆ Teacher discusses what students have heard and write/draw what they have imagined through Listen-SymbolAction by making connections to what they have listened to, drawing a symbol for it, and making an action to demonstrate it.

∆ Students watch and listen to the performance to connect with what they have heard and imagined.

Students with the same lyrics come together to form a group, learning the words together.

Exploration

(Practices to support playful learning: Empower learners to lead their own thinking; Promote experimentation and risk-taking; Build a culture of collaborative learning)

∆ Students make sounds with different materials using the tic-tac-toe game card, forming at least two straight lines.

∆ Teacher demonstrates how students can explore making sounds with different materials at one learning station.

∆ Teacher goes through the rules of the game. Students are given the autonomy and flexibility to choose which station

they would like to start at first. If there are more than four persons at the station, they should move off to another station.

∆ The rules of the game are

↗ In fours, not more than four.

↗ Move slowly to the next learning station. WHISPER.

↗ Bell rings once – freeze.

↗ Stand and wait when you reach the station.

↗ Show the ask (green) card if you need help from the teacher.

Students exploring at the various learning stations.

Click to view the tic-tac-toe game card.

∆ Teacher starts the game, giving three to five minutes for students to explore at each learning station.

∆ After four rounds, the teacher pauses the game and does a midpoint check on how the students are playing with the materials. The teacher checks how many straight lines they have formed on the card. Students then continue the game.

∆ Teacher stops the game after seven rounds.

∆ Students fill out the exit card.

An example of a soundscape exit card.

Examples of soundscape Bingo cards.

Lesson 3

Collaboration

(Practices to support playful learning: Build a culture of collaborative learning; Welcome all emotions generated through play)

∆ Teacher arranges students in groups of four to six according to their learner profiles, pairing students with special needs with suitable partners.

∆ Teacher goes through the checklist for group work.

represent rain and thunder, in response to a stimulus (a short story). They have to use their hands and legs to make thunder or rain sounds through hitting, shaking or rubbing.

∆ A gradual release of responsibility is facilitated in this process:

↗ I do – The teacher demonstrates how to make rain and thunder sounds to accompany a short story.

Click to view the checklist for group work

∆ Teacher gives students the autonomy to choose two materials from the list (foil, paper, plastic cups, castanets, maracas or hand drum) that they think best

↗ We do – As a class, the students make sounds of rain and thunder to the story, with their teacher’s guidance.

↗ You do – Groups work together to make sounds of rain and thunder to the story.

An example of a soundscape checklist for the students.

∆ The teacher shows and talks about assessment rubrics for the performance.

∆ The teacher does a mid-point check with two groups, presenting what they have done so far to the class. Every group is to give feedback on what they have heard. The teacher highlights additional points to work on. As the teacher indicates parts that the performing group has done right, they demonstrate these to the class and are affirmed.

∆ The students continue their group work.

Lessons 4 & 5

Collaboration

(Practices to support playful learning: Build a culture of collaborative learning; Welcome all emotions generated through play)

∆ Groups work on their soundscape performance. The teacher walks around to give feedback on improvement.

∆ Teacher goes through the assessment rubrics.

Performing

(Practices to support playful learning: Build a culture of collaborative learning)

∆ Teacher video-records each group’s performance.

∆ Groups that have achieved learning goals will be given a poem on rain and thunder to create sounds to while groups that need to work more on their performance will be given more time to work on it.

∆ Students complete the post-survey.

I am not so sure. I can follow. Look at me! I can do it!

I need help to choose what to use for my soundscape. I can identify what to use for my soundscape and make sounds from them if shown exactly how to do it.

I can link all my ideas together! I can apply my ideas in different ways!

I can identify what to use and create sound effects for the given stimulus. I can perform the sound effects relating to the given stimulus accurately with dynamics and tempo using suitable instruments. I can create and perform sounds to a new stimulus with different materials.

I ask for help. I am unsure if the sounds made are appropriate. I make some mistakes. I know which part of the soundscape I made mistakes in, and can correct myself. I find new ways to improve my playing on the instruments. I am a role model for others.

Data Collected

Post-Survey

A pen-and-paper survey was administered to all three P1 classes (80 students) after their final performances. The teacher went through all the questions with the students to provide better support for them in answering the questions posed. The survey was simplified so students only had to tick their answers to 11 forced-choice questions and give short answers to two openended questions.

Post-Survey Questions

Forced-choice Questions (Yes, Maybe, No)

❶ I played a game in my music lesson to learn how to make rain and thunder sounds.

❷ I learned something new while playing the tic-tac-toe game.

❸ When I am having fun in music lessons, I feel like I am still learning.

❹ I think playing games helps me want to do better in music lessons.

❺ I think playing games helps me focus better in music lessons.

❻ I think playing games helps me work with my friends in music lessons.

❼ I like playing music games together with my friends.

❽ When I play music games with my friends, I am able to learn more.

❾ When I play music games, I want to keep playing and learning more.

❿ After playing a music game, I can remember what I have learned. I feel excited to come to music class.

Open-ended Questions

Can you tell me about a time when playing a game helped you understand something new in music?

What’s the most fun way you’ve learned music so far? Why do you think you learned so well from it?

Post-Survey Findings

Survey results from questions 1, 2, 3, 8, 9 and 10 relate to how play-based learning influences the acquisition of new musical skills among primary school students in a music classroom

How does PLAY-based learning influence the engagement among primary school students in a music classroom setting?

setting. They show that an average of 85% of students agree they have picked up new musical skills and are able to remember what they have learned.

Survey results from questions 4, 5, 6, 7 and 11 relate to how play-based learning influences engagement among primary school students in a music classroom setting. They show an average of 82% of students who feel that they are motivated and engaged to learn.

Typical responses to question 12 show that students can remember the lessons that they had gone through from January, when the following activities were played.

∆ Scissors paper stone

∆ Using a mallet and moving the hand like a worm

∆ Tic-tac-toe game card

∆ Playing instruments

∆ Making rain and thunder sounds

∆ Driving in Australia

∆ Walking to the beat of the music

Typical responses to question 13 are:

∆ “Playing games is fun because I can play with my friends.”

∆ “Playing games helps me remember the names of instruments.”

∆ “Playing games because I can remember what my teacher is teaching.”

∆ “Play games. Time passes very fast.”

∆ “Playing games is enjoyable.”

∆ “When it is fun, I can learn.”

∆ “Playing games makes me learn more things.”

∆ “Playing games is fun. Keeps me focus. I enjoy it.”

Final Performance

Results from the final performance show that none of the students are at the beginning or developing levels. An average of 74% of students had achieved the ‘Competent’ and the ‘Accomplished’ levels, while an average of 26% of students were at the ‘Exceeding’ level.

Findings — Performance Results

Discussion

From this inquiry, I have found that play-based learning is highly beneficial in facilitating the teaching of musical skills and knowledge to children. This is especially so when teaching new skills like the ones in this research: making rain and thunder sounds through self-exploration. When such play is planned, structured and age-appropriate, learning in music classrooms becomes enjoyable and effective. Planned play promotes cognitive, social, and emotional growth by giving children the opportunity to explore, work together, and express themselves in a fun and stress-free setting.

The findings also show that for play-based learning to be effective in a classroom setting, the environment plays a very important role. The environment has to:

∆ be engaging and stimulating, with different musical instruments and materials;

∆ have a flexible layout to allow movement in the room and space for students to interact and collaborate in each learning station;

∆ allow for flexible groupings with students having the autonomy to choose what they want to learn; and

∆ be inclusive to cater to diverse learning styles and abilities.

By incorporating play into music education, we can cultivate a lifelong love for music in students and enhance their overall learning experience.

Limitations/Challenges

One limitation of this inquiry is that it only targets three P1 classes. For the findings

to be more transferrable, the sample size could be expanded to include the entire level of P1 classes. This would provide a more diverse range of data and lead to more comprehensive results. This broader participation would also enhance the conclusions drawn, as they would be more representative of the cohort at large. Another limitation is the constraint of time within the curriculum. Structured play in music lessons requires more time for students to explore, experiment, and interact with one another as compared to traditional teaching methods. To maximise the benefits of play-based learning, planned additional time is needed so that students are able to fully engage with and absorb the learning. Balancing this time demand with curriculum time remains a challenge. One more limitation of this inquiry is the lack of input from other teachers who are teaching the same level. Their contributions would have provided valuable insights from diverse perspectives and offered a more comprehensive analysis of the challenges and benefits in implementing play-based learning, leading to more well-rounded conclusions.

Conclusion

Play-based learning is not just about having fun. It is structured with purposeful learning intentions and can achieve learning goals if planning is thoroughly done. Students can learn better and be more engaged when they are intrinsically motivated. Given the right environment, teacher disposition and appropriate materials, students can be highly adaptive and flexible to accept new challenges and changes in their lessons.

Acknowledgements

This inquiry was done successfully with the support of the following individuals, whom I would like to thank:

∆ Mdm Suriati Suradi, Master Teacher (Music, STAR) for engaging in the exchange and challenge of ideas. ∆ School Leaders and staff of Edgefield Primary School for their unwavering support of my professional growth.

References

∆ Children’s Corner Group (2022, March 10). Benefits of play-based learning. Children’s Corner Learning Center. https://www.childrenscornergroup.com/benefits-of-play-based-learning/

∆ Danniels, E., & Pyle, A. (2018) Defining play-based learning. https://www.child-encyclopedia.com/play-based-learning/accordingexperts/defining-play-based-learning

∆ Dubbels, B. R. (2016). Pedagogy and play: Creating a playful curriculum for academic achievement and engaged learning. In K. Schrier (Ed.), Learning, education, and games: Vol. 2. Bringing games into educational contexts (pp. 87–116). ETC Press. https://doi.org/10.1184/R1/6686819

∆ LEGO Foundation. (2018). Learning through Play: Strengthening learning through play in early childhood education programmes. UNICEF. https://www.legofoundation.com/media/1063/learning-through-play_web.pdf

∆ Mardell, B., Ryan, J., Krechevky, M., Baker, M., Schulz, T. S., & Liu-Constant, Y. (2023) A pedagogy of play: Supporting playful learning in classrooms and schools. Project Zero.

∆ Pyle, A. (2018). Play-based learning. Encyclopedia on Early Childhood Development.

∆ Weisberg, D. S., Hirsh-Pasek, K., Golinkoff, R. M., Kittredge, A. K., & Klahr, D. (2016). Guided play: Principles and practices. Current Directions in Psychological Science, 25 (3), 177–182. https://doi.org/10.1177/0963721416645512

∆ Zosh, J. M., Hopkins, E. J., Jensen, H., Liu, C., Neale, D., Hirsh-Pasek, K., Solis, S. L., & Whitebread, D. (2017). Pedagogy and play: Creating a playful curriculum for academic achievement and engaged learning. The LEGO Foundation. https://www.legofoundation.com/media/1072/pedagogy-and-play-full-report.pdf

The Power of Game-Based Learning

Core nemoloreped mil id qui

The Power of Game-Based Learning

Introduction

Welzl Valentin Xin Wei

Allen Losey

Fengshan Primary School – Valentin

“I chose this research topic based on my personal experiences. I had previously learnt the basics of Japanese characters through game-based learning and found the process enjoyable and refreshing. It led to substantial learning and I could recall the characters easily. Thereafter, I was able to pass the Japanese examination through self-study.” –Valentin

Literature Review

Our focus is on game-based learning, not gamification, because many of us are already practicing the pedagogical strategies of gamification in our classrooms. While these terms may be presumed as interchangeable, there are differences in their meaning and execution.

Game-based learning makes learning fun, motivated, and self-directed. Such study is also scaffolded, self-paced, and facilitates agency. As such, we wanted to provide our students with opportunities for this form of learning, inspire them to take ownership of their instruction, to view learning as enjoyable, and to experience greater joy in amassing knowledge.

fun, motivating, and self-directed. Such learning is also scaffolded, self-paced, and facilitates agency. As such, we wanted to provide our students with opportunities for this form of learning, inspire them to take ownership of their instruction, to view learning as enjoyable, and to experience greater joy in amassing knowledge.

Music note-reading and rhythmic notation are concepts that are taught in the primary school music classroom. Note-reading can be challenging to teach via traditional pen and paper methods. Using a gamebased learning pedagogy to approach the content is a strategy that could provide our students with a more engaging experience. Our research question is thus:

How can the implementation of gamebased learning in the music classroom to teach note-reading and rhythmic notation be utilised to effectively improve student engagement?

How can the implementation of gamelearning in the music classroom to teach note-reading and rhythmic notation be utilised to effectively improve student engagement?

use of games, such as a video game or computer game that is created to facilitate the achievement of learning outcomes. This differs from gamification. Gamification refers to the application of game elements in a non-game context (Ministry of Education, 2023). This is often deployed to reduce song fatigue. For example, instead of making students sing a song repeatedly to acquire its tone set, teachers could gamify the experience by playing a movement game that reduces song fatigue. Before they know it, the students would have already sung the song many times.

Game-based learning refers to the designing or using of games, such as a video game or computer game, that is created to facilitate the achievement of learning outcomes. This differs from gamification. Gamification refers to the application of game elements in a non-game context (Ministry of Education, 2023). This is often deployed to reduce song fatigue. For example, instead of making students sing a song repeatedly to acquire its tone set, teachers could gamify the experience by playing a movement game that reduces song fatigue. Before they know it, the students would have already sung the song more than 20 times.

Game-based learning has its appeal rooted “in the desire of fun, challenge and in search of genuine pleasure” (Gomes et al., 2014, p.6). All these contribute to making learning a joy.

Csikszentmihalyi, Abuhamdeh, & Nakamura (2005) state that the motivational patterns of children influence their behaviour and performance when faced with obstacles or failures. Children with higher intrinsic motivation in enjoying and learning

music would be able to experience more successes in musical activities. They demonstrate greater persistence when faced with difficulties because they view them as learning opportunities. Furthermore, data from research reveals that motivation has a larger weight percentage in music learning than other factors, which make student engagement and joy of learning important aspects of the music classroom (Sloboda & Davidson, 1996).

more success in music are those who demonstrate greater ability to enjoy musical activities of intrinsic shape They demonstrate greater persistence when faced with difficulties because they view them as learning opportunities. Furthermore, data from research reveals that motivation has a larger weight percentage in music learning than other factors, which make student engagement and joy of learning important aspects of the music classroom (Sloboda & Davidson, 1996).

Game-based learning can encourage students to play a role in how they master learning as it involves “a variety of powerful emotions, ranging from curiosity and joy to frustration” (Samat et al., 2022, p. 564). Through game-based learning, students learn to be and to regulate their emotions while encountering varying scenarios during progressive levelling. These experiences provide students with the skills to manage self-directed learning in the long run.

Game-based learning can encourage students to play a role in how they master learning as it involves “a variety of powerful emotions, ranging from curiosity and joy to frustration” (Samat et al., 2022, p. 564). Through game-based learning, students learn to be self-directed and to regulate their emotions while encountering varying scenarios during progressive levelling. These experiences provide students with the skills to manage self-directed learning in the long run.

Another noteworthy point is that learning and gaming can influence and reinforce each other in a positive feedback loop: “What the student learns in class will increase their in-game efficiency and what the student reviews in the game will increase their in-class efficiency” (Richards, 2023, p. 192). Playing the game helps students achieve more success

Week 1

Week 2 – 3

Weeks 2 – 3

Week 4

Week 5

when they interact with similar content outside the game. Likewise, increased knowledge of content outside the game helps students achieve better scores and success in the game.

Methodology

the game helps students achieve more success when they interact with similar content outside the game. Likewise, increased knowledge of content outside the game helps students achieve better scores and success in the game.

Methodology

120 students from both Valentin and Allen’s Primary 2 classes were involved in this research, which was conducted across five weeks.

120 students from both Valentin and Al s Primary 2 classes were involved in this research, which was conducted across 5 .

The research relied primarily on participant observation as a data collection technique. Focused group discussions were also conducted to collect detailed qualitative data of students’ thoughts on their experiences. A diverse pool of students was selected for the discussions, with some who were generally focused in class, and some who were easily distracted.

Implementation (The 5-Week Plan)

Rather than making it a separate module, game-based learning was layered upon the school’s existing scheme of work to augment the learning of note-reading and rhythmic notation. We used the songs “Double Double This This” and “Apple Tree” for the intervention.

Rather than making it a separate module, gamebased learning was layered upon the school’s existing scheme of work to augment the learning of note-reading and rhythmic notation. We used the songs “Double Double This This” and “Apple Tree” for the intervention.

Introduction to staff lines and notes “Do”, “Mi”, “So” using “Double Double This This” song and game

Identifying notes “Do”, “Mi”, “So” and “La” on staff lines using the “Apple Tree” song and game

Gamification

Gamification and game-based learning

Using “Double Double This This” and “Apple Tree” songs to learn about rhythmic notation

Consolidation of learning

Gamification and game-based learning

We conducted our lessons based on the plan above, with minor differences in our execution to observe how our students responded.

Valentin

In Week 1, students learn the song “Double Double This This” through action games and clapping games, and figure out the solfège and rhythmic notation of the song. They then learn about staff lines and how to read staff notation using their own personal “finger staff lines”, and play the song on the resonator bells.

In Weeks 2 and 3, students learn the song ”Apple Tree” through a circle game. They then figure out the notes used in the song using solfège hand signs and finger staff lines. Next, they practise and perform the song on resonator bells. After that, to reinforce the learning of note reading, they play a game on the iPad as part of the game-based learning approach.

The game Staff Dungeon was used, where students play as a knight who tries to escape a dungeon. This idea excited the students.

In the game, students select one of four solfège notes that are generated at random. An audio of the selected note is played while the knight moves in the corresponding direction. If the knight moves in the wrong direction he will step on spikes of fire and lose health points. During the game, treasure chests may appear and these can be collected for extra points.

Image 1: Students learning “Double Double This This” in pairs.

Image 3: Students using finger staff lines to play the iPad game Staff Dungeon.

Image 2: Finger staff lines (“Do”, “Mi”, “So”).

Image 4: Finger staff lines (“Do”, “Mi”, “So”, “La”).

I used the “I do, we do, you do” approach to introduce the game to my students before putting the learning in their hands. First I played it while the students watched. We then played it together, so I could gauge their understanding of how the game works. Once they were ready, the students played by themselves in groups.

Staff Dungeon allowed me to scaffold students’ learning by selecting the notes that are used in the game. This ability to customise offers the possibility of utilising the game for more complex learning of notes that span beyond an octave. Additionally, I can also change the clef.

In Week 4, students reinforce their learning of rhythmic notation.

They view play-along videos that help them get accustomed to the rest, ta and ti-ti rhythmic syllables. They then create their own two-bar rhythms by using words under the same theme (for example, ta and ti-ti would be represented by “grape” and “apple”, or “chair” and “table”). They attempt it once by themselves, then another time in groups to encourage the development of 21st Century

Competencies such as relationship management and social awareness. As a class, we look at one another’s products and try to perform them. Thereafter, using the game Rhythm Galaxy, the pupils go through game-based learning to further practise rhythmic notation.

Images 7, 8 and 9: Students using finger staff lines to play Staff Dungeon.

Image 5: Staff Dungeon (Level 1).

Image 6: Staff Dungeon settings menu.

Image 10: Example of worksheet used for ta, ti-ti , rest creation exercises.

Rhythm Galaxy is a game where players defeat creatures that are blocking their path by selecting the correct rhythm.

Rhythm Galaxy was introduced to students with the same “I do, we do, you do” approach.

Since students requested to continue playing the game even after class, I took the opportunity to extend their learning by encouraging them to play at home as well. I was delighted to receive good responses and positive feedback for the game, and numerous messages from students’ parents sharing images of their high scores. Some parents even shared that they were intrigued by the game and played it together with their child.

In Week 5, various methods were used to consolidate students’ learning. One was to give students a blank staff and ask them to try notating a song that they had learnt. Another was to give them the score of a song that they had learnt before and ask them to figure out the title of the song by reading the notes. Many students were able to complete these tasks.

Images 11, 12 and 13: Messages from the teacher-parent messaging app.

Click here to access the game Rhythm Galaxy

Image 14: The various levels in Rhythm Galaxy.

Image 15: Rhythm Galaxy (Level: ta, ti-ti , rest).

Images 16, 17,and 18: Students attempting the consolidation worksheets.

Image 19: Example of a consolidation worksheet.

Allen

I carried out similar activities with my classes. I have gained much success in their learning and retention of reading staff notation. Many of my students also played the online games and sent me the records of their high scores through ClassDojo. Their parents and I are really proud

of their achievements. To challenge my students further, I used the “Apple Tree” score for a sight singing [RL2] activity, and to my joy and surprise, they could sight-sing the song accurately. Now, when I give them new scores, they treat it like a game to see if they are able to decode them accurately and quickly.

Focused Group Discussions

Valentin conducted focused group discussions with 15 students who went through the five-week plan utilising gamebased learning. They were interviewed in three separate sessions, with five students in each session. Each session lasted approximately 20 minutes. A series of questions was asked and students’ responses were collated.

❶ Did you enjoy the game? Why do you like the game?

❷ Why do you think we play the game?

❸ Did the game help you to remember the notes on the staff lines well? Why is it that you can remember the notes on the staff lines well? How did the game help you remember the notes on the staff lines well?

❹ Any other feedback?

Qualitative data was transcribed from audio recordings, analysed, and organised into three themes frequently mentioned by students: fun, teamwork, and self-directed learning.

Image 22: Students singing “Apple Tree” while showing solfège notes with the finger staff lines.

Images 20 and 21: Messages from the teacher-parent messaging app.

Data Analysis

Many students found game-based learning fun. They were engaged and often asked if they could play the game again. They wanted to do better each time and were motivated by the tiered challenges (“At first it was easy, then it became harder, and harder, and harder...”). We believe that the game allowed students to work within their Zone of Proximal Development, with objectives that were not too difficult or too easy, hence providing a platform for good engagement. Repetition did not bore the students but excited them instead.

We were surprised to hear many students talk about teamwork, listening to one

2 The pairs helped one another and had more time for each member to play.

another, taking turns, and progressing through the game together (“It’s like a teamwork game. When you don’t know, your friends can help.”)(“...like [he] said, teamwork, and also, mentally using our brains and also working together as a team... knowing each other’s strength... and also have fun.”). It is interesting to note that game-based learning can support 21st Century Competencies if implemented in a way to allow so.

Students were placed into groups of pairs, trios, and quartets during the game-based learning sessions. Each type of grouping has advantages and disadvantages as listed in the table below.

3 A good balance of play time and discussion. The iPad was of good size for three to view at once, with the active player preferably in the centre and the other two group members on the left and right.

4 More ongoing discussions were observed, especially when a pupil made a mistake in the game. Group mates would discuss using their finger staff lines and support the pupil actively playing.

There was less discussion regarding note reading. Discussion was not very extensive. Prior to the teacher’s nudging, it was observed that some groups had pupils waiting while their group mate was playing.

No observable disadvantages. There was a good balance of discussion and active play time for each member. Members not actively playing could also view from the side, discuss, and give advice.

The size of the iPad made it difficult for all pupils to gather and view the screen. Some had to view the iPad opposite the player rather than beside the player. This could make note reading from that angle confusing.

Many students said that they were motivated to try again after making mistakes. We believe this is because their mistakes did not have serious consequences and students knew that they could always try again at a pace that was suitable for their learning. Developing a growth mindset and being fine with making mistakes are skills that we want to inculcate in our students, and we are happy to discover that game-based learning can facilitate this. To reiterate Csikszentmihalyi’s (2005) point, children with more success in music are the ones who have greater ability to enjoy musical activities of intrinsic shape, as they demonstrate greater persistence when faced with difficulties because they view them as learning opportunities.

Discussion

What made game-based learning work?

Staff Dungeon and Rhythm Galaxy were selected for game-based learning because they provide tiered challenges that become increasingly difficult as players ascend the levels. For instance, in the higher levels of Staff Dungeon students have to select an input quickly before they get hit by fire. Such timed challenges do not only test for understanding, but also prepare students for sight reading. These games also encourage repetition in an engaging way to assist students in the development of note reading skills. As students were eager to play the games again and again, they had multiple opportunities for spaced repetition, which is an evidence-based learning technique for retaining acquired knowledge in the long-term memory. What’s more, when learning a new song with additional solfège

notes, the game can be played again with previously learnt solfège notes, along with the new ones.

Game-based learning involves more than just the design and selection of appropriate games. How it is introduced and included into the lesson influences the way students acquire new knowledge and achieve learning outcomes.

Additionally, students should have sufficient background knowledge to allow for a greater degree of success when playing the game. Their understanding of the game’s objective is similarly crucial. This ensures less confusion and more fun as they play and learn.

Following the Experience-ConceptApplication model in music learning (STAR, 2020, p.48), we only introduced the games at the Application phase in this project. We wanted to confirm that our students had sufficient experience and understanding of note-reading – the fundamental knowledge necessary to tackle the challenges in the game and to achieve success – first.

Conclusion

Personal Reflections

Game-based learning does not replace anything that we are already doing. Rather, it augments students’ learning experience with greater joy and student agency. In addition, it facilitates the development of 21st Century Competencies while adding a new layer of scaffolding to the learning. As students receive immediate feedback on their input, game-based learning is also self-paced, self-directed, and motivating.

While this was merely a five-week module, the note reading and rhythmic notation skills that students have learnt will continue to be an important aspect of their music learning. These games can be reintroduced again with new settings, and I am sure that my students will be excited to work on new personal best scores.

Importantly, to execute game-based learning successfully as a teaching pedagogy, the teacher should be comfortable with taking on a persona that

plays or learns with students, as opposed to merely instructing them. I felt that a part of the improved student engagement came from my method of delivery of the module. Game-based learning, as a pedagogical strategy in itself, brought about some benefits to the students. However, these benefits were amplified when I modelled the experience myself and participated in the process together with the students. They were excited when I was excited. For instance, when I added a challenge for my pupils to try to beat my high score, many replied, “I’m going to do my best to beat your score.”

Through the process of game-based learning, students play, make mistakes, and try again. A teacher should emulate this idea of play, and be all right with making mistakes too. Modelling this attitude will reinforce the notion of learning through play and enable students to experience authentic game-based learning.

Valentin

Allen

When students feel empowered and engaged in learning, they often take pride in exploring new ideas beyond what they have been asked to do. This is evident in a few of my students who went beyond the five notes that I asked them to focus on in note reading.

By fostering curiosity and a sense of ownership through game-based learning, we encouraged students to find joy in learning that extends beyond the classroom, and which in turn will support them in becoming self-directed learners.

We see opportunities to extend this gamebased learning approach when introducing staff notation within and beyond an octave, chord formation, and melodic patterns. Using playful, progressive activities, we can also scaffold students’ understanding of

References

note values, rhythmic groupings, and pitch relationships.

For instance, at Stage 2, we guide students through reading and writing simple rhythms and pitch patterns by using interactive games to reinforce note recognition and duration.

At Stage 3, students engage with more complex rhythmic patterns and explore diatonic scales and basic harmony, allowing them to experience musical structure in an engaging and memorable way.

All in all, game-based learning can help build fluency in note reading and lay the foundation for a deeper understanding of musical expression and composition, creating a more robust approach to music learning.

∆ Csikszentmihalyi, M., Abuhamdeh, S., & Nakamura, J. (2005). Flow. In A. J. Elliot & C. S. Dweck (Eds.), Handbook of competence and motivation (pp. 598–608). Guilford Publications.

∆ Espinosa, L. E. (2020). Gamification strategies for music educators: An online continuing education course (698) [Masters thesis, Liberty University]. Scholars Crossing: The Institutional Repository of Liberty University. https://digitalcommons.liberty.edu/masters/698

∆ Gomes, C., Figueiredo, M., & Bidarra, J. (2014, March 13–14). Gamification in teaching music: Case study [Conference presentation]. EduRe’14

– International Virtual Conference on Education, Social and Technological Sciences. https://www.researchgate.net/publication/262376655_ Gamification_in_teaching_music_Case_study

∆ Ministry of Education. (2023, January 12). Is gamification of learning the same as game-based learning? Ministry of Education. https://sites.google. com/moe.edu.sg/lg21/guide/what-is-gamification-of-learning

∆ Samat, J., Baharum, A., & Andin, C. (2022). Identifying elements of gamification for reading music notation in music education. Proceedings of the 2022 13th International Conference on Information and Communication Technology Convergence (ICTC), 13(1), 563–567. https://doi.org/10.1109/ ICTC55196.2022.9952727

∆ Sloboda, J. A., & Davidson, J. (1996). The Young Performing Musician. Oxford University Press.

∆ Singapore Teachers’ Academy for the aRts. (2020). Providing a Rich Music Learning Experience. Ministry of Education.

How Do Game-Based Learning and Gamification of Recorder Learning Impact Lesson Effectiveness and Student Engagement?

Introduction

Chng Hui Lin Jacqueline

Kuo Chuan

Presbyterian Primary School

Choy Yong En Carene

South View Primary School

The recorder is one of the melodic instruments suggested for Stage 2. Its affordability, portability, and ease of use allow students to practise at home and take ownership of their musical growth. Yet, learning the recorder has not been without challenges. Students sometimes forget to bring their recorders to school for lessons. They find the learning process challenging as they struggle with breath control and finger coordination. All these result in lower student engagement in the learning process.

To tackle these challenges, we have introduced game-based learning and gamification in our lessons, incorporating rewards, challenges, and progress tracking to improve lesson effectiveness and student engagement. We aim to make recorder lessons enjoyable and memorable and deepen students’ understanding of how to hone their craft so that they can play the recorder accurately, with good breath control and finger coordination. In the process we hope to foster in our students curiosity, resilience, and a love for music learning.

Inquiry Question

How do game-based learning and gamification of recorder learning

impact lesson effectiveness and student engagement?

Methodology

Mixed Methods Action Research

Target Audience

∆ Primary 3 students of mixed abilities

∆ Students do not have prior knowledge of how to play the recorder

Data Collection

∆ Student survey (quantitative)

∆ Questionnaire (qualitative)

∆ Student interviews

Duration

∆ 10 – 13 weeks

∆ A one-hour lesson per week per class

Pedagogical Principles

Student-Centred and Engaging Learning

The use of game elements like rewards and challenges makes learning more enjoyable and student-centred, enhancing motivation and engagement. This interactive approach encourages self-directed learning and a sense of accomplishment as students achieve goals. These potential benefits align with the CCE 2021 Curriculum Frame, which emphasises student engagement and active participation in learning. In this project,

students’ ownership over their progress builds personal accountability, resilience, and perseverance, fostering growth beyond just musical skills.

Fostering Peer Collaboration

This project promotes self-awareness, self-management, and relationship skills by encouraging students to manage their practice, control their breath and finger coordination, and celebrate incremental successes. Group activities allow students to collaborate, share feedback, and support one another. Playing and practising together in a gamified environment enables students to experience teamwork, empathy, and appreciation for diverse strengths and contributions among peers.

Nurturing a Joy of Learning and Lifelong Learning for the Arts

By making learning enjoyable and rewarding, this project aims to help

students associate music with fun and personal achievement, and encourage them to develop lifelong musical skills and an appreciation for the arts.

Game-Based Learning Vs Gamification

Game-based learning emphasises learning through experience. It focuses on learning by keeping students in a state of “flow”, enhancing engagement (Csikszentmihalyi, 1990). Even though rewards and motivation are also present in game-based learning, flow theory explains what happens when we hit that place of “optimal experience” — when one is fully engaged, present and focused. This is different from gamification, which is centred on rewards and motivation through things such as leaderboards and hands-on activities through gamified tasks. Table 1 provides a summary of the differences between the gamification of learning, and gamebased learning.

Gamification

Intent Use game design principles to make learning more engaging

Applicability Can be applied to almost all learning experiences

Ease of Application Can be quickly deployed, in bite-size segments

Challenges Danger of leaning towards extrinsic motivation factors

Game-Based Learning

Use a game to allow students to experience the learning outcome

Usually for specific topics/L0s

Intense effort needed to design and source/build relevant games

Time and resource intensive, game experience may overshadow learning intent

Table 1 Differences between the gamification of learning and gamebased learning. Ministry of Education, Singapore (n.d.).

Overview of Gamification and Game-based Learning Strategies

Learning Station 1: Cotton Ball

Each student is given a cotton ball. Students use gentle breaths to blow the cotton ball from palm to palm in a given time, counting the number of passes they can do. Should the cotton ball fall off, students will restart from zero. Points are awarded according to the number of passes the student obtains.

Learning Station 2: Ping Pong Ball

Each student is given a straw. The objective of the activity is to transport the ping pong ball to the classmate opposite them without dropping the ball. Students count the number of times they successfully move the ping pong ball. This activity can be made more challenging by getting students to blow the ping pong ball along a designated path.

Learning Station 3: Staff Wars

Staff Wars is designed to help students with note reading on different clefs. In this game, a note moves across the stave, and

students identify it by selecting its letter name. If the note is correctly identified, a spaceship will shoot the note. If the answer is incorrect, or if the note reaches the clef before an answer is given, the player loses a life in the game.

Learning Station 4: Decode the Message

Students choose one of three worksheets to decode its messages within a given time. Students have to identify the notes and write their corresponding letter names to decode messages. Points are awarded based on completion and accuracy.

Recorder Karate Program

Recorder Karate Program is a motivational music curriculum designed to teach young students how to play the recorder by incorporating a reward system similar to Taekwondo belt colours. Students earn “belts” (coloured rubber bands) that are tied onto their recorders as they master specific songs, with each belt level representing a new skill or song difficulty. At the end of the program, they will be awarded with a black ribbon that says “I am a Recorder Player” to signify that they have achieved the level expected of a P3 student. This program is an example of gamification.

Student Learning Space (SLS) Package

With self-assessment tools students are able to monitor their own progress and identify areas for improvement. This helps them take greater ownership of their learning journey. Hence SLS, which has gamification features such as experience points, levels, game stories and achievements, was utilised as a platform for this project. In addition, through SLS, students can access resources at their own pace and according to their own progress. This encourages self-directed learning.

The SLS package that we designed includes note reading exercises, recorder exercises, and songs to guide students’ practice. Students earn points and climb up the leaderboard as they complete the tasks.

Curriculum Outline

This is an overview of our lessons in South View Primary School [SVPS] and Kuo Chuan Presbyterian Primary Schools [KCPPS].

Lesson Outline

Week 1 Introduction to the recorder

∆ Brief history of recorder

∆ Rules and expectations for handling the instrument

Weeks 2 – 3 [SVPS] Station activities: Students rotate across different stations to experience different activities as they collaborate to practise note reading and breath control as a group. Group points are recorded as they complete each activity.

[KCPPS] Students go through fun exercises as a class that help them develop the proper breath control needed to play the recorder.

Weeks 4 – 5

Weeks 6 – 13

[Both schools] Students advance to playing simple songs on the recorder as a class.

[Both schools] The SLS gamified lesson package is assigned to students. They earn points as they complete the tasks. Students are provided with written or verbal feedback individually. More common issues are addressed as a class.

[SVPS] Students learn songs with increasing difficulty on the recorder. They increase the number of layers in their learning – singing, rhythmic, and melodic ostinato. Students also compose melodies using the notes B, A and G.

[KCPPS] Students move up ranks in the Recorder Karate Program (Philipak, 2002) by earning “belts”. They are further motivated to earn the completion ribbons for the recorder module.

Data Collected

Survey (Likert 5-point Scale)

The

Survey Questions

Questionnaire

Open-ended Questions

No.

Questions

1 Which part of the gamified activities helped you understand recorder playing better?

2 Were there any parts of the activities that were confusing or difficult to follow? Please describe.

3 In what ways did the gamified activities impact your recorder playing skills?

4 Describe a specific moment during the gamified lesson where you felt you were improving at playing the recorder. What made you feel that way?

5 How do the gamified activities compare to traditional recorder lessons in terms of helping you learn?

6 Did you feel excited to participate during the gamified activities? Can you describe what made you feel that way?

7 Were there times during the lesson when you found it hard to stay focused or motivated? If so, what were they, and why do you think that happened?

8 How did interacting with other students during the gamified activities affect your enjoyment and engagement?

9 What would you change about the gamified activities to make them more fun and engaging?

10 Were there any moments during the gamified lesson when you felt particularly excited or motivated? Please describe.

Survey Findings

All mean scores are above 3.5, indicating that students generally had a positive experience with the recorder lessons that included gamification and game-based learning. This is especially so with regard to clear instructions (Q3), enjoyment of the activities (Q6), and motivation to participate (Q7).

The clarity of instructions (4.44) and enjoyment of the activities (4.5) have the

highest mean ratings, suggesting that these aspects were particularly effective.

While most students were motivated and engaged, the standard deviations for statements about practising on their own (Q10) and engagement (Q8) are higher. Higher standard deviations indicate a higher variability in responses, suggesting that students have different levels of motivation to practise outside of the classroom, as well as engagement levels.

Findings

We coded the responses for Question 1. About 78% of the students indicated in their responses that game-based activities such as Cotton Ball, Ping Pong Ball, Tissue Paper, Staff Wars, and Bubbles helped them understand the concepts better. For example, some responses included “when you gave us really fun activities” and “the cotton ball part as it reminds us to play with gentle breath”. It could be because the activity was challenging yet simple to accomplish, keeping students engaged without feeling frustrated.

For Question 9, respondents shared that they would have liked to have more games and challenging activities as these would help to make lessons more fun and engaging. This could indicate that students were ready to level up for more challenging tasks. Some of the responses in the “Others” segment included “cooperating with my friends and playing the recorder”, “teaching my other family members” and “more time to play each activity”.

Cotton Ball

Staff Wars

Ping Pong Ball

Tissue Paper

Not Applicable

Others Blow Bubbles

For Question 6, 83.5% of the respondents shared that they were excited to participate in the activities. Some indicated that game-based learning and gamification “helped me play the recorder better and easier in a fun way”. Respondents who indicated that they were not excited shared that they did not experience the activity they wanted and were “confused”.

More games

More challenge

Others

No need for change

Figure 1: Student responses to Question 1.

Figure 2: Student responses to Question 6.

Figure 3: Student responses to Question 9.

Observations

∆ Most students were on task and engaged during the activities.

∆ Students were motivated to complete and move on to more challenging activities for the Recorder Karate Program and the SLS Package.

Students’ Works Game-based Learning

∆ Pictures 1 – 3: Station Activities. Students experience different activities to practise note reading and breath control.

∆ Pictures 4 – 5: Activities to reinforce the concept of proper breath control.

Picture 1: Ping Pong Ball Activity 1.

Picture 2: Ping Pong Ball Activity 2.

Picture 3: Cotton Ball Activity.

Picture 4: Breath Control – Blowing on tissue paper.

Picture 5: Breath Control – Blowing bubbles.

Belt Colour

White

Table 2

Songs that students have to complete in order to obtain the respective coloured belts.

Yellow

Orange

Green

Discussion

Gamification of Learning

∆ Picture 6: Points awarded to groups as they complete their tasks.

∆ Table 2 & Picture 7: Students achieving their highest levels for Recorder Karate.

∆ Picture 8: Leaderboard on the SLS Platform.

Table 2 depicts the songs students have to complete in order to obtain the coloured belts in Recorder Karate before they can attain the “I’m a Recorder Player” belt that signifies they have achieved the learning outcomes at the P3 level.

Songs to Complete

“Hot Cross Buns”

“Gently Sleep”, “Au Clair de la Lune”

“Long-legged Sailor”, “Juba”, “Mary Had A Little Lamb”

“When the Saints Go Marching In”

Incorporating game-based learning and gamification in recorder lessons led to an increase in lesson effectiveness and student engagement during our music lessons.

Thus, we find that game-based learning and gamification of learning provide a new avenue for teachers to reach students.

Some problems include sustaining students’ engagement in the long run, the need for differentiated learning for diverse learning styles, and skill retention.

For next year’s lessons, we intend to gather more feedback from students in order to continually refine and enhance the effectiveness of the lessons, and also encourage more collaboration amongst classmates.

One challenge we faced was managing our students’ competitive behaviour. Some were frustrated or felt left out when they did not perform as well as their peers. To mitigate this, we placed strong emphasis on equal participation, ensuring every student had the opportunity to contribute meaningfully regardless of their performance levels.

Another challenge was to accommodate our students’ diverse learning styles. While many of them responded positively to gamified activities as well as gamebased activities, some expressed a preference for more traditional, teachercentred instruction as they found the gamified approach overly stimulating and distracting. This highlights the need for differentiated instructional strategies within the same classroom environment.

Picture 6

Conclusion

In exploring how game-based learning and gamification impact lesson effectiveness and student engagement in recorder learning, this inquiry has revealed significant benefits in adopting these methods for students.

As teachers, we are more aware of the importance of flexibility and differentiation while designing lessons. It is crucial to ensure that every student feels included and supported, regardless of their learning style or pace. By tailoring the activities, we can engage each student more effectively.

Moving forward, we aim to explore a variety of game formats and, wherever possible, personalise the learning experience to better meet individual student needs especially if this will contribute to a more effective learning environment for recorder skills.

The insights gained from this inquiry show that gamification and integrating gamebased elements are beneficial in increasing motivation in pupils. We hope that by promoting exploration and curiosity through playful learning, students will be more motivated and open-minded to learn new things.

Acknowledgements

∆ We would like to extend our heartfelt thanks to the principals of our respective schools, Ms. Ang Mui Khoong of South View Primary School and Mrs. Yee-Toh Gek Khiaw of Kuo Chuan Presbyterian Primary School, for providing us with the opportunity to collaborate on this project.

∆ We also extend our gratitude to the participants, whose engagement and cooperation were essential to the completion of this action research.

References

∆ Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.

∆ Ministry of Education, Singapore (n.d.). What is gamification of learning? MOE Google Sites. https://sites.google.com/moe.edu.sg/ lg21/guide/what-is-gamification-of-learning?authuser=0

∆ Philipak, B. (2002). Recorder Karate: An exciting method to motivate young students. Plank Road Publishing.

Picture 7: Students with their Recorder Karate ribbons.

Picture 8: Leaderboard for recorder package on SLS.

Using Gamification and Blended Learning to Engage Students in Playing the Ukulele

Introduction

Ng Kiat Ee

Stella

Queenstown Secondary School

According to Seaborn and Fels (2015), gamification is a multidisciplinary concept that spans a range of theoretical and empirical knowledge, technological domains and platforms, and which is driven by an array of practical motivations. I have noticed in recent years that students now seem to have shorter attention spans. Moreover they are more interested in experiential activities rather than listening to the teacher as he or she teaches in front of them.

I would like to gain a better understanding of how lower secondary students can be better engaged in learning the ukulele even though some of them may have already learnt the instrument in primary school. In this study I examine how gamification and blended learning can be used to better engage these students in playing the ukulele.

Literature Review

Gamification can be defined as “the use of game design elements in non-game contexts” (Deterding et al., 2011). For Hamari, Koivisto and Sarsa (2014), gamification is “the phenomenon of creating gameful experiences”. It can also be “the process of making activities more game-like” (Werbach, 2014).

As games are known to foster engagement and motivation, the idea of integrating game mechanics and principles to inspire

learners is compelling. After all, the effort and time a student delegates to learning reflects their level of motivation, which is one of the most important predictors of their academic achievement (Linehan et al., 2011). With its proven potential to drive motivation, it is no wonder that gamification is now widely explored and used in education.

Inquiry Questions

∆ What are some strategies that facilitate the learning of ukulele?

∆ How do lower secondary students perform in ukulele?

Methodology

Target Audience

There were 109 Secondary 1 students involved in this research.

Duration

Programme duration: 10 weeks, with a 70-minute lesson each week.

Basic Motivational Model

This research is guided by two key pedagogical principles: the foundational Model of Motivation based on Heckhausen and Heckhausen's (2018) general motivation framework, and the concept of gamification. The understanding of motivation is shaped by these principles.

The foundational motivational model (Figure 1) depicts the factors that influence and drive the progression of motivated behaviour. It draws from the general motivation framework established by Heckhausen and Heckhausen (2018), which lays out the common characteristics of human motivation.

The model suggests that motivated behaviour emerges from the dynamic interaction between an individual and their environment, with potential incentives such as anticipated rewards and situational opportunities playing a key role (Murray, 1938).

A person turns their current goal into action when opportunity arises. When the action is performed, its result shows how well the goal has been achieved. This result is different from the consequences of the action, which can include self or others’ evaluations, rewards, punishments, emotions, or impacts on long-term goals (Heckhausen & Heckhausen, 2018).

The basic model also aligns with Hattie et al.’s (2020) ideas on combining motivation theories, which focus on self, goals, tasks (actions), and costs and benefits (consequences) as key aspects of motivation.

Gamification

Gamification means the application of typical elements of game playing (e.g., point scoring,

SITUATION

competition with others, rules of play) to other areas of activity, typically to encourage engagement. Thus, gamification can be used to motivate students to learn and play the ukulele (MOE Educational Technology Division, Technologies for Learning Branch, 2021).

Some elements of a gamified learning experience are as follows:

∆ Start with an interesting and relatable storyline.

∆ Captivate the students with a storyline or interesting videos to attract their attention.

∆ Prepare a variety of activities and games to meet students’ needs and engage them during lessons.

∆ Relate students’ learning to their past and present.

∆ Match students’ learning abilities with succinct objectives and suitable content.

∆ Include competitive elements by giving students a real-time view of their progress.

∆ Guide students to gain confidence in learning and performing.

∆ Steer students’ learning process with guided tutorials and rubrics.

∆ Give instantaneous feedback that serves as ‘assessment as learning’.

∆ Provide visible progress of students’ learning for self-monitoring.

∆ Excite students with rewards and incentives so that they will want to learn more about the topic.

Figure 1: The basic motivational model.

The principles of gamification can be classified into storytelling, and rewards and incentive (MOE Educational Technology Division, 2021).

1. Storytelling

∆ A storyline which is interesting.

∆ Students will be encouraged to explore further.

2. Rewards and Incentives

∆ Students are rewarded through the leaderboard.

∆ This encourages them to strive to get to the top of the chart.

Curriculum Outline

Pedagogical Strategies

Four main pedagogical strategies were used in this module:

❶ Game-based elements in ClassPoint slides to award students who perform a task well.

❷ Escape Room platform.

❸ Google site for learning.

❹ Peer collaboration (teamwork).

Overview of Tools/Apps

ClassPoint is an app that gamifies the learning experience through the use of leaderboards and a star awarding system. 1 “Lock” refers to the opening of a lock in Escape Room after the students have completed a quiz.

Activities

Lesson 1 ∆ Setting of routines ∆ Pre-survey

∆ Introduction to ClassPoint

∆ History of ukulele

∆ Parts of a ukulele (Lock #1)1

Lesson 2 ∆ How to tune a ukulele (Lock #2) ∆ Chord Craziness (Lock #3)

Lesson 3 ∆ Battle of the Rhythm (group challenges) ∆ C Strumming Pattern (group feedback) ∆ C and F chords (group feedback) (Lock #4)

Lesson 4 ∆ Strumming “Just the Way You are” (Lock #5)

Lessons 5 – 8 ∆ Google Site Weekly Practice Performance – Peer and teacher feedback

Lesson 9 ∆ Assessment

Lesson 10 ∆ Assessment ∆ Post Survey

Escape Room is a platform that requires students to break a code to unlock a room. Students gain a sense of achievement when they manage to break the codes by applying a musical concept that they have learnt.

The Google Site Lost in the Jungle was created to encourage self-directed and collaborative learning. It has a repertoire of

songs as well as performance rubrics and opportunities for peer feedback.

Data Collection

Data was collected via:

❶ Pre-survey

❷ Teacher observations of students

❸ Post-survey

Pre-survey Questions (Forced-choice questions)

Q1 How far do you agree that the use of gamification can make learning more engaging for you in the classroom?

Q2 How far do you agree that gamification can help you better understand and remember academic content?

Q3 How far do you agree that gamification impacts your motivation to participate and excel in class?

Q4 Skills and knowledge gained through gamification are applicable to real-world situations.

Q5 I would prefer teacher talk.

Q6 I would prefer a combination of teacher talk and gamification.

Pre-survey Results*

*The figures above have been rounded to the nearest whole number.

Observations

The students were actively engaged as they wanted to gain points and were eager to break the codes in Escape Room.

Based on Question 1:

∆ 96% of the students agreed and strongly agreed that the use of gamification can make learning more engaging for them in the classroom.

∆ 98% agreed and strongly agreed that gamification can help them better understand and remember academic content.

∆ 94% agreed and strongly agreed that gamification impacts their motivation to participate and excel in class.

∆ 76% of the students dislike teacher talk, with 92% of them preferring a combination of teacher talk and gamification.

Post-survey Questions*

How far do you agree that the use of gamification can make learning more engaging for you in the classroom?

Q2 How far do you agree that gamification can help you better understand and remember academic content?

Q3 How far do you agree that gamification impacts your motivation to participate and excel in class?

The elements of competition, such as leaderboards, make the lessons more engaging.

Q5 The use of the leaderboard showed the progress I made in the weekly lessons.

The use of instantaneous feedback in the ClassPoint activities helped me in my retention of information.

Q7 Frequent feedback from my peers helped me in learning to play the ukulele better.

Q8 Which application motivated you the most in learning to play the ukulele?

Q9 How do you feel after finishing each puzzle and the game as a whole?

Q10

Which part of the lesson was most effective in contributing to your learning?

*Q1 to Q7 are forced-choice questions, Q8 to Q10 are open-ended questions.

Post-survey Results

Observations

Post-survey results showed that 98% of the students agreed and strongly agreed that the use of gamification can make learning more engaging for them in the classroom. This was an increase of 2% from the pre-survey results.

∆ 98% agreed and strongly agreed that the use of gamification can help them to remember the content better. This was similar to the pre-survey results.

∆ 96% agreed and strongly agreed that gamification impacted their motivation to participate and excel in class. This was an increase of 2% from the pre-survey results.

∆ 96% agreed and strongly agreed that the elements of competition, such as leaderboards, make the lessons more engaging.

∆ 91% of the students agreed and strongly agreed that the use of the leaderboard enabled them to track their progress in the weekly lessons.

∆ 95% agreed and strongly agreed that the use of instantaneous feedback in the ClassPoint activities helped them to retain information.

∆ 96% agreed and strongly agreed that frequent feedback from their peers helped in their learning of the ukulele.

Question 8: “Which application motivated you the most in learning to play the ukulele?”

Question 9: “How do you feel after finishing each puzzle and the game as a whole?”

Question 10: “Which part of the lesson was most effective in contributing to your learning?”

Observations

Based on my observations, most of the students were engaged in the lessons. 61% of the students enjoyed doing the Escape Room activity and 49% liked the ClassPoint award system. Students felt that the lessons were gratifying and enjoyable. As per questions 9 and 10, 23% of the students felt a sense of accomplishment and 25% enjoyed the activities.

The 10% of students who enjoyed and felt a sense of accomplishment using the Lost in the Jungle site to play and practise with their friends appreciated its interactive features and how it allowed them to communicate with each other.

One possible reason why some students did not enjoy the activities could be that they found it painful to strum with their fingers on the strings.

Because of this, they were reluctant to practise. However, they still enjoyed the freedom to choose the song they wanted to practise; this offered them agency over what they wanted to learn.

Discussion

It is not always easy to come up with a teaching package that can spark students’ enthusiasm and captivate their attention. There is a need to fine-tune the components of the package that may not have been interesting to the students. One way to do this is through a survey or interviews with the students to find out what they like or do not like about the experience.

On the whole, students enjoy lessons with gamification and blended learning and find them fun and engaging. Lesson flow is smooth as the content and quizzes are all embedded within the same ClassPoint; there is no need to toggle to an external source.

Teaching Challenges

Students do not have their individual Personal Learning Devices (PLDs) at the start of Term 2, and must share iPads during the lessons. Ideally, the lessons should be scheduled in Term 3 when most students have their own PLDs. Another challenge is that some students either do not bring their PLDs, or do not have their devices charged. Lastly, some students

were unable to follow instructions to venture into the Escape Room despite my explanations to them about what was expected.

Conclusion

In conclusion, gamification enhances learning and content retention among students while also increasing their enjoyment and providing them with a sense of accomplishment. It complements blended learning, which supports prompt feedback processes, well. I also find that group motivation plays a significant role as students remain focused when given the autonomy to choose the songs they prefer to practise.

Finally, awarding stars to students via ClassPoint helps boost their motivation to continue with the lessons and tasks. This is particularly beneficial given the generally short attention span of the students.

With these in mind, I would continue to use gamification and blended learning to better engage my students in playing the ukulele.

Acknowledgements

I would like to thank Mr. Sim How Chong (Principal of Queenstown Secondary), RO Khoo Gay Min (HOD Aesthetics & Technology), my music colleague, Mr. Peng Boon Yen, and my students for their support.

References

∆ Deterding, S., Dixon, D., Khaled, R., & Nacke, L. (2011). From Game Design Elements to Gamefulness: Defining Gamification In Proceedings of the 15th International Academic MindTrek Conference: Envisioning future media environments (pp. 9-15).

∆ Hamari, J., Koivisto, J., & Sarsa, H. (2014). Does Gamification Work? – A Literature Review of Empirical Studies on Gamification. In 47th Hawaii International Conference on System Sciences, Hawaii, USA (pp. 3025–3034). doi:10.1109/HICSS.2014.377.

∆ Hattie, J., Hodis, F. A., & Kang, S. H. (2020). Theories of motivation: Integration and ways forward. Contemporary Educational Psychology, 61, 101865.

∆ Linehan, C., Kirman, B., Lawson, S., & Chan, G. (2011). Practical, appropriate, empirically-validated guidelines for designing educational games.

In ACM Annual Conference on Human Factors in Computing Systems, May 7–12 (pp. 1979–1988). Vancouver, Canada.

∆ Heckhausen, J., & Heckhausen, H. (Eds.). (2018). Motivation and Action. Springer.

∆ MOE Educational Technology Division, Technologies for Learning Branch (2021, September 30). What Is Gamification of Learning?

∆ Murray, H. A. (1938). Explorations in Personality . Oxford University Press.

∆ Seaborn, K., & Fels, D. I. (2015). Gamification in theory and action: A survey. International Journal of Human-Computer Studies, 74 , 14-31.

∆ Werbach, K. (2014). (Re)Defining Gamification: A Process Approach. Persuasive 2014. Lecture Notes in Computer Science, 8462 , 266–272.

Playful Processes

Boosting Students’ Interest, Motivation and Confidence in Songwriting

Performing Arts-Based Learning (PABL): Igniting Curiosity and Deepening Understanding of Chinese Orchestra Music

How Can a Teacher Facilitate a Music Lesson with Movement and Drama to Enrich Music Learning?

Off We Go with the Gruffalo: Exploring How Reader’s Theatre Enhances Students’ Emotional Understanding, Story Comprehension, and Creativity in Soundscape Creation

Promoting Playful Collaboration: Enhancing Collaborative Culture and Play-Based Learning among Primary School Music Teachers

Record and Review: Supercharging Students’ Creative

Boosting Students’ Interest, Motivation and Confidence in Songwriting

Introduction

Caryln Loh

Chen Yingqing

Pioneer

Primary School

In recent years, we have incorporated songwriting projects as part of our school’s music curriculum. We implemented a progressive curriculum designed to cultivate students’ songwriting abilities from Primary 4 to Primary 6. The journey began with the use of GarageBand in P4 and progressed to ukulele playing in P5 and P6.

Our research motivation stemmed from observations that P6 students show a lack of interest, motivation, and confidence in songwriting. Many perceive songwriting as an activity reserved for those with formal musical training or innate talent, leading to lower levels of enthusiasm and engagement.

Inquiry Question

To address students’ lack of interest, motivation and confidence, especially in music class, we decided to embark on this inquiry to investigate the following:

How does fostering a playful approach to songwriting, integrating explorations of ukulele, digital music tools, voice, and lyrics, influence students’ interest, motivation and confidence?

Methodology

Target Audience

Three P6 classes comprising a total of 76 participants. One of the classes consists of high-progress learners, and the other two classes consist of low-progress learners.

Data Collection

∆ Questionnaire

∆ Focused group discussion with seven participants

∆ Interview with Vice-Principal

Duration

One semester (30 minutes/week × 20 weeks)

Playful Processes

We believe that “playful learning is more effective when the content is genuinely interesting to the learner” (Baker et al., 2016, p. 11). Hoping to boost students’ interest, motivation and confidence in songwriting, we decided to incorporate the following playful processes in our music lessons.

Exploring Chord Progressions

Our musical journey began with an exploration of chord progressions in pop songs. As the students strummed through various progressions, they listened to how different chord

Pop Songs — Common 4-Chord Progressions

1. I-V-vi-IV C – G – Am – F

2. I-IV-V-IV C – F – G – F

3. I-vi-IV-V C – Am – F – G

4. I-IV-ii-V C – F – Dm – G

5. vi-IV-I-V Am – F – C – G

6. IV-I-ii-V F – C – Dm – G

7. IV-I-V-I F – C – G – C

8. IV-V-I-vi F – G – C – Am

progressions sound. After this auditory exploration, students selected two of their favourite chord progressions to incorporate into their own songs. These would become the foundation for their own musical creations – one to craft a verse, another to shape a catchy chorus. We also analysed pop songs by their favourite artistes and viral hits from social media, such as “Two Days into College” and students were tasked to identify the theme and chord progressions of the song.

The table above is an extract from the students’ booklet. Students were given these chord progression examples to explore as they create their own songs.

Exploring ICT/AI Tools

Students were introduced to musicca. com/chord-player, where they explored different genres such as Pop, Jazz, Blues, Western Classical, Hip Hop, and Rock. They were able to use it to generate loops to experiment with chord progressions beyond those provided by their teacher.

Try playing them and making up your own songs!

This freedom allowed students to select and play progressions that matched their interests and skills, expanding their creativity and musical exploration.

They were also able to translate the progression into ukulele playing. For e.g., Am – E7 – G – D.

Students also used rhymezone.com and openai.com/chatgpt to help them create lyrics. These websites were especially helpful in getting students to generate ideas for their lyrics. With themes from SYF Youth Station such as ‘Celebrate’, ‘Encourage’, ‘Environment’, ‘Family’, ‘Friends’, ‘Gratitude’, ‘Inspire’, ‘Moments’, ‘Places’, and ‘Reflect’, they crafted lyrics that connected with their musical creations.

Exploring Melodies

Students explored chord tones on their ukuleles to help them create melodies by plucking the strings repeatedly or alternating between

two or more strings. Melodies do not need to be complicated. A nice tune can often be created using just two or three notes. The students also built on their P5 ukulele module where they sang and strummed pop songs. These earlier singing experiences inspired them to come up with more melodic ideas for their compositions. We also shared examples from social media such as collaborations with Canadian pop duo Crash Adams to demonstrate how melodies can be improvised by listening to and building upon previous verses.

Exploring Enrichment

We invited a music producer into our classroom to give students first-hand experience in melody creation using loops, recording techniques in a Digital Audio Workstation (DAW), and refining melodies directly within the software. Students also had the chance to record their own melodies in class and experience the recording process for themselves.

Assessment Task

For the assessment task in Semester 1, students had to create a song and perform it by playing on their ukulele and singing it. They could do this alone or with a partner. The song had to have a minimum of eight lines – four lines for the verse, and four lines for the chorus.

Data Collected

Participants’ Survey

At the end of Semester 1, after the songwriting programme, a questionnaire with 23 items was administered to participants to assess their levels of interest, motivation, and confidence. Participants responded using a 5-point Likert scale with options ranging from “Strongly Disagree” to “Strongly Agree”.

To simplify the visual on the graph, we combined the negative responses of “Strongly Disagree” and “Disagree” into

Interest

Q1 I enjoy playing the ukulele.

Q3 I enjoy learning new musical skills (e.g., creating melodies, writing lyrics).

Q4 I am keen to write my own lyrics with some guidance from teachers and online tools (e.g., Rhymezone, Rap Pad, ChatGPT).

Q5 I use digital tools (e.g., Chord-player, ChatGPT) in my songwriting.

Q6 I enjoy creating “hooks” of my own by listening to the backing track and singing to it.

Q7 I enjoy making up my own melody by singing to the ukulele or the backing track.

Q8 I am interested to learn how to write a song.

Q11 I like to work in groups during songwriting because more ideas can be generated.

Q22 I am excited when a singer/songwriter comes to share/teach us about songwriting.

Figures

one group. Similarly, we combined the positive responses of “Strongly Agree” and “Agree” into another group. This helped to streamline the data for ease of representation.

Results from Question 1 and Question 3 indicated a strong student interest in learning music. Participants were enthusiastic about learning an instrument and creating their own songs. They were given an option to purchase the ukulele in P5 and a majority (around 70% of our P5 and P6 cohort) now own a ukulele.

The low mean rating of 0.08 for Question 5 suggested that participants perceived digital tools (e.g., Chordplayer, ChatGPT) as unnecessary for their songwriting process. This could

indicate that they felt confident about their existing musical knowledge and resources, and believed they had the skills and instruments needed to complete the task independently.

A high mean rating of 1.03 for Question 11 indicated that participants felt they were able to generate more ideas when working in groups or pairs as compared to working individually. According to Baker et al. (2014, p.8), “the most common reason for enjoyment in collaborative work was the pleasure of working in groups and the opportunity to experiment with musical instruments”.

When it came to motivation, we saw from the low mean rating of -0.09 in Question 10 that few participants

Motivation

I think songwriting is fun.

Q10 I want to create a new song by myself.

Q12 I want to write a song to express myself.

Q13 I want to write a song that people can relate to.

Q20

I think songwriting can help me build my creativity (in terms of language and music).

Q21 I think songwriting can help me relieve stress.

Q23

Seeing how my friends create their own songs makes me feel confident to create my own song too.

wanted to work alone when creating a song, as evidenced in their response to Question 11 (which had a mean rating of 1.03). This might be attributed to low selfesteem and low confidence in their ability or in themselves. Shyness and the fear of performing in front of others could also have contributed to the rating.

The positive mean ratings in Question 9 (0.46) and Question 20 (0.50) suggested that students generally found songwriting enjoyable and believed it enhanced their creativity. This feedback confirmed that

our playful approach to songwriting was effective in fostering creativity and engagement among students.

Similarly, the positive mean rating for Question 23 (0.47) suggested that the participants were impressed and inspired when they saw their peers create melodious tunes. This made them realise that songwriting was an achievable goal, and motivated them to try their hand at it.

Confidence

Q14

Q15

Q16

Q17

I am confident of playing the ukulele.

I am confident to share my song with the help of my teachers and instructors with my friends.

I am not afraid to make mistakes in my songwriting.

I feel encouraged when my friends like my song.

I am confident that my song will be well-received.

Q18 I am confident that people are able to relate to my song.

Q19 I feel ok even if my song is not well-received.

An equal percentage (about 40%) of the participants were neutral or agreed/ strongly agreed when asked if they were confident about their ukulele playing. Confidence might have been developed when there was competence in ukulele playing. However, 20% of the participants did not feel confident about their playing. One reason for this could be that they were not confident in singing and playing the ukulele at the same time. Those who felt neutral might have been taking a more modest stance, acknowledging that they had more room for growth and recognising the need for additional practice hours to improve further.

A high mean rating of 0.75 for Question 16 confirmed our belief that peer affirmation played a significant role in encouraging the participants, thereby enhancing their confidence. They felt that their efforts were recognised and validated by their peers.

In general, low positive mean ratings for Questions 14, 15, 17, and 18 suggested that songwriting involved a significant level of risk-taking; it took a lot of courage for the participants to perform in front of peers. This has also been observed in other studies: “The thing that they’re most terrified of is looking vulnerable in front of their peer group” (Barret et al., 2015, p. 45). This vulnerability could negatively impact their confidence.

For Question 19, 50% of the participants indicated that they felt all right even if their song was not well-received. This showed resilience in the participants, as they were not afraid to present their song in front of their peers no matter what the outcome was.

Focused Group Discussions

Focused Group Discussions were conducted to delve deeper into the participants’ sentiments on the process of songwriting.

The discussions were conducted with seven participants who had responded with strong negative opinions in the questionnaire. We wanted to find out what their struggles were and how to support this group of students. Their responses have been categorised into three main themes.

Theme 1:

Risk-taking and Performance Anxiety

The fear of being judged by peers could hinder performance.

“Yes, there’s some amount of risking. I have to perform in front of the class.”

“I have stage fright, so sometimes I am scared to present to the whole class.”

“If I sing in front of the class, they will start making fun of me. But I don’t care about it.”

Participants experienced fear and anxiety when performing in front of an audience, indicating a need for a more supportive and safer environment.

“But I don’t feel so scared after performing because my friends encouraged me.”

Some participants mentioned that performing their song felt less intimidating when their peers were supportive during class.

Theme 2: Challenges in Songwriting

The process of writing lyrics was perceived as challenging. This might have discouraged some participants from engaging fully in songwriting activities. The following are some comments expressed by the participants.

“I wanted to use ChatGPT but my mum says it will not be original, so I write my own. I am happy with the results. I feel a sense of relief.”

“If I do it well, I don’t need to worry about it. It was like doing something hard (difficult). Making lyrics is hard for me. (I) didn’t want to mess up the song. (I) made a lot of edits to make it perfect”.

Participants expressed a desire for creative expression through songwriting, indicating a strong motivation to share their talents. However, they also experienced stress, primarily self-imposed, due to their desire to perform at their best.

“I don’t know how to write both lyrics and melody. My partner and I thought it’s very hard.” “… because non-talented ones don’t know how to write song.”

“After performing in front of the class, I don’t feel good. The song was not that good. One member is absent. Could be better if member is not absent.”

Theme 3:

Personal Success in Song Creation

Participants felt a sense of pride and accomplishment when they successfully created and performed their own songs, highlighting the importance of personal achievement.

“I feel proud of my accomplishment. People can hear what you are writing and singing.”

“We worked very hard for this.”

This showed a sense of motivation in their songwriting and high satisfaction in their accomplishments.

Interview with the Vice-Principal

Our last source of data was an interview with our Vice-Principal to seek his views regarding the participants’ level of confidence. When asked about his observations of our students from the songwriting programme, he remarked, “I see a lot of creativity in them, from their products. I could see students’ voices in terms of expression in the arts – always something about individual expression and voice.” He observed confidence in students through their outcomes: “I would think that they are confident from the outcomes I see – like singing, being comfortable

Students’ Works

Click to view Student A’s songs and lyrics.

LYRICS BY Student A

with each other and collaborating. There’re a lot of positive spin-offs and I could see a certain sense of pride.” He also observed that the programme was enjoyable: “Playfulness... I think there’s a lot of fun involved.”

Discussion

Our findings revealed several key points regarding participants’ experiences in the programme:

Interest and Engagement

Participants showed interest in learning music and songwriting, demonstrating strong engagement in the programme. The VicePrincipal also noted an atmosphere of enjoyment and playfulness during the lessons.

Creative Expression

Participants displayed creative expression through songwriting. Some students appreciated the efficiency of using ICT/AI tools, others felt that relying on these tools compromised their originality. They preferred to craft their ideas from scratch, valuing the authenticity that comes from their own creation over AI-assisted outputs. It was important to offer flexibility,

Click to view Student B’s songs and lyrics.

LYRICS BY Student B

giving students the freedom to choose the method that best aligned with their creative preferences.

Collaboration

There was a clear preference for group work over individual tasks. While solo songwriting was appealing, collaboration was more popular as participants were able to generate more ideas when working in groups.

Confidence Development

Peer affirmation played a significant role in boosting participants’ confidence. Though songwriting initially felt intimidating, participants reported feeling less fearful after completing the process. Students’ self-perceived confidence levels were moderate, but the Vice-Principal observed notable confidence during performances, collaborative efforts, and interactions.

Performance Anxiety and Growth

Performance anxiety and risk-taking challenges were present, but supportive peers helped alleviate these fears.

SONG BY Student A

SONG BY Student B

Nervousness was commonly reported, but participants saw performances as opportunities for personal growth.

Emotional Impact and Accomplishments

Participants experienced a sense of pride and accomplishment in their achievements, particularly after completing the assessment tasks. This positive emotional response was also highlighted by the Vice-Principal as a key outcome of the programme.

Recommendations

Encourage group songwriting

Teachers could encourage group songwriting to enhance motivation and enjoyment so that students do not feel daunted by the task.

Provide a supportive and safe environment

Teachers could create a supportive and safe environment to help reduce performance anxiety by encouraging and celebrating all efforts in the creative process and performances. Peer feedback could be incorporated during class performance. This would help boost their students’ confidence as performers and songwriters while fostering empathy as both audience and friends.

Learning with technology

Teachers could provide students with ICT/AI tools for songwriting which can significantly streamline the creative process especially in lyric writing, allowing them to generate ideas faster.

Conclusion

From the findings in this study, we believe that our P6 songwriting module had an overall positive impact on our students’ confidence. For example, we observed that there was generally a greater willingness to try new things and acquire new skills. Students learnt to embrace fresh perspectives and demonstrate empathy through encouragement and peer support during presentations. Through the songwriting programme, our school hoped to develop one of the 21st Century Competencies in the domain of Communication, Collaboration and Information Skills, where students are able to communicate ideas and feelings clearly and engage in effective collaboration with others.

These playful songwriting activities have been instrumental in helping our students step out of their comfort zones and take risks. As a result, their self-confidence has been enhanced. We believe these experiences will contribute to their personal growth and prepare them for future challenges.

Acknowledgements

We extend our heartfelt gratitude to our School Leaders and staff for their unwavering support of the songwriting programme at Pioneer Primary School and to the students for their active participation.

References

∆ Baker, M., Krechevsky, M., Ertel, K., Ryan, J., Wilson, D. & Mardell, B. (2016). Playful participatory research: An emerging methodology for developing a pedagogy of play. Project Zero.

∆ Baker, W. J., & Harvey, G. (2014). The collaborative learning behaviours of middle primary school students in a classroom music creation activity. Australian Journal of Music Education, 1 , 3–14.

∆ Barrett, M. S., & Bond, N. (2015). Connecting through music: The contribution of a music programme to fostering positive youth development. Research Studies in Music Education, 37 (1), 37–54. https://doi.org/10.1177/1321103X14560320

Performing Arts-Based Learning (PABL): Igniting Curiosity and Deepening Understanding of Chinese Orchestra Music

Introduction

Ng Ying Hui

Isaac Cheung Beatty Secondary School

D-10 months

D-8 months

D-2 to 3 months

D-1 to 2 weeks

D-Day

D+1 to 2 weeks

In our critical inquiry (CI) project, we examined the effectiveness of the music lesson activities that we designed for the pre-concert phase, which took place one to two weeks before “SCOtify”,

a Performing Arts-Based Learning (PABL) experience by the Singapore Chinese Orchestra (SCO) (Figure 1). Our objective was to evaluate how these activities ignited students’ curiosity and deepened their understanding of Chinese Orchestra (CO) music.

The PABL Process @ Beatty Secondary School

∆ Discussion and selection of PABL choice with School Leaders (rank top 3)

∆ Release of PABL allocation results

∆ Review and revise sequence of Music SOW to integrate PABL effectively

∆ Administrative work1

∆ Plan, review and adapt PABL T&L resource package to suit our students’ profiles

∆ Administrative work2

∆ PRE-CONCERT LESSON SCAFFOLDING

∆ Concert etiquette

∆ PABL concert

∆ Administrative work3

∆ Post-concert lesson scaffolding4

∆ Teachers’ reflections and review session

Figure 1: Outline of PABL process at Beatty Secondary.

“D” refers to the reference point for the planned event, with the number indicating the time interval in months or weeks before or after the PABL concert (e.g., D-10 months means 10 months before PABL concert.) D-Day is the day of the PABL concert itself.

1 Ticketing, staff deployment, bus booking, RAMS, etc.

2 Plan schedule, seating plan for classes, teachers’ & students’ briefing

3 Tracking of attendance, collection of survey data

4 Feedback, review, connection to theories learned

We hoped to achieve the following objectives:

∆ Provide teachers, especially those new to PABL, with a greater understanding of the planning and implementation process, particularly how pre-concert lesson activities may impact students’ learning experiences.

∆ Offer teachers innovative ideas for adapting teaching and learning resources to better meet the unique needs and profiles of their students.

∆ Reflect on our own teaching practices to make improvements and encourage conversations among colleagues to generate new strategies and enrich the PABL experience.

Inquiry Question

∆ How do pre-concert music lesson activities spark students’ curiosity and deepen their understanding of CO music?

∆ Which lesson activity is the most effective in achieving these outcomes?

Pedagogical Principles

In designing our music lesson activities, we drew on three key pedagogical principles to guide our planning and implementation.

❶ ‘The Four Stages of Curiosity’ by Terrell Heicks (2019)

At the Pre-Concert Phase, we aimed to move students from a basic understanding of CO music (‘Process’ stage) to a deeper level of interest (‘Content’ stage) through engaging activities and by introducing the intriguing aspects of CO music.

At the Post-Concert Phase, we strove to advance students to the ‘Transfer’ or ‘Self’ stage, and encourage them to apply their CO music knowledge to new contexts and pursue independent learning.

Figure 2

Four Stages of Curiosity by Terrell Heicks mapped to different phases of the PABL process.

❷ SUCCESs principles from ‘Made to Stick’ by Chip Heath and Dan Heath (2007)

We contextualised the six principles above to our music lessons:

S – Simplify: We broke down complex music concepts into key ideas.

U – Unexpected: We used surprising elements to spark curiosity.

C – Concrete: We provided sensory experiences to make ideas more tangible.

C – Credible: We relied on trustworthy resources.

E – Emotional: We encouraged students to share their experiences of CO music.

S – Storytelling: We used stories to make the ideas relatable and engaging.

❸ World Music Pedagogy by Patricia Shehan Campbell (2018)

Pre-Concert Phase: We focused on the ‘Attentive Listening’ dimension, guiding students to notice specific CO music elements through performance videos.

Post-Concert Phase: We encouraged students to explore the ‘Creating World Music’ dimension by arranging their own version of “Rasa Sayang” using at least one CO instrument. This was done in GarageBand on the iPad.

Creating World Music

Inventing extensions, improvisations, and compositions in the style of the musical model

Enactive Listening

Performing with (and eventually without) the recording

Engaged Listening

Participatory musicking; active participation while listening

Attentive Listening

Focused listening, directed by questions

Integrating World Music

Examining cultural connections, contexts, and meanings

Figure 3

SUCCESs principles by Chip and Dan

Figure 4

World Music Pedagogy.

Curriculum Outline

We designed and implemented seven preconcert lesson activities.

❶ Picture Memory Game

We displayed an image of SCO’s poster (Figure 5) for 30 seconds. Students had the chance to study it for a while before we removed the image. After that we posed a series of questions to test their memory and attention to detail.

Rationale:

∆ Simple, engaging warm-up activity.

∆ Activate students’ prior knowledge of Western orchestra instruments.

∆ Encourage students to be observant towards the characteristics of CO instruments.

2. Battling video between Chinese orchestra and Western orchestra

❷ Battling video between Chinese orchestra & Western orchestra

The second lesson activity involved a class discussion using the thinking routine, “Hear, Think, Wonder”. This was based on a ‘battle’ video featuring a Western orchestra versus a Chinese orchestra from the musical film Our Shining Days (Figure 6).

Rationale:

∆ Capture students’ interest and attention with an exciting ‘battle’ concept.

∆ Help students make meaningful connections to what they learned about Western orchestra in Semester 1.

∆ Spark curiosity and prompt inquiry into the differences and similarities between Western and Chinese orchestra instruments.

Figure 5

Picture Memory Game and examples of questions asked.

Figure 6 Battling video activity with “Hear, Think, Wonder” thinking routine.

Battling Video

1. Memory challenge game

∆ Encourage Attentive Listening: where we guide our students to make careful observations and thoughtful music interpretations as they watch the video.

❸ Self-directed Learning Task

In the third lesson activity, students engaged in a Self-Directed Learning task, exploring an online resource about CO music and instruments. They complemented their exploration by using Cornell notes (Pauk, 2010). to systematically organise their findings.

Rationale:

∆ Concrete Details: Systematic format for condensing learning and organising notes.

∆ Develop a greater understanding of the Four Pillars (i.e., bowed, plucked, woodwind and percussion instruments) of the CO.

∆ Students explore the resources at their own pace, promoting a greater sense of ownership and engagement over the learning process.

❹ CO instruments display and hands-on experience

In this activity, students had the opportunity to interact with a few CO instruments. They could see and touch each instrument, experiment with producing sounds, and record their observations. Additionally, they were encouraged to pen down their questions

3. Self-directed online exploration on CO instruments and Cornell note taking

Figure 7

Sample of Cornell notes and Online CO Learning Resource

Online CO Learning Resource

about the instruments and their unique characteristics.

Rationale:

∆ This activity surprised them as most students had never had any opportunity to interact with CO instruments. It made the experience more memorable for them, increasing their motivation and interest to learn more about CO music.

∆ Sensory and experiential hands-on explorations helped bridge theory with practice, enabling students to better visualise and grasp the concepts of how each instrument works.

∆ Experimentation and the use of the “making thinking visible” (MTV) routine also encouraged students to think critically about the roles of CO instruments, promoting deeper learning.

❺ CO students’ performance showcase

In the fifth activity, selected students from the CO CCA introduced their instruments to their classmates and delivered a brief performance, showcasing their skills.

Figure 9

Snapshots of CO students performing to their classmates.

Figure 8: Snapshots of CO instruments display and hands-on experience with an example of a students’ reflection on the activity.

6. Quizizz on CO instruments classifcation

Rationale:

∆ Having their peers perform and share their experiences created an emotional connection. Students felt they could relate to the music and were inspired when their peers shared personal stories about their CO journey and showcased their talents and passions.

❻ Quizizz activity on CO instruments

The sixth activity was a Quizizz activity on the classification of CO instruments.

Figure 10: Screenshot of Quizizz and a student attempting Quizizz.

Figure 11: Screenshot of SLS Pre-Concert CO Lesson Package

7. SLS Pre-concert lesson package

Rationale:

∆ By turning learning into a game, Quizizz increased student motivation and participation, making the lesson more enjoyable.

∆ It also served as a useful assessment tool for both students and teachers, where immediate feedback was provided to gauge students’ understanding.

∆ The quiz format also helped reinforce key concepts and details about CO instruments, aiding in knowledge retention and comprehension.

❼ SLS Pre-concert CO Lesson Package

The final activity was an SLS Pre-Concert CO lesson package that we assigned to students as homework one week before the SCO Concert (Figure 11).

Rationale:

∆ By using credible resources from SCO, we hoped to make the learning material relatable and relevant.

∆ The Flipped Classroom approach allowed students to engage with content independently to compensate for any missed lessons.

∆ The SLS activity also helped consolidate and reinforce concepts covered in class, ensuring a solid grasp of CO knowledge prior to the concert.

Methodology

To assess the effectiveness of our music lesson activities, we conducted qualitative and quantitative data analysis, including focus group discussion (FGD) sessions with students of various profiles, and surveys with the entire Secondary 2 cohort. We included our own observations and reflections as well.

We divided the Secondary 2 classes into two groups: Group A and Group B. Due to time constraints and missed lessons, classes in Group A could only participate in four activities, whereas Group B was able to experience all seven activities (Figure 12).

Figure 12: Sample size and profile of the Secondary 2 cohort. Data Collected & Discussion

We surveyed both groups to find out which activities sparked their curiosity towards CO music, CO instruments, and the SCO. Participants were asked to identify which activities intrigued them the most.

Similarly, we inquired about the activities that deepened their understanding and

appreciation towards CO music, CO instruments, and the SCO. Students were encouraged to list all the activities that contributed to this effect, and then select the one that had the greatest impact on them.

Below is a breakdown of the collected data.

Group A (4 Activities) – Sparking Curiosity

Which music activities sparked my curiosity towards CO Music/Instruments/SCO?

SLS pre-concert lesson package in Week 3

Self-directed online exploration on CO Instruments + Cornell note taking

Battling video between Chinese orchestra and Western orchestra

SLS pre-concert lesson package in Week 3

Self-directed online exploration on CO Instruments + Cornell note taking Quizizz on instruments classification

Figure 13

Survey results on “Sparking Curiosity” for Group A.

Group B (7 Activities) – Sparking Curiosity

Which music activities sparked my curiosity towards CO Music/Instruments/SCO?

Self-directed online exploration on CO Instruments + Cornell note taking

Quizizz on instruments classification

Memory challenge game

SLS pre-concert lesson package in Week 3

My classmate’s CO performance showcase

CO Instruments display and experience

Battling video between Chinese orchestra and Western orchestra

Pick ONE activity that sparked my curiosity the MOST.

Figure 14

Survey results on “Sparking Curiosity” for Group B 2%

The results from both groups indicate that the Battling Video activity was the most effective in igniting students’ curiosity about CO. It garnered the highest number of votes and was consistently recognised as the most impactful activity for generating interest.

Battling video between Chinese orchestra and Western orchestra

Self-directed online exploration on CO Instruments + Cornell note taking Quizizz on instruments classification

CO Instruments display and experience

My classmate’s CO performance showcase Memory challenge game

None

The main reasons students were drawn to this activity can be summarised into a few key ideas:

∆ Intense and Exciting Experience: ↗ Enjoyable and memorable ‘battle’ format.

↗ Examples of quotes provided by students in the survey: “cool”, “exciting”, “fun”.

∆ Interesting Comparison of Instruments:

↗ Fascinated by similarities and differences between Chinese and Western instruments.

↗ Examples of quotes provided by students in the survey: “I am amazed by the differences between Chinese Orchestra and Western Orchestra”.

∆ Educational and Engaging:

↗ Provided insight into how different instruments can produce unique sounds and how they compare.

↗ Examples of quotes provided by students in the survey: “Get to know the differences between Western Orchestra and Chinese Orchestra such as the sounds they make and also how they are played”; “The Chinese instruments produce interesting sounds and they sound just as good when playing western music”.

Group A (4 Activities) – Deepening Understanding & Appreciation

Which music activities enhanced my understanding and appreciation of CO Music/Instruments/SCO?

SLS pre-concert lesson package in Week 3

Self-directed online exploration on CO Instruments + Cornell note taking

Quizizz on instruments classification

Battling video between Chinese orchestra and Western orchestra

Figure 15

Survey results on “Deepening Understanding and Appreciation” for Group A

Pick ONE activity that was the MOST HELPFUL in enhancing my understanding and appreciation of CO Music/Instruments/SCO.

Battling video between Chinese orchestra and Western orchestra

SLS pre-concert lesson package in Week 3

Self-directed online exploration on CO Instruments + Cornell note taking Quizizz on instruments classification

Group B (7 Activities) – Deepening Understanding & Appreciation

Which music activities enhanced my understanding and appreciation of CO Music/Instruments/SCO?

Self-directed online exploration on CO Instruments + Cornell note taking

Quizizz on instruments classification

Memory challenge game

SLS pre-concert lesson package in Week 3

My classmate’s CO performance showcase

CO Instruments display and experience

Battling video between Chinese orchestra and western orchestra

Figure 16

Survey results on “Deepening Understanding and Appreciation” for Group B

Pick ONE activity that was the MOST HELPFUL in enhancing my understanding and appreciation of CO Music/Instruments/SCO.

Battling video between Chinese orchestra and Western orchestra

Self-directed online exploration on CO Instruments + Cornell note taking Quizizz on instruments classification

SLS pre-concert lesson package in Week 3

CO Instruments display and experience

My classmate’s CO performance showcase

Memory challenge game

None

The survey results indicate that the activities “Battling Video” and “CO Instruments Display and Experience” were the most popular choices among participants. This suggests that both activities were effective in enhancing understanding and appreciation of Chinese Orchestra. However, the CO Instruments Display and Experience activity had a slightly greater overall impact.

The main reasons students were drawn to the CO Instruments Display and Experience activity can be summarised as:

∆ Engagement:

↗ Sensory experience made learning enjoyable and relatable.

↗ Examples of quotes provided by students in the survey: “I like seeing the different instruments and trying them out”; “Seeing it and experiencing it live gives me a better learning experience”.

∆ Better Understanding of Instruments:

↗ Clearer understanding and appreciation through the interactive display of the instrument.

↗ Examples of quotes provided by students in the survey: “I like the display as I can see instruments up close, and hear what kind of sounds they make depending on their size/shape”; “I get to better understand and appreciate how CO instruments work and sound”.

Other noteworthy observations and findings that we gathered from our focused group discussion:

❶ Self-directed exploration activity did not appeal to students

∆ “Not many peers bothered to explore the website or take proper notes.”

∆ “Simply copying notes didn’t motivate me to learn more.”

❷ Mixed reactions to Quizizz activity

∆ “Quizizz helped me learn about the names of instruments but didn’t increase my interest in Chinese Orchestral Music.”

∆ “I’m a visual learner and prefer videos over interactive quizzes.”

❸ Hands-on and interactive activities enhance interest and understanding of Chinese Orchestra Music

∆ Hands-On Learning: Provides opportunities for students to play CO instruments and appreciate the hard work involved in practise and performance.

∆ Variety and Interaction: Features different CO instruments during lessons, allowing students to interact with and learn from their peers.

∆ School Concerts and Learning Journey: Increase the frequency of school concerts and learning journeys as part of the arts programme.

Limitations and Challenges

When carrying out Pre-Concert lesson activities, we faced the following challenges:

∆ Limited Time: With less than two weeks before the concert to conduct lessons, some classes only had one lesson, thus not all lesson activities were attempted.

∆ Low Homework Completion Rate: The completion rate for the SLS assignment was below 50%. Students often submitted low-quality work, with many rushing through assignments without putting in effort.

∆ Lack of Confident Performers: Not all classes have CO students who feel confident enough to perform in front of peers.

∆ iPad Distractions: The effectiveness of lesson activities was often hindered by distractions from unrelated apps and websites on the iPads.

∆ Disruptions because of Mobile Guardian

(MG) Issues: Lesson progress and music work were disrupted (e.g., online notes and music arrangement works were removed from device).

In terms of our survey design and implementation, we also identified some areas for improvement:

∆ Lack of a “No Interest” Option: Our survey did not include an option for students to indicate if none of the activities sparked their interest or knowledge.

∆ Discrepancy in Survey Responses: Some students in Group B selected activities that they did not participate in as part of their responses.

∆ Absence of Feedback on Least Preferred Activities: Students were not asked to provide reasons for their least preferred activities.

Recommendations

Here are some recommendations for improvement based on the challenges we faced:

∆ Minimise homework assignments or break them down into smaller, more manageable tasks.

∆ Facilitate and scaffold self-directed explorations more meaningfully so that students can see more relevance in what they are learning.

∆ Design survey questions that also gather feedback on their least preferred activities.

∆ Encourage students to cultivate the habit of backing up their completed work on their devices.

∆ Encourage students to ask questions and provide unstructured time for them to experiment with, discuss, and explore their ideas.

Conclusion

Although the Battling Video lesson activity received the highest praise in student feedback surveys, we believe that the comprehensive experience provided by all the pre-concert activities worked together to foster both curiosity and a deeper understanding of CO music. Each activity contributed uniquely to students’ engagement, offering varied entry points into the musical material.

This holistic approach not only deepened students’ appreciation of the PABL experience but also connected CO music to broader cultural contexts, making the learning experience more relevant and meaningful.

The diverse range of student responses underscores the necessity for differentiated instruction in lesson planning. To accommodate varying levels of musical knowledge and interest, activities should incorporate a variety of learning strategies – hands-on, visual, auditory, and analytical – to keep students engaged and help them deepen their understanding of the materials.

For future iterations of the PABL programme, we recommend more flexible lesson designs that offer multiple pathways for exploration and questioning, while maintaining a collaborative learning environment. This approach will better support student engagement and strengthen their appreciation and understanding of the PABL experience.

References

∆ Heick, T. (2019, October 7). The 4 stages of curiosity. TeachThought. https://www.teachthought.com/learning/4-stages-of-curiosity/

∆ Heath, C., & Heath, D. (2007). Made to stick: Why some ideas survive and others die. Random House.

∆ P. S. Campbell. (2018) Music, Education, and Diversity: Bridging Cultures and Communities. New York: Teachers College Press.

∆ Pauk, Walter; Owens, Ross J. Q. (2010). How to Study in College (10 ed.). Boston, MA: Wadsworth. ISBN 978-1-4390-8446-5. Chapter 10: “The Cornell System: Take Effective Notes”, pp. 235-277

How Can a Teacher Facilitate a Music Lesson with Movement and Drama to Enrich Music Learning?

Introduction

Chan Pei Gee

Anthony’s Canossian Primary School

I wanted to explore effective teaching strategies using an interdisciplinary approach that combines English and Music. My goal was to apply these methods in my classroom to deepen student engagement, foster crossdisciplinary connections, and create a more playful and inclusive learning environment.

This goal aligns with my broader commitment to support student-centred learning through innovative, integrative approaches. Over a series of lessons, I observed Mr. Paul Grosse, an Orff pedagogue, teaching Primary 2 students. The focus of my observations was how he incorporated drama and movement to enrich musical learning. I had the opportunity to observe him teaching a class, followed by a pedagogical debrief. I also had the opportunity to co-teach with him. After that, I applied similar strategies and activities in my teaching and made observations: Was I able to effectively engage the students and valueadd to their learning in the same way Mr. Grosse had done for his students?

For the purpose of this study, enrichment of a student’s musical learning refers to the active participation and engagement of the students in the learning of music.

Literature Review

Research increasingly supports the use of interdisciplinary and embodied learning approaches in education, showing that they

can enhance student engagement, creativity, and cognitive development. Ito and Nakayama (2014) found that combining subjects like home economics, art, and music fosters students’ sensibility and creativity. Kumar and Sharma (2023) showed how observation can be a key method in educational research, providing insight into classroom dynamics. Denac (2022) provided examples of and possibilities for interdisciplinary planning that integrates musical and language activities. Del Barrio and Arús (2024) highlighted the advantages of combining music and movement, noting that these embodied activities deepen students’ learning and promote an inclusive musical education.

Methodology

Target Audience

∆ 23 P2 students

∆ Mixed ability

Data Collection

Teacher observations and video recording of sessions

A series of teaching and co-teaching sessions with Mr. Grosse was organised for the P2 music teachers to guide them to infuse drama and movement into their lessons. The observation method involves watching and describing a subject’s behavior to gain insights. It

is the technique of careful observation until patterns or understandings emerge. Pattern observations and themes include both teaching and student reactions (Ankit, 2023). Co-teaching sessions were followed by a feedback session with Mr. Grosse. Videos of the sessions were taken to allow for closer observation and analysis of the lessons for themes and learning points.

Duration

∆ Six weeks (Observation and coteaching sessions with Mr. Grosse)

∆ Four weeks (Refinement and rehearsals for the showcase)

∆ Five weeks (Application and reflection of strategies learnt)

Pedagogical Framework

Interdisciplinary Framework

This project is an interdisciplinary collaboration between the English and Music departments. We wanted to foster a more integrated and holistic approach to learning, to promote cross-disciplinary collaboration, and to equip learners with a well-rounded perspective. I worked with the English Department to put together music, movement, drama and visual elements into a lesson package. The lessons would culminate in a showcase of the students’ learning during the school’s 145th anniversary celebrations.

Process

Term 2: Week 1 & Week 2

Students were exposed to the words, rhythm and intonation of the words in the speech piece “Firecrackers” arranged by Mr. Grosse. Students explored the parameters of music with drama and movement activities.

Term 2: Week 3 & Week

Students were exposed to the words, rhythm and intonation of “St. Magdalene’s Bread”, a song written by the P2 students. Students explored the parameters of music with drama and movement activities.

Term

2: Week 5 & Week 6

Mr. Grosse led singing activities with the students to prepare them to sing “St. Magdalene’s Bread”. He also used drama and movement exercises to increase their sensitivity to musical nuances. Additionally, he incorporated drama activities to help students practise the speech piece “Firecrackers”, keeping them engaged while developing their expressive skills.

Term 2: Weeks 7 – 10

Students refined their performance by rehearsing for the showcase. They practised enunciating the words clearly and rhythmically, and the body percussion that accompanied the piece. They rehearsed as a cohort as it was a cohort showcase.

Term 3: Weeks 1 – 5

Adopted the strategies learnt in the observations of Mr. Grosse during his lessons with the students.

Observations

❶ Using drama and movement to ensure seamless flow of the lesson

It was amazing to observe how the flow of the lesson played out. Deliberate and skilful inclusion of movements between activities made the lesson flow seamless. As the movements were intentionally crafted, the students were always engaged. The skilful flow of the lesson also meant that there was never a moment where students were disengaged from the lesson.

Observation 1: Lesson flow was achieved with the use of gestures Gestures were used to give direction, making the instructions clear and adding a visual element to the learning process. Visual cues gave good support to auditory learning, and catered to different learning styles.

Observation 2: Using drama and movement as transitions Between activities, Mr. Grosse would sometimes incorporate a short movement activity related to the learning objectives so that one lesson activity would naturally flow to the next. Filler activities woven into the lesson ensured that there was no interruption to the flow of learning.

❷ Igniting imagination

At first, I did not understand why we were doing so many drama activities, then it hit me! It was to lay the foundation for good sound when the students translate the details of their movements into sound –in the most fun way possible! The more vivid the imagination, the more detailed the movements. The more detailed the movements, the more nuanced the music-making.

Observation 1: Storytelling

Mr. Grosse told a story that skilfully wove in the words from a speech piece that was to be taught in that lesson. This helped the students understand the context of the speech piece. The story also included actions that defined the characters in the story, creating an immersive experience for the students.

Active learning was taking place as the students engaged in imaginative play through movements. Mr. Grosse was

building up their content knowledge towards the learning of the speech piece.

Observation 2: Staying focused on musical parameters

My strength is in drama and my focus, very naturally, became centred on the dramatisation of the story. However, when I compared the video of how I taught with the video of how Mr. Grosse taught, I realised that his focus was always on the musical elements that were presented alongside the story. I felt that for him, this awareness as a music teacher was paramount. After all, this is a music lesson. If we do not always keep the musical parameters that we want to teach in mind, we will be distracted, and the lesson will lose its focus.

❸ Activating the schema with drama activities

Observation 1: Activating the schema with a greeting

With a simple greeting, Mr. Grosse skilfully led the students to say, “Good Morning Mr. Grosse!” in different styles (e.g., shyly, cheerfully, sternly) with accompanying facial expressions and movements. The greeting became a lesson in rhythm and expression, sparking the students’ interest and activating the cognitive structure for musical learning.

Observation 2: Activating the schema with dramatisation

The purpose of a follow-up drama activity I did with the students was to build up the vocabulary that would appear in the speech piece, to teach them to say the words in an expressive manner and to heighten the students’ awareness of the intonation and rhythmic qualities of the words through dramatisation. I realised

how necessary it was to build up the content (in a playful and fun way to engage them and sustain their interest) for the task ahead!

As I did this drama activity with the students, once again, the English teacher in me came up and threatened to take over. I had to consciously be mindful to focus on the music parameters and help the students connect with the content of the speech piece through movement and awareness of the rhythmic qualities of the words.

❹ Enriching the learning experience through movements

Movement helped the students to achieve the nuances and expressiveness in music-making.

Observation 1: Movement helped students to understand contrasting tempos

The students were told to first move like a frog and then like a sloth. This sensitising activity introduced contrasting tempos and got the students to respond to contrast with movement.

After the activity, Mr. Grosse guided the students to build awareness of fine motor skills (that are necessary for playing instruments) by asking questions like: “Those who were walking very slowly, did you notice, was it heel first, or toe first?” and “Was it easier to go fast or to go slow?”

He asked very specific questions to help the students achieve clear awareness of their body movements as related to the concept of “slow”. In this way, Mr. Grosse made the students aware of the nuances

of movement that would translate into the nuances of sound later on.

Observation 2: Movement helped students understand what a steady beat is

I did a movement activity with the students to help them learn to feel the beat with their bodies. They moved a toy parachute up and down to the beat of the music. It was fun for them, especially with the addition of a sponge object on the parachute.

Observation 3: Movement helped students understand contrasting pitch

I did a pre-activity movement game to teach solfège (with voice and hand signs) to “Ode to Joy”. I wanted the students to experience the change in pitch by responding to the music with their movements. The activity was a success, and the students were able to show awareness of the change in pitch with their bodies. This was a fun activity for them as they took turns to lead their groups, with the leader making up actions and everyone behind following.

Observation 4: Movement helped students develop inner audiation We used movement to guide inner audiation and this is a great way to help students develop it. The movement that accompanied the music helped to guide the students. It also allowed the teacher to assess their competency in achieving inner audition: some were able to hear the music in their heads and do the corresponding movement with impeccable attention to timing. Each student learnt at a different pace, and this was observable through their individual body movements.

Students’ Works

Discussion

In the observed lessons, movement and drama were used to maintain lesson flow and enhance student engagement, ensuring a seamless learning experience. Gestures provided clear direction, while short movement activities bridged different parts of the lesson, maintaining student focus. Drama activities and storytelling were used to ignite students’ imaginations, laying the groundwork for nuanced musicmaking. Movement activities also helped students understand key musical concepts like tempo, steady beat, pitch, and inner audiation. The integration of movement allowed for active learning and deeper engagement with musical elements.

Challenges

Time Management

Incorporating movement and drama can take a longer time than traditional teaching methods, potentially limiting the time available to cover all of the planned content.

Teacher Comfort and Skill

Not all teachers are comfortable using drama or movement in their lessons, which may affect the effectiveness of the approach. Training may be necessary.

Focus on Musical Elements

There is a risk that the emphasis on drama or movement could overshadow the

Movement helped students understand what a steady beat is.

Igniting imagination with story-telling.

primary focus of the lesson, particularly in music, where attention to musical parameters is crucial.

Conclusion

This research process taught me so much about using drama and movement to enrich and deepen musical learning, as well as the importance of staying flexible and thinking critically when challenges arise.

Many hours were spent thinking about and planning the research project, re-thinking, starting, and restarting from scratch whenever I veered off tangent from the research direction or when postulations did not align with the expected outcomes. However, that is the nature of research projects. Deep critical inquiry as well as the courage and tenacity to change and adapt when the project hits a roadblock in the flow of ideas or in implementation, or when there is cognitive dissonance between theory and practice are needed.

In reality, these roadblocks were “teachers” in disguise! Each time I revisited or restarted the project, I was synthesising and learning new skills, and adding to my teaching toolbox. By exploring different

ideas and strategies, I not only gained new knowledge but also grew as a teacher. I found theoretical frameworks to guide my work while honing my craft as a teacher. All these culminated in an enjoyable and rewarding experience.

This research project shows that musical learning infused with drama and movement helps students engage with music in a more meaningful way. It suggests correlations between the integration of drama and movement in music lessons and an enhancement in musical understanding. I am excited and inspired to continue using drama and movement in my music lessons to create meaningful, engaging and enjoyable learning experiences for my students.

Acknowledgements

I extend my heartfelt gratitude to Ms. Rachel Yim (Head of Department, PAM, CCA) and Tan Kai Lin (Subject Head, Aesthetics), for their support in making this project possible. Lastly, a heartfelt thank you to Mr. Paul Grosse – I am incredibly fortunate to have learnt from such a gifted teacher and musician. His brilliance continues to inspire me, and I continue to be humbled in his presence.

References

∆ del Barrio, L., & Arús, M.E. (2024). Music and movement pedagogy in basic education: a systematic review. in Frontiers in Education (Vol. 9, p. 1403745). Frontiers Media SA.

∆ Denac, O. (2022). Interdisciplinary Connections: Musical and Language Activities. Creative Education , 13(10), 3174-3181.

∆ Ito, Y., & Nakayama, S. (2014). Education for Sustainable Development to Nurture between kateika (Japanese home economics), art, and music departments in a Japanese primary school. International Journal of Development Education and Global Learning , 6(2), 5-25. doi. 10.18546/IJDEGL.06.2.02.

∆ Kumar, A., & Sharma, A. (2023). Observation Method: A review study. Library Philosophy and Practice. (e-journal). 7820. https://digitalcommons.unl.edu/libphilprac/7820.

Off We Go with the Gruffalo: Exploring How Reader’s Theatre Enhances Students’

Emotional Understanding, Story Comprehension, and

Creativity in Soundscape Creation

Introduction

Chew Pei Xi

Chua Mashita West Grove Primary School

We noticed that our students needed a lot of guidance to express themselves fully when making music. Some of them lacked the curiosity to explore different ways of playing an instrument to create the different sounds that were needed for more engaging performances.

We wanted to provide our students with a more dynamic and immersive authentic learning opportunity. We also wanted to encourage them to apply what they had learned about conveying emotions and establishing moods in stories and theatrical performance to their soundscape compositions.

This critical inquiry stems from an interdisciplinary collaboration between our school’s English and Music departments. It taps on students’ experiences in reader’s theatre, a strategy that promotes reading fluency through script reading. In line with this, we had our students “perform” by reading scripts created from a book that they had read.

Firstly, students read the book, The Gruffalo. They then went on a learning journey to watch a theatrical performance of Errol’s Garden by the Singapore Repertory Theatre to learn about dramatisation. After that they worked on a class script based on The Gruffalo and performed it during English lessons, making use of the dramatisation skills that they had learned.

The music teachers then introduced the concept of a soundscape to the students. Together, they brainstormed character traits, assigned each character to specific sounds or instruments, and discussed how those sounds could be created or how the instruments could be played.

This exploration stage enabled the students to discover interesting ways of playing different instruments by experimenting with timbres. The final deliverable was a group composition of a soundscape for The Gruffalo

Inquiry Question

How does reader’s theatre influence students’ creativity and decision-making in a group soundscape composition?

Methodology

Target Audience

We observed and interviewed 10 students from the Primary 3 cohort. They were selected based on their strong interest in Music and English, as well as their ability to verbalise their thoughts and their group’s ideas.

Data Collection

To capture both qualitative and nuanced insights into the students’ learning processes, we collected our data based on teachers’ observations as well as interviews with students.

∆ Teachers’ observations

This method allows for real-time assessment of students’ engagement, creativity, and decision-making during reader’s theatre and soundscape composition, offering an authentic view of their progress and collaborative dynamics.

∆ Interviews with students By interviewing students, we gain a deeper understanding of their thought processes as they reflect on their choices, verbalise their creative decisions, and articulate how the activities influence their creativity and decision-making.

Curriculum Outline

∆ The P3 students began reading the book The Gruffalo during English lessons in Term 2.

∆ At the beginning of Term 3, they watched Errol’s Garden, a play by the Singapore Repertory Theatre.

∆ After their theatrical experience, the students started to unpack their learning experiences and link it to The Gruffalo

∆ They had brainstorming sessions to discuss settings, character traits, sounds they could possibly hear, and started to explore how they could re-create their story with sounds.

∆ Towards the end of Term 3, the students started to work on their soundscapes. The presentation of soundscapes commenced in Term 4.

Figure 1: Overview of curriculum

Pedagogical Principles/ Framework

❶ Social

Constructivism (Vygotsky, 1978)

This framework emphasises the role of social interaction and collaboration in learning, highlighting that knowledge is constructed through dialogue and shared experiences.

In the context of reader’s theatre, students engage in group performance and interpretation, creating a space for shared meaning-making. This collaborative environment can stimulate creative thinking and decision-making as students co-construct narratives and soundscapes.

Students working in groups can engage in problem-solving and decision-making on how to create a soundscape that complements the story they are presenting. These interactions foster creativity as they negotiate different perspectives and sound choices.

❷ Experiential Learning

(Kolb, 1984)

Experiential learning emphasises learning through doing, reflecting on action, and actively engaging in a task.

In reader’s theatre, students physically engage with the text, experiment with intonation and speech, and reflect on how their choices affect the mood or tone of the reader’s theatre performance.

Figure 2

Snapshots of students working collaboratively during music lessons.

In soundscape composition, students are encouraged to experiment with instruments and auditory elements like spoken language, tone, rhythm, and sound patterns that align with or transform the narrative in the reader’s theatre. Their creativity is spurred by reflecting on the impact of their sound choices, leading to more intentional decisionmaking in future soundscape compositions.

❷ Multimodal Literacy

(Kress & Van Leeuwen, 1996)

This theory suggests that literacy extends beyond traditional reading and writing to include various modes of communication, such as visual, auditory, and spatial elements.

A soundscape is a multimodal text where students make creative decisions about

which sounds, rhythms, or tones will represent different aspects of a story.

Reader’s theatre with soundscape composition requires students to think multimodally — combining spoken word with sound effects, music, and silence. This fosters creative thinking as students decide which sounds would best express a scene or emotional arc.

❷ Creativity and Improvisation in Classroom Soundscape Creation (Hallam, 2010)

This research focuses on how students can use improvisation and creativity in creating soundscapes, especially when guided by a narrative. It highlights the importance of providing students with tools and opportunities for openended sound explorations.

Curriculum outline for music lessons

Curriculum Outline (Term 3)

Week 2

∆ What is timbre?

∆ Quality of sounds

– Non-pitched classroom

∆ Associate sounds with things e.g., rain, footsteps

∆ Dynamics

∆ Tempo

Week 4

∆ Exploration

∆ Creation

∆ Linear template:

30 seconds to 1 minute

∆ Teacher check-in

& feedback

∆ Play by group

Weeks 7 & 8

∆ Performing the Soundscape

Week 1

∆ Introduction to Soundscape

∆ Importance of Sound in Films – SLS Package

∆ Button You Must Wander

∆ Revise Pentatonic Scales

Week 3

∆ Choosing instruments for animals in The Gruffalo

∆ Explore the sounds chosen

∆ Reasons for choosing the instruments (record voice or video)

∆ Symbols/pictures used for Soundscape

Weeks 5 & 6

∆ Finalise Soundscape

∆ Peer check-in

∆ Two Stars and One Wish

∆ Work on the One Wish section

Weeks 9 & 10

∆ Performing the Soundscape

Figure 3

Data Collected

Teachers’ Observations

❶ Teachers wanted to find out if the script of The Gruffalo and the reader’s theatre experience inspired students to come up with ideas for the sounds or music for their soundscape project.

Observation 1

Several students mentioned that having a written script helped them visualise the scenes more clearly, and that this translated into their musical decisions. Some students referred to specific lines or actions in the script that gave them ideas for sound effects.

❷ Teachers wanted to find out how students matched the different characters to the different instruments.

Observation 2

Students showed an understanding of and the ability to match the tone of an instrument to a character’s traits. Some chose instruments based on sound qualities (e.g., low- vs. high-pitched), while others selected based on the timbre associated with the character’s mood and movements.

❸ Teachers wanted to find out if students explored interesting ways to represent the characters using the instruments.

Observation 3

Creativity was evident as students explored different playing techniques. Some used unconventional methods like scratching the drumhead to create specific effects that aligned with the narrative.

❹ Teachers wanted to find out if students could show the feelings of the characters (like scared, happy, or excited) in the soundscape.

Observation 4

Students displayed a good sense of emotional understanding by varying tempo, volume, and rhythm to convey the mood of the scene or the feelings of the characters. For example, they adjusted the dynamics in accordance with the intensity of the plot.

Students’ Works and Responses

The video clips listed below are in correspondence with teachers’ observations.

Observations 1 and 2

Students explain how they match the instruments to the characters in The Gruffalo.

Click here to view Video 1.

Click here to view Video 2.

Observations 3 and 4

Interesting ways of playing the recorder to create an eerie setting in the forest.

Click here to view Video 3.

Click here to view Video 4.

4: Students’ works taken during the brainstorming process.

Figure

Discussion

The observations suggest that reader’s theatre plays a significant role in enhancing students’ creativity and decision-making in soundscape composition.

By engaging with the script of The Gruffalo, students were able to visualise scenes, understand character traits, and interpret emotions. The script provided a framework that sparked creative ideas, allowing students to think critically about how instruments and sounds could be used to represent characters and moods. All these directly influenced their musical choices.

Throughout the process, students demonstrated imaginative decisionmaking, such as selecting instruments based on character personalities, altering playing techniques to match narrative elements, and using sound to express emotional states like fear and excitement. Reader’s theatre encouraged them to go

beyond literal interpretations and explore abstract, creative ways to convey story elements through sound.

Thus, we believe that the integration of reader’s theatre with soundscape composition nurtures both creativity and sound-based decision-making, allowing students to develop a more nuanced and imaginative approach to musical storytelling.

Limitations and

Challenges

We also observed a few limitations in our research process.

❶ Sample Size and Diversity

If the study relies on a small sample size, its findings may not be generalisable to a larger population. In this case, our sample size is based on one class and the results may not reflect a diverse range of experiences and influences in soundscape composition.

Figure 5: Peer feedback given by other students on performances in Videos 3 and 4

❷ Time Constraints

Time limitations may impact how deeply students can engage with the soundscape composition process. For instance, a short project timeframe might not allow for extensive exploration and refinement.

❸ Misplaced Focus

Another challenge is that students may focus too much on literal sound representation, potentially limiting their creative explorations. When students try to directly match sounds to specific characters or actions from the script, they may miss out on opportunities to experiment with more abstract or unconventional sounds which could enhance their imaginative expression and lead to richer soundscapes. This emphasis on literal interpretation can constrain the creative potential of the soundscape project.

To overcome this challenge, teachers can encourage abstract sound exploration exercises prior to the main activity. By guiding students to experiment with sounds that evoke emotions, moods, or thematic ideas (rather than directly representing characters or actions), students can learn to think beyond literal interpretations.

Teachers might also use prompts like, “What does curiosity sound like?” or “How can you express bravery with sound?”. This approach can broaden students’ perspectives, helping them use sound to convey concepts and emotions rather than merely following the narrative, thus fostering a more imaginative and interpretive soundscape.

Conclusion

In conclusion, integrating reader’s theatre with soundscape composition fosters students’ creativity and enhances their decision-making skills in music. Engaging with a familiar script like The Gruffalo enables students to visualise scenes and understand character emotions, further informing their musical choices and deepening their interpretive abilities.

This approach allows students to creatively use instruments and sound techniques to embody characters and convey moods, moving beyond literal interpretations to explore abstract expression. Overall, this blend of narrative and sound encourages a nuanced, imaginative approach to storytelling, helping students develop skills that enrich their artistic and musical expression.

References

∆ Hallam, S. (2010). The power of music: Its impact on the intellectual, social, and personal development of children and young people. International Journal of Music Education, 28(3), 269–289. https://doi.org/10.1177/0255761410370658

∆ Kress, G., & Van Leeuwen, T. (1996). Reading Images: The Grammar of Visual Design. Routledge.

∆ Vygotsky, L. S. (1978). Mind in Society: The Development of Higher Psychological Processes (M. Cole, V. Jolm-Steiner, S. Scribner, & E. Souberman, Eds. & Trans.). Harvard University Press.

Promoting Playful Collaboration: Enhancing Collaborative Culture and Play-Based Learning among Primary School Music Teachers

Long Peizhen

Haig Girls’ School

Allen Losey Fengshan Primary School

Eng Huiling Jasmine

Tanjong Katong Primary School

We are using an autoethnography approach for this research, which will be presented in the form of a narration.

Prologue

Allen

“Computer on… Slides… checked. Sound… checked. Blank screen… wait, where’s the button?

Oh no, where is it? Ah, there it is,”

I muttered under my breath, more to calm myself than for any other reason.

I have a nervous habit of talking to myself when the stakes feel a little too high.

“Allen, really, why do you keep putting yourself in these situations? Challenging yourself like this, it’s almost as if you enjoy the pressure!”

my inner voice whispered, low and ominous. Imposter syndrome started creeping in like a dark shadow. I could practically hear the sarcasm dripping from every word of the pessimistic me in my mind.

Then, as if on cue, my more optimistic, ever-encouraging side nudged me forward.

“Ignore that noise. Look how far you’ve come! Months of work, teachers Peizhen and Jasmine on board, and all those school approvals sorted. You’ve planned every detail (lesson plans, fun activities) and now… now, you get to play.”

My inner voice was soft but confident.

ALLEN

“Remember, it’s all about play. Kids love to play, and when they learn through play – ah, that’s when the magic happens!”

Still, the sound of my own heartbeat thundered in my ears, beating like the drum of a war march. Boom boom, boom boom. Could they hear it? Could they sense the fear thrumming beneath my skin, despite my smile?

The children* walked into the room, their wide, curious eyes locking onto me. They were not my usual students. It was the very first time we were meeting each other. There was an innocence in their gaze, and it made me ache with the hope that I would not disappoint them.

“Good morning, everyone, I’ll be leading your music lesson today. Are you ready for an adventure?”

After a few fun warm-up movements, I asked them to close their eyes.

“Imagine I’m taking you somewhere special. But first you’ll have to guess where it is.”

I pressed the “play” icon and the room filled with the sounds of birds chirping and leaves rustling. I watched as the children’s faces lit up, and they guessed in quick, excited bursts,

STUDENTS

“It’s a park!” “East Coast!”

“No, it’s a jungle!”

“Why do you say that?” I asked, amazed at their engagement.

“There are bird sounds,”

STUDENTS

one chimed in, and I could not help but grin at their perceptiveness.

“All right,” I said, my own excitement building,

“Pick your favourite bird sound and try to mimic it. There’s no right or wrong.”

At first, they hesitated, their little brows furrowing as if worried they would get the answer wrong. I reassured them,

*Children from Haig Girls’ School and Tanjong Katong Primary School

“This is play. Just listen to the magic we create together.”

Slowly, they began to create a soundscape of birds in a forest, their chirps and caws mixing into an orchestral chorus of childlike wonder.

I leaned in and whispered conspiratorially, “There’s someone hiding in the forest… can you see him?” The children froze, their eyes searching every corner of the slide. “It’s the wolf!” one shouted, and soon the others followed, voices chiming in unison, “It’s the wolf!”

They giggled when I told them the rules of the ‘Wolf’ game had changed.

“The last one standing when I say “dinner time” will be ‘eaten’!”

This tickled them into fits of laughter.

With their imaginations sparked, I launched into the “Wolf Song”. We chanted and swayed and soon the whole room was singing, “We are dancing in the forest, and the wolf is far away…”.

“Wolf, wolf, what time is it?” they shrieked, their high-pitched voices dancing around the room. “It’s computer playing time!” I shouted back, and we all burst into laughter, pretending to brush our teeth with exaggerated movements.

The game continued, their laughter contagious, their joy fuelling my energy despite the fact that I was running out of breath.

We then shifted to something a little more focused – syllabic notation, with solfège and hand signs. I turned it into a discovery exercise where they had to figure out the rhythm of the song themselves, and when they did – oh, the way their faces lit up!

We moved on to resonator bells, and I watched as they paired up, their hands gripping the mallets with a mix of determination and excitement. They also had to figure out the melody by themselves. The first notes were tentative, but soon, the room was filled with the melody of “Wolf Song”, each student glowing with pride, eyes sparkling as they realised they had done it. And all on their own.

It was a good reminder that we do not need to overexplain or hold our students’ hands at every step. Instead, we should create opportunities for them to take the reins and to discover on their own. That is when the real magic happens.

ALLEN

Music Teacher: an Active Participant

Jasmine

As the music lesson began, the room came alive with the spirited voices of students singing in unison on three main pitches: mi, so, and la.

STUDENTS

“We are dancing in the forest, And the wolf is far away. Who knows what will happen to us,

If he finds us at our play?

‘Wolf, wolf, what time is it?’”

From the back of the music room, I watched as Allen, in her usual exuberant style, shouted, “It’s dancing time!” The energy was infectious. With that cue, the entire class erupted into a joyful flurry of movement, each child displaying their most creative dance moves. Laughter and giggles swirled around the room like music notes, creating an atmosphere that was as much about play as it was about learning.

I stifled my own laughter, captivated by the scene unfolding before me. It was a beautiful reminder of the joy that music can bring, especially in the hands of a skilled teacher. This was

not just a lesson; it was a celebration of childhood and creativity. The classroom had become a space where learning and play intertwined, blurring the lines between the two.

The music teacher, a vibrant, multitasking phenomenon, embodied the essence of engaging young minds. She understood that children are not miniature adults, but lively explorers navigating a world rich with sonic and expressive possibilities. As Campbell (2008) emphasises, students’ learning journeys involve finding meaning by balancing what they already know with new discoveries. The links between music play, divergent thinking, and creativity, as highlighted by Morin (2001), were palpable in this vibrant setting.

Observing the dynamics of the classroom, what stood out the most to me was Allen herself. She was not merely a facilitator but also an active participant, dancing alongside her students and embodying the very spirit of the lesson. Her engagement lit up the room, breaking down the invisible wall between teacher and student. This shared enthusiasm transformed the classroom into a collaborative space where children felt encouraged to fully immerse themselves in the experience. The energy shifted; as they saw their teacher engaging with them, their willingness to explore deepened, allowing for a richer learning experience.

It hit me then. Effective teaching is not just about imparting knowledge but about fostering a sense of community where students know that they are not alone in their learning journey, and in experiencing the joy of learning. The lesson became a dance of discovery, where each note and movement contributed to the children’s musical development. It was a poignant reminder of the power of play in education, a call to embrace creativity in the classroom, and a glimpse into the transformative potential of music.

Applying Play in an Upper Primary Music Classroom

After the lesson observation, I found myself pondering two vital questions:

THOUGHTS

How can I harness the power of play in my music lessons with upper primary students?

What forms might play take within our ukulele module?

This reflection spurred me to rethink and refine my module plan.

Previously, the module followed a structured path. Students would be introduced to the four basic chords during class time, accompanied by a curated library of songs that could be played using those chords. Following the Primary School Leaving Examination (PSLE), students would be grouped by the teacher and given access to this same library to select songs for their performance. This structure worked, but there was room for more – more creativity, more ownership, more play.

In my revised approach, I shifted to a flipped teaching model that emphasises exploration and creativity. Students now had the opportunity to discover the four basic chords independently on the Student Learning Space, using improvised ukulele necks, in their own environments. This hands-on exploration allowed them to engage with the instrument in a playful and meaningful way. The approach was not about rote learning anymore; it was about exploration and self-discovery.

“Ms. Eng, Ms. Eng! I heard this song on YouTube over the weekend and I love it! Are we able to play “Rise Up” by Andra Day on the ukulele? Shall we try it?”

STUDENTS

JASMINE

“Sure, why not? Could someone look up the chords for us please? Do we need to learn any new chords for this song? Anyone need the chord chart?”

These moments of curiosity and excitement were now common when we met in the music room for lessons each week. As a class, we collaboratively reviewed chords through a selection of popular songs, some chosen by the students, some by me.

“Ms.

Eng, the key seems too high for us to sing. Can we make it lower?”

JASMINE

“Great idea! Let’s explore what happens if we transpose it lower – maybe by a fourth or a fifth. Does anyone remember how to do that? Will we need new chords in the new key?”

The class would dive into the challenge, hands-on, heads together, navigating the intricacies of transposition with enthusiasm.

This approach not only fostered a sense of ownership over their musical experiences but also encourageed collaboration and shared enjoyment of music, ultimately leading to deeper engagement and a richer understanding of music.

When students encountered new chords that extended beyond the prescribed syllabus, their intrinsic sense of self-directedness became evident. In these moments, they often took the initiative to seek out additional resources online, demonstrating a proactive approach to their musical education.

This willingness to explore beyond illustrates not only their curiosity but also a growing sense of responsibility for their own learning journey. In this way, the music classroom is transformed into a dynamic space where students are not just passive recipients of knowledge but active participants in their education, shaping their musical identities and reinforcing the value of lifelong learning.

Previously, students would typically refer to their ukulele booklets, practising primarily curated songs within their assigned groups. However, such a structure tends to limit student voices, resulting in a passive learning experience where individual creativity and expression may be stifled. The minimal engagement from students highlights a crucial gap in the learning dynamic; while the

STUDENTS

curated repertoire provides a valuable resource, it does not inherently invite collaboration or active participation.

I now make a conscious effort to allow students to form their own friendship groups. Using iPads during class, they are empowered to select any uplifting and appropriate songs they wish to perform after the PSLE. This autonomy nurtures their individual interests and creativity while reinforcing their connection to music. For a select group of students, the process of choosing a song becomes a nuanced challenge. In such instances, the teacher may find it essential to step in, offering guidance to navigate the

complexities of musical selection and expression.

Through these adjustments, I aim to create a classroom environment where playfulness and exploration are at the forefront, making music not just a subject to be studied, but an experience to be shared and enjoyed. By integrating play into our ukulele module, I hope to inspire a deeper passion for music and foster a community of learners who feel empowered to express themselves creatively.

And in that playful space, I have found my own joy rekindled.

23 August 2024 – The Leap Of Faith

Peizhen

With a deep breath, I began my lesson, channelling the playful energy that Allen had effortlessly displayed earlier in her Wolf lesson.

“Good afternoon, class!” I announced, my voice sounding braver than I felt, standing in the middle of a classroom filled with unfamiliar students, all eyes on me, curious and expectant.

Doubts circled my mind. “What were you thinking?” Being observed by my colleagues was already nerve-wracking, but now, I was in a completely different school, voluntarily exposing myself to the scrutiny of another group of teachers. The moment I agreed to this lesson demonstration, I knew I was in for a challenge. Allen, known for her innovative pedagogies, had just completed an inspiring lesson demonstration. And now, it was my turn. Well, I had wanted more than just to stay within the familiar walls of my classroom, hadn’t I? That was why I had approached her with a simple proposal: let’s co-create some music resources to enhance students’ learning.

I shook off the remnants of doubt and focused on the class. “Today, I’m going to share a song with you,” I continued.

PEIZHEN

“I need you to listen closely to the lyrics and guess what animal the song is describing.”

They started to sit up.

PEIZHEN

“But remember, don’t share your answers with anyone yet.”

A chorus of whispers followed, the students looking eager and wide-eyed.

I began singing. As I repeated the song, anticipation grew. “Now,” I said,

PEIZHEN

“I’m going to give each of you a sheet of paper. On it, I want you to draw the animal you think I’m describing.”

The students buzzed with excitement.

“Is it an elephant?”

STUDENT A

one child asked, eyes wide with curiosity.

“No, no! She mentioned something about the night and the moon,” another chimed in.

“Is it an owl? It’s an owl, right?”

they clamoured, with more guesses flying through the air.

I smiled to myself, pleased at how they were engaging with the material. They were not merely following instructions; they were thinking, questioning, participating. It was exactly what the Pedagogy of Play Initiative from Harvard’s Project Zero had spoken of – play and learning intertwining, not as opposites but as partners. The students were not just learning the song; they were immersed in it, allowing their creativity and curiosity to guide them.

That was when I felt it, that unmistakable spark of affirmation. This works. Learning through play was not about chaos or lack of structure; it was about carving out space for discovery. Playful pedagogy, when used intentionally, could lead to deeper learning than rote memorisation. The studies I had read, like those by Zosh, Hassinger-Das, and Laurie (2022) on playful learning environments fostering critical thinking and cognitive flexibility, were not just theories. They were right here, unfolding before me.

But the real learning went beyond the exchange of resources. It was in those moments of reflection and adaptation,

STUDENT B

like when Allen and I reviewed a worksheet my department and I had created, that I began to understand the deeper value of this collaboration. She gently suggested a few tweaks before she used it with her students.

At first, I did not think these tweaks were necessary. Hours had gone into its design, what else was there to edit? But after visiting her classroom and watching her students interact in ways that were so different from my own, I saw it from her perspective.

Her students engaged differently. My approach did not quite fit them, and that was okay. It was a moment of humility, one that made me realise how important it was to step into someone else’s classroom and truly understand their unique challenges and triumphs.

Sharing ideas from afar, from the safety of our own classrooms, was one thing. But walking into each other’s spaces and truly experiencing the reality of one another’s teaching world was something entirely different. It deepened our collaboration, made it richer, and more authentic.

Conclusion

Looking back, this journey has become more than just an exchange of resources. It’s about embracing the power of play and discovering new ways to make learning engaging and meaningful for our students. The impact of this journey has extended far beyond our initial expectations. As our students engaged with playful approaches, they began to develop skills that transcended the lesson at hand – skills such as critical thinking, creativity, and problem-solving.

Having personally seen and experienced the power of play unfold, I continue to harness it in my classroom. Whether it is in introducing new songs or exploring rhythms, I add layers of interactivity through games and drawing. Doing so not only excites my students but also keeps me energised. It has not only kept my students engaged, but also reinvigorated my passion for teaching.

None of these would have been possible without Allen and Jasmine’s constant encouragement. Their feedback was never harsh, only constructive, and together, we built a collaborative network that allowed us to refine our methods and share in our successes.

What made our collaboration truly special was the freedom we gave ourselves to experiment. We did not just share ideas; we were ready to see what worked and what did not.

And in the end, that is what our collaboration is all about. Playing, learning, and growing – together.

These outcomes were unexpected yet transformative. They changed not only students’ learning but also our approaches to teaching. Through interactive games, exploratory activities, and collaborative projects, our students were not only mastering musical knowledge. They were also developing essential soft skills that will serve them throughout their lives. This shift was transformative because it encouraged us to reimagine the learning process, leading to changes in how we engaged students with the materials. Research consistently shows that playful learning nurtures these skills,

preparing students to navigate an increasingly complex world (Zosh et al., 2017).

In the long run, it is these broader outcomes – creativity, problem-solving, and critical thinking – that truly highlight the value of playful pedagogy. By harnessing the potential of playful

learning, our efforts as educators create a ripple effect, fostering curiosity and collaboration not only among our students but also with fellow educators. This journey has been more than an experiment in pedagogy; it has also been a vital investment in our students’ growth as capable, creative individuals.

Allen Epilogue

I am very grateful for this year of collaboration with Peizhen and Jasmine. I came to realise that supporting the growth of teachers, and my own, requires time, space and patience. Growth is not about the speed of progress or the

Acknowledgements

quality of immediate results. Personal development should not be rushed or forced; it is something we each must take ownership of, with the occasional critical yet friendly nudge from our friends. To promote a sustainable culture of personal development for teachers under my care, I need to be sincere and authentic so as to build trust, yet have the grace to step back, and allow my fellow teachers to evolve in their own time and at their own pace.

The authors would like to thank the following personnel without whom this project would not have been made possible:

∆ School Leaders, Fengshan Primary School

∆ School Leaders, Haig Girls’ School

∆ School Leaders, Tanjong Katong Primary School

∆ HOD (Aesthetics), Fengshan Primary School

∆ HOD (Aesthetics), Haig Girls’ School

∆ Music teachers of Fengshan Primary School, Haig Girls’ School, and Tanjong Katong Primary School

References

∆ Campbell, P. S. (2008). Musician and teacher: An orientation to music education. W.W. Norton.

∆ Mardell, B., Ryan, J., Krechevsky, M., Baker, M., Schulz, S., & Liu-Constant, Y. (2023). A pedagogy of play: Supporting playful learning in classrooms and schools . Project Zero.

∆ Morin, F. L. (2001). Cultivating musical play: The need for changed teaching practice. Journal of General Music Education, 14 (2). https://doi. org/10.1177/104837130101400204

∆ Zosh, J. M., Hassinger-Das, B., & Laurie, M. (2022). Learning through play and the development of holistic skills across childhood (pp. 19-56). The LEGO Foundation.

∆ Zosh, J. M., Hopkins, E. J., Jensen, H., Liu, C., Neale, D., Hirsh-Pasek, K., & Whitebread, D. (2017). Learning through play: A review of the evidence. LEGO Foundation.

Record and Review: Supercharging Students’ Creative Space

The Power of Game-Based Learning Core nemoloreped mil id qui

Introduction

Nur Atika Binti

Mohamed Naim

School

This project was inspired by my fascination with TikTok duets, which I saw as a free and enjoyable way for myself to engage with music. TikTok offered endless versions of songs that I could “jam” with, allowing for creative exploration. Each duet became a mini reflective session where I assessed the accuracy of my timing, pitch, and singing style. I could listen, critique my own performance, and adjust my approach in the next take. When a performance felt good enough to upload, it became a personal moment of satisfaction – an “ownself sing, ownself praise” (a Singlish phrase meaning selfcelebration or taking personal pride in one’s own achievements) moment.

I realised that if I found this process so enjoyable, my students might too. However, since I cannot have students using TikTok during classroom time due to privacy concerns, potential distractions, and restrictions on social media during school time, I adapted the idea with the use of YouTube keyboard tutorials.

Students split their screens on their personal learning devices (PLDs), with the tutorial on one side and their recording app on the other. This setup replicated the TikTok format in a classroom-friendly way, allowing them to have their own “ownself play, ownself praise” moments through recording and reviewing.

Inquiry Question

Building on the adapted classroom setup, the core question driving this project is: How does the ‘record and review’ approach influence students’ self-awareness, reflective practice, and engagement with the creative process?

Methodology

Target Audience

∆ 90 Secondary 1 students

∆ Classes involved: four, randomly selected

Procedure

∆ Students utilise the ‘record and review’ approach during their keyboard lessons.

∆ At the end of this project, each student completes a reflective questionnaire to assess their experiences with selfawareness, reflective practice, and engagement in the creative process.

Data Collection

∆ Approach: Mixed methods

∆ Analysis: Responses from the questionnaires will be coded to extract insights related to students’ growth in their creative space.

Duration

∆ The project spans five weeks, with one hour dedicated to keyboard lessons each week.

Victoria

Pedagogical Principles/ Framework

The ‘record and review’ approach is a structured yet flexible reflective practice that actively involves students in selfassessment and continuous improvement, empowering them to take control of their learning process. The approach has a defined framework that guides students through the steps of recording, reviewing and refining, but remains flexible because it allows for personalisation according to each student’s needs.

They can choose different aspects of their performance to focus on, decide how often to record and review, and even select the tools and technologies they use.

This flexibility enables the approach to be adapted to different educational settings and personalised for various learning objectives. Using the camera app to video their performances or BandLab to record

their keyboard playing, students push the boundaries of their creative limits, effectively expanding their personal and musical creative space.

Defining Creative Space in Keyboard Playing

In this context, creative space refers to both a physical as well as a cognitive platform for students to experiment and personalise their music. By allowing them to transform pieces, such as by altering rhythms or adding unique interpretations, the creative space fosters simultaneous playing and arranging of music.

The ‘record and review’ approach fuels this creative exploration by providing students with a practice space where they can engage in personal reflection and refine their skills without the pressures of performance or external judgment. This freedom within self-directed learning enables students to supercharge their creative space.

Consider the “space” you have as you change chords

When there is more space, you can include elaborate patterns.

When the space is little, best to keep it simple.

Figure 1: Defining creative space in keyboard lessons.

Record

Capture their current skill level, creativity and use of patterns

Apply

Apply their reflections by experimenting with changes

CREATIVE

SPACE

Review

Listen and assess technical accuracy and/or creative elements

The cycle of “crea-think” in the “record and review” approach.

Reflect

Identify what worked and what did not

The Cycle of (Cog)crea(ni)-tive

This approach also integrates creativity with cognition through a process I term (cog)crea(ni)-tive. This term reflects the dynamic interplay between cognitive reflection, creative exploration, and iterative refinement. This integration occurs as students assess their technical accuracy and creativity in each recording, balancing analytical thinking with artistic expression.

Additionally, this approach creates a continuous cycle of creative engagement. As shown in the image above, students move through stages of recording, reviewing, reflecting, and applying changes. This cycle compels students to engage multiple times rather than stopping after one round, promoting a deeper and more interactive approach to learning. Each stage builds upon the previous one, encouraging students to refine their work

and explore new creative possibilities with each iteration of the cogcreanitive cycle.

Initially, students may approach tasks with reservation, but with each cycle, they grow more confident and inventive, expanding their creative space. This process reflects the goal of the paper’s title: to supercharge creative spaces, pushing students to reach new levels of exploration each time they return to their work.

Cogcreanitive in E21CC

The ‘record and review’ approach connects with the Ministry of Education’s Framework for 21st Century Competencies and Student Outcomes by nurturing three key cognitive skills – Critical, Adaptive, and Inventive Thinking – which are essential for expanding creative space:

∆ Critical Thinking: Students reflect on their recordings, using cognitive strategies

Figure

to identify and apply specific modifications that enhance their keyboard skills and expression.

∆ Adaptive Thinking: Students draw on their own self-observational perspective, acting as both performer and reviewer, to adjust their keyboard techniques as required.

∆ Inventive Thinking: Students generate new musical ideas and refine them, ensuring their recordings enhance the song’s context.

This approach is not just a tool for improving keyboard skills; it is also a pathway for students to actively expand and supercharge their creative space.

Overview of Apps

BandLab

BandLab was used as a platform for students to record their performances. They had prior experience with BandLab from a different module, which helped them navigate the app with ease. In this project, students used their keyboards as MIDI devices to record and experiment with different musical elements. BandLab allowed them to tweak individual parts of their recordings, giving them control over refining their creative space.

PLD Video Camera

Students also had the option to use the video cameras on their laptops, also known as Personal Learning Devices (PLDs), for recording. Unlike BandLab, this required them to get the performance right in one go, helping them develop precision and performance discipline. Since they had previously recorded the “Happy Birthday” song using video cameras,

they were accustomed to using their PLDs for recording.

YouTube

I created a customised YouTube tutorial for the students, designed specifically to provide easy access to chord positions and clear guidance on how to play each part. The tutorial included visual aids like a purple scroll that helped students track chord changes from bar to bar and beat to beat.

Student Learning Space (SLS)

SLS was used for submitting final recordings and reflections. It served as a hub where students could upload their work and answer reflection questions, helping them document their creative journey. Additionally, SLS was the central platform for embedding key learning resources such as the YouTube tutorial and lead sheets. This ensured that students had easy access to all the necessary materials during their lessons.

Curriculum Outline

Preparatory Phase

∆ Basics Introduction: Prior to the five weeks of lessons, students learnt the basics of how to play C, F, and G chords on the keyboard through the “Birthday Song”. Experienced players explored additional improvisational skills via YouTube tutorials.

∆ Peer Feedback: Using the camera function in their PLDs, students recorded themselves playing alongside the “Birthday Song” tutorials. They also provided feedback on their peers’ recordings.

Click to view the YouTube tutorial video “Perfect by Ed Sheeran in G (Keyboard Tutorial)”

Click to view the SLS lesson

Research Span – Five Weeks (Self-directed Learning)

∆ Routine and Guidance: Minimal teacher intervention. Each lesson began with a brief (under 10 minutes) to outline task expectations, except for the first lesson, which required more guidance.

Week 1

∆ Listening and Interpretation: Introduction to different variations of the “Birthday Song” (e.g., Ragtime, Samba, minor key) to illustrate personal interpretation and the use of creative space.

∆ Resource Introduction: Exposure to Ultimate Guitar to learn song and transposition techniques to make playing manageable (e.g., transposing Ed Sheeran’s “Perfect” from G# to G major).

∆ Tutorial and Resources: Custom YouTube video tutorial of Ed Sheeran’s “Perfect” using chords (G, Em, C and D) for beginners, and lead sheets for experienced players, with resources embedded in SLS for easy access.

Week 2

∆ Assessment Criteria Introduction: Focus on accuracy of chords, timing, and improvisations. Definition of creative space as a stage for musical experimentation and personalisation.

∆ Resource Utilisation: Introduction to BandLab for recording, with a reminder on the use of blocked/broken chords demonstrated by the teacher, and connecting the keyboard for MIDI use.

Week 3

∆ Recording Focus: Emphasis on correct chord play and timing, with encouragement to start recording early for improvement.

Week 4

∆ Review and Submission Preparation: Utilisation of a checklist to ensure completion of parts of the song, instructions

on submitting the recording via SLS, and screen recording for BandLab submissions.

Week 5

∆ Final Submissions and Reflections: Collection of final recordings and completion of the reflective questionnaire on SLS.

Data Collected

Reflective Questionnaire Overview

The reflective questions, administered via SLS at the conclusion of the five-week period, were specifically designed to probe three key areas: self-awareness, reflective practice, and engagement with the creative process. Each question was crafted to align closely with the overarching inquiry question of this research, ensuring that each response will directly contribute to an understanding of how students experienced these themes.

Reflection Questions Self-Awareness

❶ How many times did you attempt to record yourself playing?

❷ Did you notice any strengths or weaknesses about yourself in keyboard playing? How do you feel about them?

Reflective Practice

❶ What did you notice about your performance after watching your recording? And did you make any changes after reviewing your recording?

Engagement with Creative Process

❶ Did the ‘record and review’ process make you feel more engaged with your practice? How so?

❷ On a scale of 1 to 5, where 1 is ‘not

expanded at all’ and 5 is ‘greatly expanded’, how much has your creative space expanded since you recorded and reviewed? Provide a reason for your rating.

Survey Findings Self-Awareness

❶ Recording Attempts: On average, students made about eight attempts, ranging from one to over 30. One student noted, “It took me around nine attempts to get the final recording”, illustrating their determination to improve, akin to rehearsing before a performance. Another remarked, “I recorded around four to five times every section”, highlighting their approach to perfecting each part of the piece.

❷ Strengths and Weaknesses in

Keyboard Playing: 89% of students reported becoming more aware of their strengths and weaknesses.

Students identified specific strengths such as accuracy in hitting notes and quick memorisation: “I was able to memorise the chords quickly” and “hit the notes accurately and on time”. Weaknesses included off-timing and struggles with chord transitions: “I usually play the chords off timing” and “struggled when I needed to change chords every beat”.

Reflective Practice

❶ Technical Corrections: Students noticed issues like rhythmic inconsistencies and errors in note playing, prompting them to make necessary corrections, with one noting, “I corrected and changed errors”, and another highlighting, “Followed the rhythm of the piece… number of mistakes decreased each time I recorded”.

❷ Emotional Responses: Students expressed a range of emotions, from frustration over failures to satisfaction with gradual improvement. One student shared, “Extremely frustrated with multiple failed attempts… left the recording as it was”, while another found progression, stating, “After every recording I got better”.

❸ Musical Expression: This aspect focuses on how students enhanced the musical quality and emotional expression of their recordings. For instance, a student adjusted the dynamics to suit the song’s mood: “Left hand was too loud… for love song”.

Engagement with Creative Process

❶ Positive Engagement: 76% of the students found the ‘record and review’ process an engaging and interactive activity. Student responses that highlight this include:

∆ “Making mistakes made it engaging as an interactive activity.”

∆ “Motivated me to make it ‘perfect’.”

∆ “Allowed me to see how audience views my performance.”

∆ “Brought out an element of stress, making me work harder and aim for higher quality recordings.”

❷ Disengagement: 24% of the students experienced feelings of frustration or found the process unhelpful, which led to a sense of disengagement. They described the process as repetitive and overwhelming, impacting their willingness to continue:

∆ “Did not feel engaged because I was angry at not doing well.”

∆ “More annoying and time-consuming than simply practicing.”

∆ “Just re-record when I make a mistake, felt like a normal assignment.”

∆ “No. I found out that I had to redo it again.”

Students’ ratings on the expansion of creative space after the ‘record and review’ process

❸ Measurement of Creative Growth:

The mean rating for the expansion of creative space was 3.47 out of 5, which indicates moderate to significant growth in creative engagement. Those who experienced growth highlighted their improved ability to experiment with different techniques. One highlighted, “Experimenting with octaves and pedal use allowed me to explore different sound textures.” Another shared enthusiasm about broadening their musical engagement, saying, “Inspired to pursue playing songs, led me to buy ukulele to play some of my favorite songs.” Conversely, those who felt disengaged reported minimal benefits, as evidenced by comments such as, “I did not use my creativity to add more notes”, and “my work wasn’t very creative as I still cannot think of other patterns.”

Observations

Varying levels of engagement were witnessed, as some students felt overwhelmed by the ‘record and review’ process, while others showed different levels of enthusiasm. For

instance, one student who struggled to keep up with the pace expressed feeling “lost and overwhelmed”. This disparity highlights the need for more personalised teaching approaches that adapt to diverse learning styles.

There were also diverse responses to creative expansion; the effectiveness of the ‘record and review’ process appeared to be influenced by students’ prior musical experiences. A student with an extensive piano background commented, “I didn’t find much new things to explore.” This suggests that the approach may need to be adjusted to better serve students with varying levels of skill and experience.

Not all students were proactively engaged throughout. Several students needed reminders to start their recording sessions on time, indicating potential gaps in understanding the process or a lack of motivation to engage proactively. For instance, I noticed that some students were so focused on perfecting their performance through practice that they consistently ran out of

time to record during the lesson. This indicates a disconnect with the self-directed nature of the task and suggests the need for better time management strategies within the process.

Despite my intention for the ‘record and review’ process to be a personal assignment, one unexpected yet positive development was how naturally students gravitated towards helping one another. This collaborative behavior was vividly demonstrated when I observed students helping their shoulder partners who were unsure of how to approach a chord sequence. This level of peer support was reminiscent of the digital “duet” on TikTok, where strangers collaborated to enhance each other’s performances, but in the classroom, it took on a “you’ve got a friend in me” dynamic, with friends building on each other’s ideas.

Initially, I aimed to give students space to work independently to focus and enhance their

own skills. However, witnessing their natural tendency to collaborate made me realise that learning alongside peers can be equally, if not more, enriching. This realisation suggests that fostering a collaborative community within the self-directed framework could further enhance support and engagement. Incorporating structured peer review sessions could channel this natural collaborative spirit into a valuable educational tool, promoting a vibrant community of music learners who benefit from mutual exchange and encouragement.

Students’ Works

∆ Submission: Final works were submitted via SLS, with BandLab users screencasting their playbacks.

∆ The variety of student interpretations of “Perfect” demonstrated a range of creative and technical choices. Some examples include:

EXAMPLE 1

Melody with broken chord accompaniment

EXAMPLE 2

Block chords on both hands

EXAMPLE 3

Melody with broken chords, leaving the last beat empty for rhythmic effect

EXAMPLE 6

Block chords in crotchets

EXAMPLE 4

Melody with Arpeggiation (1-3-5-3-5-3)

EXAMPLE 5

Block chords in semibreves

EXAMPLE 7

Block chords in left hand, broken chords in right hand

EXAMPLE 8

Melody with block chords and sustained pedal note

Click to view students’ interpretations of “Perfect”.

Discussion

The ‘record and review’ approach has demonstrated its capacity to enhance students’ self-awareness, foster reflective practice, and increase engagement with the creative process. The findings reveal that 89% of students became more aware of their strengths and weaknesses, a crucial step in their musical development. This outcome can be attributed to the implementation of the “cogcreanitive” cycle, which intertwines creativity with cognitive reflection, enabling students to actively think about and modify their musical interpretations.

While the approach proved effective for many, it presented challenges for some, particularly in balancing the technical and creative aspects of music. Emotional responses, such as frustration and perfectionism, sometimes hindered engagement, indicating a need for better support mechanisms. Additionally, the mixed results in expanding creative space, evidenced by a rating of 3.47, highlight variability in how students engage with and benefit from the process. This variability underscores the need for a more tailored approach that accommodates diverse learning styles and emotional responses.

Several teacher-led strategies have been pivotal in realising these outcomes. One-on-one interactions included walking down the rows to demonstrate potential improvements and ideas directly on the keyboard. This provided immediate, applicable suggestions that students could try. Additionally, watching recordings together allowed for targeted feedback, where discussions focused on identifying specific moments of error, such as when I asked the students, “Where do

you think the mistake was from this timing to that timing?”

This approach helped students recognise and understand their mistakes more clearly. Moreover, by facilitating reflective questions like, “How could you make the keyboard pattern sound more suitable for a love song?” I guided students towards thinking more deeply about the emotional and stylistic elements of their performances.

Through these targeted interventions and constant reminders to get them into the cogcreanitive cycle (record, review, reflect, apply), students not only improved their technical skills but also enhanced their ability to interpret and express music creatively. This approach ensures that music education is not merely about having the correct techniques but also about expressing creativity and emotion through music, making it a profoundly expressive art form.

Conclusion

The ‘record and review’ approach effectively supercharges students’ creative space by enhancing self-awareness and fostering reflective practice. However, its impact on creative engagement varies considerably among students. To more effectively supercharge creative spaces across the board, I recommend implementing clearer guidelines for creative tasks, along with enhanced mechanisms for feedback. Strategies to effectively manage emotional responses must also be considered essential. These steps will ensure the approach not only sharpens skills but also deeply enriches students’ creative spaces, promoting innovation and emotional resilience in music education.

Acknowledgements

∆ In a light-hearted vein, a tip of the hat to TikTok for unwittingly planting the seed for this research. Who knew a social media platform could spark such educational curiosity?

On a serious note, I extend my deepest gratitude to several key individuals who have supported this research from its inception:

∆ Mr. Joel Yeo: I extend my thanks to my RO, whose support was instrumental from the outset, even before I joined Victoria School this year. Our discussions last year laid the

groundwork for this project, and his role as a “silent observer” using the same curriculum for other Secondary 1 classes has been invaluable.

∆ My Sec 1 VS Students, Batch 2024: This journey would not have been possible without my enthusiastic students who strove to make “Perfect” truly perfect. Your commitment to transforming “Perfect” from ‘less than perfect’ to ‘close to perfect’ and finally to ‘absolutely perfect’ has been inspiring. Your creative contributions and candid feedback have been essential to the success of this research. Continue to push the boundaries of your creative spaces.

References

∆ BandLab Technologies. (n.d.). BandLab for Education: Music education for everyone. https://edu.bandlab.com

∆ Naim, N. A. (2023, October 5). Perfect by Ed Sheeran in G (Keyboard Tutorial) [Video]. YouTube. https://www.youtube.com/watch?v=eludIMFX01U

∆ Naim, N. A. (2024, October 3). Keyboard Practice: Mastering Ed Sheeran’s ‘Perfect’ Through Record & Review [Internal Resource] . Singapore Student Learning Space (SLS), Community Gallery. Available to Singapore Educators with access to SLS.

Playful Approaches for Diverse Learners

Tiered Approach to Ukulele Learning Across Different Readiness Levels

Exploring the Connection between Advanced Challenges and High-Readiness Student Engagement

Tiered Approach to Ukulele Learning Across Different Readiness Levels

Introduction

Ahmad Musta’in Bin Ahmad Rumzi

Angeline Pang

Gracelyn Ong

Ngee Ann Primary School

After teaching our students about harmony and chords via the ukulele, we hoped that they would be able to pick up new songs and apply their knowledge readily. However, this was not the case for many of the students in our school. There was a lack of motivation to learn how to play the ukulele outside of the music room, and beyond the academic level at which they were introduced to playing chords on the ukulele (i.e., Primary 4).

Inquiry Question

To try and tackle the issue of motivation, our team employed a tiered approach (for the first time this year) to teach students how the ukulele is played. We hoped to find out, “How does a tiered approach to learning the ukulele affect the motivation of students across different abilities?”

Methodology

Target Audience

Six P4 classes of differing abilities, each with a class strength of between 34 and 40 students, were engaged in our tiered approach to learning the ukulele. Quantitative data was collected from students in every class. However, only the following three classes were closely monitored for qualitative analyses of students’ motivational behaviours:

∆ Class A: Mid to high academic ability students

∆ Class B: Low to mid academic ability students

∆ Class C: Mainly students with high academic needs

All the students had prior experience with the ukulele as they had learnt how to play using fingerstyle when they were P3. They were thus expected to know the following concepts:

∆ Body posture when playing the ukulele

∆ Parts of the ukulele

∆ Finger numbering

∆ String numbering

∆ Ukulele chart reading

Data Collection

∆ Pre- and post-surveys

∆ Teacher observation logs

∆ Student interviews

Duration

∆ Five to nine weeks of weekly one-hour lessons (inclusive of holidays)

ARCS Motivational Model

In redesigning our ukulele module to improve students’ motivation to learn, we drew on John Keller’s ARCS Motivational Model (Keller, 2010) which stands for Attention, Relevance, Confidence, and Satisfaction. The model focuses on enhancing motivation in learning environments by providing teachers with a structured guide to capture student interest and sustain their desire to learn.

Attention

To capture student interest, we introduced a current pop song when they were able to play one (C major) out of the four chords needed to play the full song. This aroused their attention by introducing a problem that they would need to solve in order to play the full song.

Relevance

We introduced the lessons using a popular earworm, leveraging its appeal to spark a desire to learn. At this stage, our students lacked the skills needed to fully recreate the song, but their interest in the song gave this task an immediate value. This approach not only makes the learning process engaging but also offers a sense of accomplishment and “bragging rights” once students master the piece.

Confidence

To improve students’ self-belief in being able to play the ukulele, the redesign of our ukulele module used a tiered learning approach as opposed to traditional wholeclass instruction methods. Through the tiered approach, we structured tasks to be progressively more challenging to help students see that success can be achieved through effort. We also catered to different levels of learner confidence by giving the students a choice of whether to learn with a teacher, independently, or in friendship groups. This may lead them to believe that their success is a direct result of the amount of effort they put in.

Satisfaction

In our efforts to generate student satisfaction and intrinsic motivation, we gave the students a checklist to base their decisions of their own progress on. When students appreciate their progress, they will be motivated to learn. Satisfaction is often based on motivation, which can be intrinsic or extrinsic.

Process

Weeks 1 & 2:

The Introductory lessons

During these first weeks, all students experience a teacher-directed lesson through whole-class instruction. In this lesson, teachers help students recall basic information about the ukulele which they have learnt the year before. This information includes body, arm and finger postures, parts of the ukulele, finger numbering, string numbering, notes of each string, and ukulele chart reading.

With reference to the ukulele chart, teachers also use the teaching of the C chord to help students experience the difference between playing notes (from their prior fingerstyle experience) and playing chords, and plucking versus strumming techniques. Students will then sing a trending song. They practise playing a C chord whenever it occurs in the song. Students who already know the other chords used in the song are also encouraged to play these chords. This gives the teachers an initial gauge of what to expect from the class in the weeks to come.

At the end of their introductory experience, all classes complete an online pre-survey where they reflect on their attitudes towards learning the ukulele, and indicate their preference for independent or teacher-guided learning.

Weeks 3 & 4: The Tiered Approach – Tiers 1 & 2

Based on the pre-survey administered, the teacher for each class organises students based on their preference for learning while ensuring that they have prerequisites that include (but which

are not limited to) technical competence in playing the C chord, finger positioning, posture, and student dynamics. These student dynamics encompass the individual’s general classroom behaviour, their overall capacity for self-directed learning, and whether their interaction with peers might enhance or disrupt the learning experience for the majority of students within that specific tier. Students who prefer learning independently and who have fulfilled the prerequisites will be in Tier 2, while those who have not fulfilled the prerequisites and/or had indicated a preference for teacher-guided learning will be in Tier 1.

Once students are organised, students in Tier 2 are given a checklist. Each is also provided with an iPad to access learning materials in the form of YouTube instructional videos that were arranged into a playlist. These students have to go through the instructional videos in the order that they have been arranged. They have the freedom of choosing whether to learn individually or with a classmate who is also in Tier 2. Once they have gone through all the videos in Tier 2 and used the checklist to assess themselves, they can move on to Tier 3 in Weeks 5 and 6.

Weeks 5 & 6: The Tiered Approach – Tiers 1, 2, 3

During these weeks, Tier 3 is introduced. Students in Tiers 2 and 3 are allowed to move across tiers based on their self-assessment using the same checklist given in the previous weeks. Students in Tier 2 may choose to move back to Tier 1 if they find that they need more guidance from their teacher. Students in Tier 1 can only move on to higher tiers based on teachers’ assessment of their readiness to do so.

Beyond The Tiered Approach

A level-standardised assessment on the playing of four chords, C, G, Am, and F, to

part of the song used at the introductory stage is carried out once all Tier 1 students have mastered these chords. After the assessment, a post-survey is conducted to see if there are any changes in student attitudes towards playing the ukulele.

Data Collected

Pre-Survey

At the end of the students’ introductory lessons, all classes complete an online pre-survey to reflect on their attitudes toward learning the ukulele and express their preference for either independent or teacher-guided learning. There were a total of 57 respondents for this presurvey. Results from the pre-survey will inform teachers of the direction of the subsequent lessons.

Pre-Survey Questions

Forced-choice Questions

❶ How do you prefer to learn new things on the ukulele?

∆ By watching videos chosen for me

∆ By reading instructions given to me

∆ By having someone teach me

∆ By trying it on my own

❷ Have you ever used a computer, tablet, or smartphone app to help you learn something new (not necessarily music)?

❸ If you have used technology (like apps) to learn how to play the ukulele or another instrument, did you find it helpful?

∆ Yes, very helpful

∆ Somewhat helpful

∆ Not helpful

∆ I have not used technology for this purpose

Open-ended Questions

❶ What do you think could make learning the ukulele more fun or easier?

(Please write your ideas.)

Pre-Survey Results

Q1. How do you prefer to learn new things on the ukulele?

By watching videos suggested to me

By having someone teach me

By trying it on my own

By reading instruction given to me I would rather play the piano

Q2. Have you ever used a computer, tablet, or smartphone app to help you learn something new (not necessarily music)?

Q3. If you have used technology (like apps) to learn how to play the ukulele or another instrument, did you find it helpful?

Yes, very helpful

Not helpful

Somewhat helpful I have not used technology for this purpose

Responses for the open-ended question on what students think could make learning the ukulele more fun or easier were organised into seven categories. The table above shows the categories and the number of responses for each category from a total of 59 responses.

Pre-Survey Analysis

Over a third of the students have not tried to use technology to help them learn how to play an instrument. However, it is good to note that they are open to using technology to help them in their learning, and have experience in using ICT to learn new things.

It is also noteworthy that almost half of the students surveyed prefer learning face-toface with their teacher while the rest look forward to using videos to learn.

The information gathered led us to design our tiers to leverage the preferences of the students, with Tier 1 being teacher-guided and Tiers 2 and 3 being self-directed with the use of curated videos.

Pre- and Post-Survey Comparison

The pre- and post-surveys included questions that intentionally paralleled each other, spaced at least six weeks apart, to generate meaningful data for measuring student attitudes towards learning the ukulele. As the number of respondents differed between the surveys, the mean was used for data comparison.

Pre-Survey Questions

Forced-choice Questions

❶ From 1 to 5, (with 1 being “not confident” to 5 being “very confident”), how confident do you feel about playing the ukulele?

❷ From 1 to 5, (with 1 being “not interested” to 5 being “very interested”), how interested are you in learning how to play the ukulele?

Post-Survey Questions

Forced-choice Questions

❶ From 1 to 5, (with 1 being “not confident” to 5 being “very confident”), how confident do you feel about playing the ukulele after the last few lessons?

❷ From 1 to 5, (with 1 being “not interested” to 5 being “very interested”), how interested are you in learning how to play the ukulele after the last few lessons?

Question 2 — Pre-Survey

Question 2 — Post-Survey

Pre-Post Survey Analysis

The results indicated that students felt more confident and showed a greater interest in learning to play the ukulele after the implementation of the tiered approach. Both surveys were voluntary. This is why it is also notable that there was a 2.5 times increase in the number of respondents who completed the survey on their ukulele learning, as this highlighted their growing interest.

Further Post-Survey Data

After six weeks of lessons and just before administering their assessment, all classes were given an online postsurvey to reflect on their attitudes toward learning the ukulele and express how the tiered approach had helped them in their learning. There were a total of 145 respondents for this post-survey.

Further Post-Survey Questions

Forced-choice Questions

❶ Does being able to choose how you learn, like practicing the ukulele on your own or with friends using an iPad, help you get better at it?

❷ Do you think you have improved on playing the ukulele after the last few lessons?

❸ This question is only for the students who learnt on the iPad: Did you manage to learn more than C, G, Am and F chords?

Further Post-Survey Results

For the optional open-ended question which asked students why they think that being able to choose how they learn can help them get better at playing the ukulele, the responses can be organised into six categories. The following table shows the categories and the number of responses for each category from a total of 145 responses:

Does being able to choose how you learn, like practicing the ukulele on your own or with friends using an iPad, help you get better at it?

Do you think you have improved on playing the ukulele

lessons?

This question is only for the students who learnt on the iPad: Did you manage to learn more than C, G, Am and F chords?

“I’m just bad at music” or “I

Post-Survey Analysis

For the open-ended question that asked why students think being able to choose how they learn can help them get better at playing the ukulele, responses fall into these three main categories which we believe are good takeaways for teachers who may wish to embark on a similar project in the future.

∆ Peer Support: 32% of viable responses highlighted the importance of learning with peers.

∆ Independence: 12% of viable responses expressed appreciation for being able to learn at their own pace, showing that they value autonomy.

∆ Technology Usage: 16% of viable responses emphasised how integrating technology can enhance both engagement and enjoyment in the learning process.

(On a side note, 40% of viable responses expressed a general joy in learning. In total, 32% of all responses were not viable, e.g., “Nil”, and “I don’t know”, while 4% expressed negative attitudes.)

Overall, the findings showed that 63% of the students surveyed took well to the tiered approach in learning the ukulele.

Observations of Student Behaviour during Lessons

In Weeks 3 to 4, in all classes, we had students from Tier 1 who showed motivation/requested to move to Tier 2 even though they had not fulfilled the pre-requisites to do so. However, their motivation was unintentionally hindered as they had either been unable to fulfil the pre-requirements or had to be closely monitored by the teacher due to behavioral issues.

Most of the students were comfortable to remain at Tier 2. However, this did not always mean that they were unmotivated. During the one-on-one interviews, most of these students revealed that they chose to stay in Tier 2 because they wanted to make sure that they were satisfied with their ability to switch between the four chords, C, G, Am and F before moving on to learn new chords.

In their weekly observation logs, teachers noted that student groupings at Tiers 2 and 3 were organic and fluid. Students who initially appeared to be working in a group would split into pairs later on. At other times, those who started working in pairs came together to form groups.

Teachers also observed that there was a lot of self-directed learning in Tiers 2 and 3. Students paused and repeated the curated videos without teachers telling them to do so. They also started using more metacognition while performing songs by asking questions like “How can I make the chorus sound more interesting?” and “Can I change the strum patterns so that others will know whether I am playing the verse or chorus?”

The students also continued to apply strategies that they learnt during their introductory lessons. At some point, those working in groups even planned their own learning process with their readiness in mind. For example, one group explained to their teacher that they had planned to work on one chord per person until they were confident enough to switch between two or three chords and eventually play the full song using all four chords on their own, individually.

In general, the tiered approach contributed significantly to several key motivational behaviors among students, especially at Tier 2 and 3 levels. We observed increased engagement and enjoyment in learning, a strong preference for self-paced and independent study, and a recognition of the importance of peer support.

Limitation

During our research, we realised a significant limitation: relying solely

on teacher assessments to determine the progression of Tier 1 students to higher tiers. This approach may have unintentionally discouraged some students, particularly those who repeatedly attempted to advance to Tier 2 but were unable to do so because they had not met the prerequisites. Perhaps other forms of formative assessment methods could be added in the future to offer encouragement to such students.

Conclusion

In alignment with the ARCS Motivational Model, the tiered approach has significantly enhanced student confidence and satisfaction. Compared to previous years when no tiering was used in ukulele instruction, noticeable improvements in student motivation were observed. Moving forward, we plan to continue employing this approach in teaching the ukulele, and incorporate additional formative assessment methods to better support students in their efforts to advance through the tiers.

Acknowledgements

We are thankful to our School Leaders and Head of Department for granting us the opportunity to participate in the Music Critical Inquiry Networked Learning Community for the very first time. This experience has been transformative. It pushed us to diversify our teaching approaches, broadened our perspectives on how students learn, and inspired a deeper commitment to giving our students the best learning experiences.

Reference ∆ Keller, J. M. (2010). Motivational design for learning and performance. Springer.

Exploring the Connection between Advanced Challenges and HighReadiness Student Engagement

Introduction

Tang Tai-Chi

Westwood

Secondary School

The inspiration for this project stems from a desire to better engage high-readiness students in music lessons. Having observed that high-readiness students often thrive when given challenges tailored to their skill levels, I aim to understand how offering differentiated tasks can impact their motivation and engagement.

Inquiry Question

How can advanced challenges given to high-readiness students increase their motivation and engagement in learning the ukulele?

Methodology

Target Audience

Seven high-readiness

Secondary 1 students with prior basic ukulele experience were selected for this study.

Data Collection

∆ Teacher observations

∆ Pre- and post-surveys on confidence and motivation

∆ Samples of students’ works

Duration (Term 3, 8 weeks)

Week 1

Week 2

Week 3

Week 4

Weeks 5 – 6

Week 7

Week 8

Pre-survey and initial assessment. Introduce advanced chords and strumming

Practise new techniques and explore complex songs

Continue refining advanced chords and strumming

Groups select and prepare their performance piece

Rehearsals with peer feedback

Final rehearsals and teacher feedback

Group performances and reflective discussion. Conduct post-survey

Pedagogical Principles

This project applied Differentiated Instruction principles, drawing on the framework established by Carol Tomlinson (2017). The approach included differentiating process and product, offering students choices in their musical exploration tasks to suit their readiness levels and interests. These tasks included:

❶ Developing complex strumming patterns on ukulele to the choice of song

❷ Adding singing to ukulele playing

❸ Exploring more complex chord progressions

Data Collected

Pre-Survey

Forced-choice Questions

How would you describe your current ukulele playing skills?

7 responses

Open-ended Question

What specific areas of ukulele playing would you like to improve or learn more about?

There were seven responses from the students:

❶ “More complex strumming patterns.”

❷ “More challenging chords.”

❸ “Chord changing more smoothly.”

❹ “Sing and play more songs.”

❺ “More chords.”

❻ “Different strumming patterns.”

❼ “Strumming patterns.”

Pre-Survey Findings

❶ Generally, students reported feeling either somewhat confident or confident about their ukulele playing skills.

❷ All students expressed a desire to go beyond the basics, showing an interest in improving their ukulele skills.

Post-Survey

Forced-choice Questions

How confident are you in your ukulele ability after the project?

7 responses

Very Confident – I feel very good about my skills

Confident – I think I’m good, but there’s still room to grow

Somewhat Confident – I feel okay, but I often need more practice.

Not Confident – I don’t feel good about my skills yet. Very Confident Somewhat Confident Confident Not Confident

Open-ended Question

What aspect of the project did you enjoy the most, and why?

The responses from the seven students are as follows:

❶ “I enjoyed the teamwork most since we get to agree on certain patterns.”

❷ “I enjoyed the part where we got to practise the song the first time then eventually getting used to the way of strumming.”

❸ “No.”

❹ “I enjoy that my group tried our best as we have put much hard work on this project.”

❺ “We had the choice to select the song we want to perform.”

❻ “I enjoyed figuring out the strumming patterns with my group because it was fun to find what worked best.”

❼ “I liked practising the song and getting better at it over time.”

Post-Survey Findings

❶ Most students gained confidence from the project. Their confidence level increased from 57.1% to 71.4%.

❷ a) Six out of the seven students valued the collaborative aspects, the opportunity to personalise their performances, and the sense of progress and accomplishment.

b) One student reported that she did not enjoy the project. When asked why, she said she did not enjoy any school subjects at all. Despite being a high readiness student, her general disinterest in school affected her overall engagement in music lessons.

Teacher’s Observations during Music Lessons

❶ Engagement and Confidence Levels: Majority of students demonstrated high

levels of engagement and confidence throughout the project.

❷ Collaboration: Students worked together to discuss solutions during rehearsals. For example, some students who faced challenges coordinating strumming patterns worked together to practise at a slower tempo before increasing to a faster one.

❸ Problem-Solving: One group replaced the E minor chord with the C major chord, resulting in a smoother flow.

❹ Seeking Guidance: Students asked for help on how to start their performance without using the typical verbal countin of “1, 2, 3, 4”. They were seeking alternatives to begin their song without a verbal count-in, such as starting with a silent pause or a different cue. One successful example had the ensemble leader giving two simple nods in time with the tempo of the song to signal its start, which helped the members feel the beat and begin their performance smoothly.

Discussion

The findings suggest that providing autonomy and advanced challenges fosters engagement and increases confidence in high-readiness students. For example, students found that tackling complex strumming patterns, such as incorporating syncopated rhythms, kept them engaged and motivated to improve. Conversely, challenges that were too technical or difficult, like advanced fingerpicking techniques, caused some frustration and disengagement. Students also valued collaborative elements, such as working with peers to refine their performances, and expressed satisfaction in personalising their tasks. For instance, when given the option to add singing to their ukulele playing, many students were

excited by the opportunity to create their own interpretations of the songs, and this led to a stronger sense of ownership over their performances.

Challenges

❶ Self-directed Learning: Students may lack motivation to engage meaningfully with more challenging tasks midway through the term. To address this, clear and structured tasks are needed to boost motivation and ensure effective engagement.

❷ Balancing Needs: Managing diverse student readiness levels is challenging. Using technology like recorded tutorial videos could better support self-paced learning, providing individualised help, and streamline classroom management.

Conclusion

❶ High readiness does not automatically translate to self-directed learning. It is crucial to challenge students based on their individual needs rather than

assuming that all high readiness students will naturally excel. By tailoring our approaches to teach to each student’s unique requirements, such as providing advanced challenges, offering choices in tasks like complex strumming patterns or adding singing, and encouraging a collaborative culture during rehearsals, we can better support their development and learning, promoting autonomy and confidence.

❷ This project highlights the need to rethink our role as music educators. We must move beyond teaching to the average and focus on effective differentiation to support all students, including high, average, and low readiness learners. Thoughtful lesson planning ensures that every student gets the support they need to succeed.

Acknowledgements

I would like to express my gratitude to my students for their enthusiasm and resilience throughout this project.

Reference ∆ Tomlinson, C. A. (2017). How to differentiate instruction in academically diverse classrooms. ASCD.

Playful Practices with Technology

Employing Technology to Streamline Melodic Writing

How can GarageBand be used as an Effective Tool in Teaching and Enriching Primary 4 Students’ Musical Understanding of Chords?

Exploring Students’ Engagement in Singing by Extending their Learning Using the SLS Platform and the 3E Approach

Exploring the Role of Music Generative AI in

Lower Secondary

The Power of Game-Based Learning

Employing Technology to Streamline

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Melodic Writing

Introduction

Samantha Chan

CHIJ Secondary (Toa Payoh)

The songwriting module marks the last module of our school’s Lower Secondary Music programme. When we first implemented this in 2021, we did yearly revisions to the curriculum based on our observations as well as feedback from the students.

One common response from the students was that they struggled to create “nice sounding” melodies. Despite knowing the processes of listening to their work in progress composition (which is to read from their manuscript and then physically play the notes on the keyboard) they still found the suggested process tedious. For students who had prior music backgrounds, this process was relatively manageable. However, students whose music learning came solely from the school’s music curriculum found this portion challenging.

When I attended a course on Artificial Intelligence (AI) this year, the various AI tools that were recommended seemed to cater to language-based subjects. I was curious to find out how AI could aid music learning as well. Since all the students have their own Personal Learning Devices (PLDs), I started exploring to see how I could employ technology to close this learning gap.

This project draws inspiration from Evangelos Himonides’ (2012) literature on how music technology should be

regarded as any other technological tool that can support teaching and learning. It includes an emphasis on harnessing music technology to enable us to develop and become better musicians. In addition, it reminds us that while we cannot alienate ourselves from technology, we can be critical about the effective usage of technology tools. All this inspired me to reflect upon the gaps that surface when we teach songwriting.

Inquiry Question

How can we harness technology to streamline the melody writing process for Secondary 2 students?

Methodology

30 Secondary 2 Lower Secondary students

∆ Mixed levels of readiness in music theory

∆ Mixed level of readiness in the usage of music technology tools

Case studies of three students

Three Secondary 2 students and their musical backgrounds

∆ Student A

↗ No formal music lessons

↗ Music learning primarily from music lessons in primary and secondary school

∆ Student B

↗ Played the piano and violin

↗ Took theory and practical exams

↗ Music lessons in primary and secondary school

∆ Student C

↗ Was in the Choir in primary school

↗ Currently in the Guitar Ensemble

↗ Music lessons in primary and secondary school

* All three students were from different primary schools

Data Collection

Quantitative and Qualitative

∆ All 30 students were asked to participate in a pre- and post-survey feedback form that included various question types:

↗ Forced-choice questions on a 5-point Likert scale

↗ Open-ended questions

Qualitative

∆ One-to-one consultations were conducted with the students during the implementation of the technology tool

Duration

∆ Five weeks, with a one-hour lesson each week

Overview of Tools/Apps (if applicable)

App 1

Hookpad

∆ A musical sketchpad with built-in music theory functions that help create beats, songs, and musical snippets.

Curriculum Outline

Week 1

Students were introduced to the Hookpad software and briefed on its basic features. Students were given one-liner lyrics to explore and use to familiarise themselves with the app.

Week 2

Students began creating melodies to the lyrics that they had already crafted.

Week 3

Students had the opportunity to show their work progress, ask questions, and gather feedback on their work done through consultations with the teacher.

Click here to access Hookpad

Figure 1 Interface of Hookpad.

Week 4

Students continued using Hookpad to work on their melody writing and had further consultations with the teacher if needed. Students who had already completed the task could port their creations from the app onto a physical manuscript.

Week 5

Students were given time to finish up before submitting their final melody writing assignment.

Data Collected

Pre-Survey

Pre-Survey Questions

Forced-choice Questions

❶ I understood the instructions given to get started on melody writing.

❷ After completing the melody writing, rate the difficulty of this assignment with 5 being the most difficult.

Pre-Survey Finding

Open-ended Questions

❶ Do share, as in as much detail as possible, the reason for your rating.

❷ Do share some challenges you faced in the melody writing process.

Pre-Survey Findings

❶ When the class of 30 students was asked if they understood the instructions given to get started on melody writing, 53% of the class was on the fence, while the rest indicated that they understood the instructions.

❷ The students were asked to rate the difficulty level of the assignment, with 5 being the most difficult. Almost three quarters of the students rated it as ‘3 – Moderate’.

❸ Following the rating, the students were asked to share the reason for their ratings. This also reflected their self-evaluation of their abilities.

Pre-Survey Finding 2

After completing the melody writing, with 5 being the most difficult. Rate the difficulty of this assignment.

“I rated ‘3 – Moderate difficulty’ because the instructions given were clear, but I struggled with remembering the notes in the chords because I am unable to memorise the notes in a chord.”

No. of Students

“Rating 5 – because even though I understood the instructions, I was still stuck as I have forgotten all the chords that we have learnt from last year, and I cannot remember where the notes are on the stave.”

“Rating 1 – this was easy for me as I have experience in music theory, but I have to keep playing back my melody line on the keyboard to hear how it sounds like.”

“Rating ‘3’ – the music theory portion was okay once I got the hang of it, but I am not sure how it would sound like.”

❹ Lastly, the students were asked to share the challenges that they faced in this melody writing process. Majority of the students mentioned that they found it hard to accurately “hear” what they were writing. They had to try out the tunes they had written in their manuscript on the keyboard, but some students are unable to accurately decipher rhythmic patterns and read notes. Having to toggle between manuscript and keyboard playing was tedious.

“... it was difficult to compose the melody line to the desired tune I had in my head.”

“... I’m not sure how what I write sounds like and I have to toggle back and forth with composing and playing the few bars on the keyboard.”

“... even though I am confident in my music theory, I found it hard to “hear” what I am writing as I do not have perfect pitch.”

Post-Survey

Post-Survey Questions

Forced-choice Questions

❶ Hookpad was easy to access.

❷ Hookpad has helped me to create better melodies.

Open-ended Question

❶ What are some features that you enjoy while using Hookpad?

Post-Survey Findings

❶ When a class of 30 students was asked if the app was easy to access, 90% of the class agreed as this was easily accessible through their Personal Learning Devices (PLDs).

❷ When students were asked if the app had helped them create better melodies, they agreed and strongly agreed that the app had been helpful.

❸ Following up on the question about the app, the students were asked to share some of the features that they enjoyed. A few different features were mentioned,

No. of Students

showing the different learning needs of each student, and how the app had met their diverse needs.

“The tempo feature, as it reflects consistently the speed of how I intended my song to be.”

“How it helps me recall instantly the notes in each chord.”

“Input of lyrics to my chosen notes.”

“Being able to get some ideas of how the accompaniment could sound like.”

“The playing back of my composition, which helped me to pitch in to sing to my lyrics.”

Observations

Students’ Responses to the App

Observation 1: The students highlighted that it took them a while to get used to the app. But once they did, it felt like second nature to them.

Observation 2: The students seemed to find it a joy to use the app. Being able to playback their compositions spurred them to keep going. Even when their compositions sounded “strange” they found it engaging to simply be able to explore.

The same melody from Figure 2 translated to a written manuscript.

Observation 3: Since the app used was a free version, the entire set of lyrics could not be written into the app. However, the students still found it useful enough as their main concern was in creating the melody lines.

Observation 4: The students observed that the many built-in functions in the app aided their various needs. For example, when some students had trouble recalling the notes in each chord, the built-in functions of Hookpad were able to colour-code and indicate the chord tones at the top of the bar. Other

students who had a weaker rhythmic sense found the app useful as it could accurately display and reflect the rhythms that were selected.

Students’ Works

As seen in Figure 2, the top section of the app intuitively displays the notes of each selected chord. For example, when Chord I is selected, blue dots will appear underneath the notes that are in Chord I. The notes are also colour-coded, and this is useful when students wish to explore beyond pitches in an octave. They would have the option to select the same note

Figure 2

Example of student’s melody writing, titled “Maggie Mee”, composed on Hookpad.

Figure 3

Click here to listen Verse 1 on Hookpad.

Challenges

name in a different pitch. In Figure 2 for example, the student used the lower ‘B’ note in bar 6 instead of the higher ‘B’ that was also available.

Discussion

It is evident that Hookpad has been extremely helpful to students in the melody writing process. The features that Hookpad provides allowed students to be more engaged in exploring the endless possibilities of melody writing. The embedded AI features helped to close the learning gaps of the students who did not have a strong music theory foundation. For example, when students could not instantly recall the notes in a chord, Hookpad was able to provide prompts. The playback feature in Hookpad also brought life to the music writing process, motivating the students to be more engaged in exploring their musical creativity. Thus Hookpad has not only encouraged playful explorations, but also mindful and focused playing.

Some challenges that I experienced with this project included having to strike a balance between the usage of technology, and music learning through traditional means. With a class of approximately 30 to 35 students, I want my students to have the opportunity to learn music regardless of their musical backgrounds and levels of readiness. I believe that it is important to ensure that students are taught foundational music concepts through traditional means, however the use of technology can help to assist in the reinforcement of what they have learnt.

Other challenges that surfaced were due to the use of technology. Some students came to class without their PLDs, and some did not charge their devices. But by enforcing classroom expectations from the beginning of the module, this challenge can be well managed. Another challenge was the students’ over-reliance on technology, which could limit their creativity in the long term.

So, what comes next?

It is always a struggle to fit everything that we would like to cover into our curriculum. This project has helped to streamline the songwriting process, giving the students more time to practise and perform their songs. I believe what comes next is to provide opportunities for students to have a safe space to present their work by performing live, be it during recess, or during lunchtime concerts within the school.

Conclusion

In conclusion, the use of Hookpad has allowed the students to progress quicker in creating melodies since students have access to PLDs. The software allowed students’ learning needs to be met at their various levels, and let them progress more quickly in creating melodies.

AI is here to stay, and despite the ongoing and possibly endless debate of its pros and cons, I believe the mindset that we should instil in both

ourselves and our students is to embrace technology. It is important to see how we can tap on its strengths to complement our learning.

Acknowledgements

∆ My School Leaders and my Reporting Officer who fully supported and encouraged me to embark on this critical inquiry project.

∆ My students, who were so willing and ever ready to give their 100% in participating in this project.

Reference

∆ Himonides, E. (2012). The Misunderstanding of Music-Technology-Education: A Meta Perspective. In G. E. McPherson, & G. F. Welch (Eds.), The Oxford Handbook of Music Education (pp. 433-456). Oxford University Press.

How can GarageBand be used as an Effective Tool in Teaching and Enriching Primary 4 Students’ Musical Understanding of Chords?

Introduction

Yeo Wee Kiong

Geylang Methodist School (Primary)

The primary objective of this study is to investigate how GarageBand can be effectively utilised to teach Primary 4 (P4) students about music chords. “Effective” is defined in this study in terms of the enhancement or augmentation of music learning. The investigation focuses on teaching major and minor chords, which is part of the music syllabus at Stages 2 and 3. This study aims to understand the potential advantages and challenges of using GarageBand as a teaching tool, as well as its impact on students’ musical understanding and engagement.

Methodology

Target Audience

The study encompasses all P4 students, comprising one class of academically highperforming (HP) students and two classes of academically medium-performing (MP) students. Each class has approximately 40 students.

Data Collection

Data was collected from three classes: 4-1, 4-5, and 4-7, representing a mix of HP and MP students. The same teacher instructed all eight classes, ensuring consistency in the teaching methodology. The data collected included teacher observations and lesson video recordings.

Background

By the end of Semester 1, students had been introduced to ukulele chords and had some preliminary exposure in using GarageBand on the iPad. The learning environment facilitated collaboration, with pairs of students sharing one iPad to promote teamwork and peer learning. This setup aimed to enhance students’ comfort with technology while fostering a collaborative atmosphere.

Duration

The lessons were structured over a period of two to three weeks, with two sessions of 30 minutes each week. This timeframe allowed for incremental learning, giving students adequate time to grasp concepts and apply them through hands-on activities.

Lesson Outline

Lesson Development 1: Chord Theory (Triads)

Using GarageBand on the iPad, students learned about triads by playing chords on the virtual piano. They were introduced to the concept of chords constructed from the 1st, 3rd, and 5th scale degrees, enabling them to comprehend the foundational structure of major and minor chords. Through guided practice, they also engaged with the keyboard interface, experimenting with different

chord combinations and developing their understanding of how these chords relate to melodies.

Lesson Development 2: Function of Chords

The focus shifted to the function of chords within musical compositions. Students explored how chords contribute to the overall colour of a piece, and their functions. Discussions prompted students to identify examples of chord functions in familiar songs, thereby deepening their comprehension of how chords enhance the musical narrative.

Lesson Development 3: Playing and Recording Chords

This involved a hands-on activity where students played and recorded chords to accompany the familiar children’s melody, “Baby Shark” on the iPad. The task allowed students to apply their understanding of chords by recording the chords to the provided vocal melody (transposed to C Major) in the track view. Each pair of students worked collaboratively on one iPad, reinforcing teamwork and

communication skills as they navigated the software together.

Classes Involved and Observations

Class 4-1 (Lower Progress Class)

In Class 4-1, only three out of 10 groups were able to complete the assigned work. Students were instructed to record chords using the virtual piano in GarageBand to accompany the “Baby Shark” melody. As the music teacher had taught the chords in root position, students were only expected to record the chords as such. Although students demonstrated effort, the overall success rate was low, suggesting a need for additional scaffolding to support their learning process.

Notably, the three successful groups consisted of students with prior pianoplaying experience. The remaining groups required an additional week to complete their assignments using the Smart Piano function, highlighting the disparity in skill levels and the need for differentiated instruction.

Figure 1

Playing and recording chords using the virtual piano on iPad GarageBand (Student from Class 4-1).

Class 4-5 (Mid Progress Class)

In Class 4-5, seven out of 10 groups successfully completed the work. Even though the task required students to use the virtual piano on GarageBand, students exhibited an eagerness to experiment with the software, with five groups choosing to use the Smart Piano function instead. This choice led to a richer learning experience (students learnt that chords can be played in different permutations besides root position during their exploration), as the recorded chords using the chord strip in the Smart Piano function included both 1st and 2nd inversions. The students were able to complete their work effectively by experimenting with technology instead of the usual prescribed methods taught by the music teacher.

Students displayed excitement and a sense of accomplishment, enthusiastically sharing their recordings with the teachers. This positive response illustrated the effectiveness of music technology in fostering student engagement and motivation.

Class 4-7 (High Progress Class)

In Class 4-7, all 10 groups completed the assigned work. Students opted to use the Smart Piano rather than the virtual piano, while taking a more cautious approach. Their recorded chords included 1st and 2nd inversions due to the technical design and configuration of the Smart Piano. Additionally, students added drum loops upon completing their chord recordings, showcasing their creativity and understanding of rhythm and musical form. The teacher has taught this class

since they were in Primary 3 and noted that they were the strongest instrument players as compared to their peers in other classes.

Throughout the process, students exhibited a strong desire to achieve perfect playing through multiple rerecordings, reflecting their commitment to high standards in their musical endeavours despite preferring a cautious “short-cut” method of using the Smart Piano function.

Discussion

Discussion 1: Maximising the Use of Music Technology

One notable observation was that students frequently deleted entire tracks when they made mistakes, opting to re-record all eight bars of chords. This behaviour exposed a missed opportunity to leverage the software’s capabilities of recording in segments. Rather than starting from scratch, students could have muted the existing track and created a new one, allowing for a comparative analysis of their takes.

Encouraging students to record in parts, especially as they become more proficient with the GarageBand app, could enhance their learning experience and improve their understanding of music production. However, that would require substantial effort and time dedicated to learning music sequencing, which can be fairly challenging for younger learners.

Discussion 2: Use of Music Scores

Initially, the teacher provided music scores in standard music notation of

“Baby Shark” to students. However, it became evident that many students were not proficient in sight-reading and were unfamiliar with using scores, rendering this approach less effective. In response, a lead sheet containing lyrics and chords was introduced, which proved to be more accessible for students who could not read standard music notation.

This adaptation underscored the notion that not all music needs to be learned through traditional Western classical music methods. There are many other types of music that are taught aurally, hence the importance of developing students’ critical listening skills.

Discussion 3: Useful Tool for Quick Assessment

The piano roll view in GarageBand served as a valuable tool for quick assessment. By analysing recorded chords using the track view and on the piano roll, the teacher and students could swiftly determine whether students were able to play chords accurately and at the correct junctures of the music. This immediate feedback loop allowed students to make corrections by re-recording or adjusting any inaccurate notes, thus reinforcing their learning of chord formations and functions.

Discussion 4: ICT as an Engagement Tool

Overall, there was a high level of student engagement observed throughout the lessons and enthusiastic participation in learning activities. The interactive nature of GarageBand helped capture students’ interest and motivation, fostering a collaborative learning experience with their peers.

Figure 2: Teachers and users can quickly ascertain if the chords are played on the first beat of every bar through track view function on iPad GarageBand

Figure 3: The notes of the chords recorded can be verified quickly using the piano roll view of the GarageBand by teachers and students

Figure 4: Teacher and student (from P4-7) assessing the accuracy and correctness of the chords recorded during music class

Discussion 5: Multiple Approaches

Students exhibited a preference for using the Smart Piano function over the virtual piano for the recording task. Depending on lesson objectives, this choice is acceptable. If the aim is to learn chord progressions, the Smart Piano function offers a user-friendly option. However, if the objective is to master the mechanics of playing chords using the 1st, 3rd, and 5th scale degrees, utilising the virtual piano may be more appropriate. In the scenario where keyboard skills mastery is the learning objective, a conventional piano or keyboard is more pedagogically sound.

Discussion 6: Margin for Error

Recording on a touchscreen device (iPad) allowed for a margin of error due to the reaction time involved. Additionally, factors such as latency between the iPad’s touchscreen and the generation of notes in GarageBand were observed. The students’ recordings were conducted without quantisation to preserve the authenticity of their playing so teachers could make a more accurate assessment. Teachers also had to consider the margins for error with these young learners (around 10 years old) who required additional time to demonstrate new musical concepts while adjusting to the usage of technology.

Discussion 7:

Using Shortcuts like ‘Copy and Paste’ in GarageBand

A student with advanced proficiency in GarageBand recorded a set of C, F, Am, and G chords and subsequently copied and pasted them onto the remaining bars. This action raised questions about the appropriateness of allowing such shortcuts in the learning process. The decision to

permit this practice should depend on the lesson objectives.

For instance, it would not be appropriate if the lesson objective is to ensure students can perform all eight bars of music accurately. In such a scenario, teachers may opt for real keyboards or a live performance on GarageBand. Conversely, allowing shortcuts could be beneficial if the objective is to introduce music production or sequencing concepts, or to familiarise students with the locations of the notes for the chords. Using shortcuts in GarageBand makes for an authentic learning experience as it is what music producers do in real life during music production.

Discussion 8: Constraints and Other Considerations

The effective use of GarageBand necessitates a certain level of familiarity with the software. The goal is for GarageBand to be a beneficial tool for teaching and learning, rather than a source of stress or frustration for the teacher. Therefore, it is vital to integrate the technology within the teacher’s comfort level to maximise its effectiveness in the classroom.

Several logistical considerations were considered, including the availability of iPads equipped with GarageBand, class routines, and the tactile differences between flat screens on iPads and real keyboards. For instance, students in Class 4-3 (MP) displayed higher levels of engagement during keyboard lessons (utilising the same “Baby Shark” content) compared to iPad lessons. Connecting iPads to MIDI controller keyboards may enhance the overall learning experience, although this requires additional funding and preparation time.

Conclusion

In conclusion, GarageBand is an effective tool for P4 students to use to understand chords. It offers a visual representation of the chords performed, allowing students to verify the accuracy of their notes and whether they are playing in time with the melody through the piano roll view and track view functions.

Additionally, GarageBand provides various chord input methods, enabling students to choose between the virtual keyboard or the Smart Piano function. As such, students of different readiness levels and musical abilities can learn at their own pace and still achieve the same learning objectives.

Students are also more engaged in learning because they are not discouraged by an unduly difficult task/ bored with too easy a task; they can choose the methods according to their comfort level.

The application also supplies accompanying musical sounds, giving students context for when and how to play the chords in relation to the melody. Like most music sequencing apps, GarageBand allows teachers to input any melody into one track. Students can then listen to

the melody and know when to play the chords in relation to the melody, at their own pace, and repeat this as many times as they need. The students’ playing can then be recorded and both students and teachers can review the chords played for self-assessment and formative assessment purposes.

However, the utility of GarageBand diminishes in scenarios where students lack familiarity with the software, where standard music notation is essential for final presentations (notation view is not available in mobile devices, only on the desktop version of GarageBand), or where technology is employed merely for its own sake. It is crucial that the use of technology aligns with the learning objectives and pedagogical rationales. This will ensure that it enhances the educational experience rather than detract from it.

Acknowledgements

I acknowledge the use of ChatGPT to improve the language. All findings and content presented are my own. I also acknowledge the support of:

∆ Ms. Denyse Ong San San (HOD Aesthetics, Geylang Methodist School (Primary) in providing her input.

Exploring Students’ Engagement in Singing by Extending their Learning Using the SLS Platform and the 3E Approach

Introduction

Celia Goh-Tan

West Spring Primary School

Our school is adopting the 3E approach which consists of three key elements: Experience, Empower, and Extend. Here, we believe that authentic experiences can engage learners effectively and bring about desired outcomes. Empowering our students with choices to make decisions will encourage them to demonstrate their learning in diverse ways. Finally, to extend learning beyond the classroom, we create opportunities for our students to share their knowledge with their families so as to engage parents in supporting their child’s learning journey.

In this project, our Music teachers are interested in assessing how engaged our students are in singing, both in and out of the school environment. We aim to explore the extent of their involvement in singing outside of school. Using the SLS (Student Learning Space) platform, we want to investigate how empowering students to make decisions following an experience can enhance and extend their learning.

Inquiry Question

How can students’ engagement in singing be enhanced by extending their learning through the SLS platform using the 3E approach?

Methodology

Target Audience

Two Primary 2 classes of mixed gender and ability. Each class has 30 students.

Data Collection

∆ Classroom observations

∆ Videos uploaded in SLS for individual performance

∆ Videos uploaded in SLS with family members performing

∆ Short questions in SLS

∆ Interview (eight students from each class)

Duration

The project took four weeks, with one hour-long lesson per week. These were broken down into two weeks of face-toface lessons, one week to complete the SLS lesson, and one week to review and provide feedback on students’ work.

Pedagogical Frame

Our school follows Kolb’s (1981) Experiential Learning Cycle, which emphasises that the learning process should take place within a community of learners who collaboratively reflect on their experiences. As such, we believe that to transform experiences and our understanding of them into meaningful

knowledge, learning must be grounded in a social-constructivist approach. Additionally, with self-guidance in an educational setting, students are encouraged to be independent and autonomous (Little Seeds of Carroll Gardens, 2019). Working in line with these guidelines as well as our school's initiatives on the 3E approach, our students learn primarily from experience. This leaves a strong impression on their learning journey.

Empowered learners are curious and motivated. Empowerment allows individuals to put their knowledge and competence into action to attain personally meaningful and powerful goals (Cattaneo & Chapman, 2010). Hence we want to ‘Empower’ our students by giving them opportunities to voice their choices and initiate their own learning experiences. When they are equipped with self-directed learning skills and are motivated to learn and share with their peers, our students will be better prepared for a dynamic learning landscape. Self-directed learning skills also allow them to continuously and actively seek to understand the what, why, and how of what they are learning through various forms of experiencing, experimenting, and exploring (Broom, 2015).

‘Extend’ is an active learning approach that helps our students learn through curiosity and inquiry. Natural curiosity drives the exploratory learning process and leads to an explorer mindset which is vital for decision-making and problemsolving in life (Resources for Early Learning, n.d.). This approach also guides our students to be independent learners who are able to discover new things,

construct new knowledge, interpret what they have learnt, and carry out experiments to test their findings (Haniff, n.d.). Overall, learning through exploration changes the way one approaches a particular situation. Furthermore, learning achieved through exploration builds a strong foundation for knowledge seeking, and leads to fulfilling learning experiences.

‘Engagement’ is closely aligned to the level of effort and concentration that the students put in when the teacher is teaching. Students are engaged when they listen to the teacher, enjoy doing the activities, and show effort and persistence. As Russell, Ainley and Frydenberg (2005) have noted, if students find an activity interesting, they will be more engaged. Engagement is also a multidimensional construct, “ranging from students’ effort and persistence to their emotional involvement, use of metacognitive strategies, and motivation to learn” (Fredricks et al., 2004, p. 61).

One pedagogical approach that has been proven to enhance student engagement is blended learning (Dzuiban et al., 2021), which is used in Singapore as part of the school curriculum to develop lifelong, self-directed and passionate learners. Former Education Minister Lawrence Wong also acknowledged the importance of implementing blended learning in our education system to ensure continuity for learning during disruptions and to prepare our students for a volatile and unpredictable future. (Ministry of Education, 2020). In line with this, our school has also implemented blended learning, using ICT (Information and Communications Technology).

Process

Two face-to-face lessons were conducted during curriculum time. During these lessons, students were taught the actions to accompany different songs. These lessons were followed by a singing class which was assigned to students on SLS. In the SLS assignment, students could select their preferred song (from a set of songs that they had learnt in class) to perform. Students were encouraged to create their own accompanying actions to go with the song. Doing this empowered the students to make their own choices and decisions. To extend their learning further, we also encouraged them to teach their families the songs and the actions, and perform them together. These videos were then uploaded onto the SLS platform.

Data Collection

Via convenient sampling, two classes – 2G and 2H, with 30 students in each class – were selected for this project.

The students’ engagement in class was observed, and data on their participation in the SLS lesson was collected. A set of questions was included in the SLS assignment to delve into the students’ feelings on the project, and the reasons behind their song selections. These responses were collected, and eight students from each class were also interviewed.

Below are the questions we asked in the SLS lesson:

❶ Do you like to sing?

❷ Do you want to learn more of these action songs? Why? (Please state your reason(s))

❸ What types of songs do you like? Please give examples.

❹ Are you more comfortable singing in class or on the SLS platform?

Student participation

Students were engaged during the faceto-face lessons, and many were singing the songs and doing the actions even outside the classroom.

Questions

Q1 Do you like to sing?

Q2 Do you want to learn more of these action songs? Why?

Please state your reason(s) here for the above question.

Are you more comfortable singing through SLS or face-to-face? Why?

12 responded “yes” 12 responded “yes”

14 responded “yes” 9 responded “yes”

“Fun, actions, dance and singalong, learn motor skills, body movement.”

3 out of 20 students responded that singing face-to-face was more fun.

Their participation in the SLS lesson can be seen in Table 1.

Table 2 shows the responses from students in the SLS assignment.

Discussion

“Fun, interesting, like to sing, like the song.”

2 out of 19 students responded that singing face-to-face was more fun.

As seen in Table 2, 19 students from 2H, and 20 students from 2G attempted the SLS lesson. Only 12 students from 2G and seven students from 2H submitted their performances. When asked why they liked to sing, students said that singing was fun and interesting, and that they loved body movement.

Students’ individual performances.

Involvement with family members.

Table 2 Responses from students to questions asked in the SLS lesson

Click to view the individual performances by the students, involvement with family members and their class performances.

Click to view the the students’ class performances.

Class performances.

When asked whether they were more comfortable singing in class or through SLS, two students from 2H and three students from 2G said that singing during face-to-face lessons was more fun.

However, during our interviews with the eight students from each class, all expressed that they liked to sing and had fun during all the singing lessons, including the SLS lesson. They mentioned that the SLS lesson allowed them to practise what they had learnt in class, and also let them learn at their own pace. Seven students, mostly from 2H, expressed that they had difficulties getting their parents to record a performance with them. They suggested instead that the online SLS lesson could be used to guide their practise, but not require them to record a performance with their families.

Based on interactions with the students from both classes, we found that 80% of them were happy to show their parents what they had learnt in class. However, about 15% of the students who participated in the SLS lesson also expressed that they preferred

SLS lessons as they were too shy to perform in class and were more comfortable performing at home. Those who indicated that they did not like singing felt that they could not sing well. They also disliked having to do the actions.

The accuracy of the data collected in this project may be influenced by the participants' age, as parental control over their access to computers could have impacted their ability to respond independently. Many of the P2 students need permission from their parents to access the computer at home. Also, we will need parents who are willing to participate in and record the student’s performance to upload in SLS.

One way to encourage this is to communicate with parents regarding the task that the students are working on. Later on in class, we can check with the students on whether they have shared their learning with their family members. If they have done so but did not submit any recording in SLS, they can share what they have done at home. In this way, we hope to encourage our students to expand their learning through collaborations with their community.

Conclusion

Through this project, our students' engagement in singing has been enhanced utilising the 3E approach, and the integration of the SLS platform. This extends learning beyond the classroom, as students not only sing in school but also share their learning experiences with their family members

at home. By bringing these experiences home, students foster meaningful connections with their families, are empowered to make choices aligned to their comfort levels and interests, and ultimately deepen their engagement in the learning process.

Although there were challenges faced when extending students’ learning using the SLS platform, we believe in continuing to empower our students to make decisions and harness interaction

and communication with their teachers and parents in their learning.

Acknowledgements

I would like to thank:

∆ My school principal and my Reporting Officer for supporting me in the fulfilment of this project.

∆ My school music department and teachers who planned and worked on the lessons with me.

References

∆ Broom, C. (2015). Empowering students: Pedagogy that benefits educators and learners. Citizenship, Social and Economics Education, 14(2), 79–86. https://doi.org/10.1177/2047173415597142

∆ Cattaneo, L. B., & Chapman, A. R. (2010). The process of empowerment: A model for use in research and practice. American Psychologist, 65(7), 646–659. https://doi.org/10.1037/a0018854

∆ Fredricks, J. A., Blumenfeld, P. C., & Paris, A. H. (2004). School engagement: Potential of the concept, state of the evidence. Review of Educational Research, 74(1), 59–109. https://doi.org/10.3102/00346543074001059

∆ Haniff, N. Z. (n.d.). The 2009 Experience. Pedagogy of Action. https://sites.lsa.umich.edu/nzh/p-o-a-experiences/the-2009experience/

∆ Kolb, D. A. (1981). Learning styles and disciplinary differences. In A.W. Chickering and Associates (Eds.), The Modern American College (pp. 232–55). Jossey-Bass.

∆ Little Seeds of Carroll Gardens (2019, May 24). Why Exploration is Essential for Early Childhood Education. Medium. https://medium.com/@LittleSeeds/why-exploration-is-essential-for-early-childhood-education-f1f7136019da

∆ Ministry of Education (2020, Dec 29). Blended Learning to Enhance Schooling Experience and Further Develop Students into SelfDirected Learners [Press Release] https://www.moe.gov.sg/news/press-releases/20201229-blended-learning-to-enhanceschoolingexperience-and-further-develop-students-into-self-directed-learners

∆ Resources for Early Learning (n.d.), Leading Children in Hands-On Exploration: Resources for Early Learning http://resourcesforearlylearning.org/educators/module/20/15/73/

∆ Russell, V. J., Ainsley, M., & Frydenberg, E. (2005). Schooling Issue Digest: Student Motivation and Engagement.

Exploring the Role of Music Generative AI in the Lower Secondary Music Classroom

Introduction

Ronald Lim

Lynn Ong Yi Hwee

Pasir Ris Crest

Secondary School

The advent of Artificial Intelligence (AI) may have future implications for various sectors, including education. One intriguing application of AI in music composition is the use of Music Generative AI (GAI). This technology, which can create complete songs from user text prompts or lyrics, offers opportunities and challenges for educators and students alike. This article explores the affordances and limitations of Music GAI, our attempt to apply it in our Secondary 2 Lower Secondary Music classroom, and responses from students who engaged with this technology.

These systems are trained on vast datasets of existing music, allowing them to develop a latent understanding of musical structures, styles, and genres. Prominent examples of Music GAI include Suno and Udio, which can produce music in various genres, styles, moods, and languages. The core functionality of these systems involves creating music based on user inputs or prompts, which can range from simple textual descriptions to more complex musical ideas.

Why Use Music Generative AI in the Classroom?

to listen

Understanding Music Generative AI

Music Generative AI refers to AI systems that can generate music autonomously.

The integration of Music GAI in the classroom addresses several educational needs and challenges. Firstly, as misuse of AI leads to overdependence and hinders the development of critical listening and

Click

to some examples of music created using Music GAI by the teacher.

creative decision-making among students, we endeavoured to design a learning experience where students have to evaluate and critically interpret the output of AI-generated content rather than accept them at face value – first working on lyrics via ChatGPT (or an equivalent large language model), followed by music via Suno. This process helps inoculate students against over-reliance on AI, fostering a deeper understanding of the nuances and limitations of AI-generated content.

Secondly, Music GAI circumvents the need for substantial technical skills, allowing students to engage with the creative process more readily. This accessibility is particularly beneficial in educational settings, where students may have varying levels of musical training and technical proficiency.

Thirdly, the use of Music GAI can motivate teachers to explore new pedagogical approaches and incorporate AI tools into their teaching practices, or even their own creative work.

Affordances of Music Generative AI

Music GAI offers the following affordances that can enhance the learning experience in the music classroom:

∆ Provision of instant feedback and inspiration through AI-generated examples. This immediate feedback loop can be particularly motivating for students, as it allows them to see the results of their creative efforts in real-time. On a more technical level, well-structured and effective lyrics are more likely to be rendered by Music GAI stylistically, as the algorithm may skip, disregard or force-fit less

successful writing.

∆ Encourages experimentation and broadens students’ understanding of various musical styles and structures. By generating music in different genres and styles, Music GAI systems allow students to explore a wide range of musical possibilities, fostering a broader understanding of music that is not necessarily gatekept by the teacher. On a more technical level, Music GAI supports the incorporating and auditioning of stylistic features such as half-time sections, instrumental solos, as well as rap, ad lib, or scat singing.

Limitations of Music Generative AI

Conversely, Music GAI also has several limitations that educators and students must navigate:

∆ The unpredictability of AI-generated music can frustrate students who are seeking more control over their creative outputs. As of writing, the state of most Music GAI is similar to image generation AI, where it replicates existing work – analogous to placing a camera in front of a television to capture TV images – and each attempt to generate a song includes a chance element, with prompt engineering merely influencing where or how the dice is thrown.

∆ Most platforms do not allow the direct editing of parts of AI-generated music, allowing only basic adjustments such as trimming or appending of length, which can hinder personalisation of the generated songs.

∆ While AI can create well-structured music, it may struggle to match the storytelling and emotional nuances that human artists naturally convey. As Deniz Peters (2015) noted in Musical Empathy, Emotional Co-Constitution

Click to view Project Document, which includes the submission and assessment criteria.

PDF COPY

Project Document that the students worked on.

and the “Musical Other”, there is a dialectic between social and musical empathy that plays a key role in shared emotional experiences in music. How Music GAI fits into this space is currently unestablished.

Application in the Classroom: A Case Study

To illustrate the practical application of Music GAI in the classroom, we implemented a 10-lesson module on computer-assisted music creation for Sec 2

students in the second semester of 2024. The module was divided into four parts: (1) Exploring effective lyrics and song structures; (2) Creating lyrics with the help of ChatGPT; (3) Creating songs using Suno; and (4) Analysing the created songs.

Part 1: Exploring Effective Lyrics and Song Structures

The module began with an exploration of the elements of effective lyric writing and song structures. Students uncovered how concepts such as rhyme (including near and inner rhymes – see Figure A), prosody, and wordplay (Figure B) are used in popular music, as well as clarify the different sections that commonly make up the structure of a song (e.g., Verse, Prechorus, Chorus, Bridge). This foundational knowledge was reinforced through the analysis of familiar songs and hands-on activities that encouraged students to apply what they had learned (Figure C).

Figure A: Rhyming elements hidden in plain sight of the lyrics of familiar songs such as Ed Sheeran’s “Photograph”, Carly Rae Jepsen’s “Call Me Maybe” and Post Malone’s “Sunflower”. Notice also the juxtaposition of opposites within John Legend’s “All of Me” that segue into wordplay

Figure B: An example of wordplay concepts discussed in class – the juxtaposition of two verses (“loving can hurt/heal”) in Ed Sheeran’s “Photograph”, as well as the imagery how “words bleed”, alluded from the context as the smudging of ink when tears fall upon a page

Figure C: Students’ presentation slides from a group research activity where they analysed the structure and identified elements of effective lyric writing in the song they chose for an earlier semester’s module

Instructions for Section B.

Questions in the second section of students’ project document to scaffold musical analysis.

Figure

Figure F

Brainstorming

ideas Using ChatGPT to generate lyrics

lyrics Justifying creative decisions

Part 2: Creating Lyrics with ChatGPT

In the second part of the module, students were paired up to work on a Project Document (Figure F) assigned to them via Google Classroom. To scaffold the lyrics writing process, students first brainstormed ideas related to our chosen theme of Celebrating School Life (refer to Section A1 of the Project Document), then input their ideas into ChatGPT to generate lyrics (Section A2i). After this, they identified segments of the lyrics that could be refined to include elements of effective lyric writing and proceeded to refine the identified segments (Section A2ii), before justifying their creative decisions (Section A3).

Part 3: Creating Songs with Suno

The third part of the module focuses on using Suno to create song drafts that embody the

refined lyrics. Students, in pairs, explored Suno’s custom create function, referring to possible prompts provided in their project document to help them navigate the tool (refer to Section B of the project document, which includes prompt examples, in Figure E). This hands-on experience allowed students to see how their lyrics could be transformed into complete songs by the AI tool.

Students then analysed one version of the song they had created on Suno to build musical understanding, focusing on the structure, style, or genre as well as the instruments and other notable features such as tempo and dynamics. Taking into account that most students do not have prior theory background, the questions in this segment are largely short-answer questions (Section B2).

The first section of the project document assigned to students via Google Classroom, corresponding to Part 2 of the module on lyrics creation

Some questions from the final section of students’ project document where they consolidate their learning from

Part 4: Analysing the AI-generated Songs

For the final part of the module, each pair submitted their finalised lyrics and AI-generated song in Section C of their project document. They examined the structure, style, genre, and instrumentation of their final song, explaining how these musical features embody their lyrics and fit the theme (Section C2). This analysis serves as a consolidation of learning from the previous parts of the module, reinforcing students’ understanding of music creation and analysis. As additional evidence of learning, each pair also had to research and find two similar songs that closely mimic their final song in terms of song structure, instrumentation

or style (Section C3). There was also an optional bonus activity bearing additional credit for pairs who took the song they had generated using Suno further, such as performing a cover of the song.

Student Submissions and Responses

The implementation of the Music GAI module yielded a range of student submissions and responses. The following submissions serve as a snapshot of the diverse abilities and backgrounds of the students, as well as the varying levels of engagement and understanding.

Click on the Extract Name to listen to the corresponding student’s generated songs.

Figure

this module

Extract Name

SS1

Our Remarks

Normal (Technical)1 pair with limited command of language: Showcased some understanding of near rhymes (“free” and “ring”) as well as prosody by reducing one syllable in the third line of Verse 2 (“dream”) to match the other lines.

[Verse]

Morning light we wake up fast School day starts our joy are up Books and pens our minds so clear Can’t wait for the bell to ring

[Verse 2]

Class is long but friends are our company Whispered jokes we hold so close Teacher talks we daydream and play Recess soon our time to sway

[Verse]

Morning light we wake up quick School day starts our joy we pick Books and pens our minds so free Can’t wait for the bell to ring

[Verse 2]

Class is long but friends are near Whispered jokes we hold so dear Teacher talks we dream and play Recess soon our time to sway

I changed the last few words in the verses to make them rhyme.

For e.g., Changed “fast” to “quick” so that it creates an end rhyme with “pick” in Verse 2. I also changed “daydream” to “dream” because it flows better.

Extract Name

SS2

Our Remarks

Mixed-stream Express and Normal (Academic) pair: Easily distracted and engaged in disruptive behaviour. While Suno enabled them to create a seemingly viable song at first glance, the project document revealed misconceptions in their edits to the generated lyrics, which deviated from effective lyric writing and song structure – the

Before

When the bell rings, it’s time for recess, Running with my classmates, no time for stress. In Roblox worlds, we build our dreams, But first, it’s P.E., or so it seems. Mr. Shaffle’s got us working hard, Playing games, we’re never too far. With a yellow form tucked in my bag, Gotta finish homework, but I’ll never drag.

Chorus

Must bring my book every morning, Learning’s a game, and im exploring, C.C.A. after school, we’re on the rise, Chasing dreams we reach for the skies. Exams might come, but we’ll be alright, With friends by my side, we’ll shine so bright.

After

When the bell rings, it’s time for break, Running with my friends, no time for stress. In Roblox, we build our dreams, But first, it’s P.E., or so it seems.

Chorus

Bring my book each day, Learning’s a game, let’s play. C.C.A. after school, we’ll rise, With friends by my side, we’ll reach the skies.

I changed the formation of some sentences to make the song understandable and not confusing. I changed some words to match the other sentences.

first line losing its rhyme and prosody – as well as an inability to justify their creative decisions.

Extract Name

SS3

B2ii

A3

Our Remarks

Mixed-stream Express and N(A) pair: Highly motivated and focused, able to explain their creative decisions, as well as make poignant observations about the music details present in their song, including the switch from chest to head voice (“falsetto”) during higher pitches in the chorus.

Briefly explain how you have made your lyrics in A2ii more effective using what you have learnt, elaborating using specific examples (~200 words).

“We made use of near rhymes (e.g., ‘bonding in the chaos’ and, ‘lend a shoulder to lay on’) and end rhymes (e.g., ‘we’re in our prime’, ‘amazing time’). We also changed the lyrics to have more storytelling elements and incorporated our own emotions, thoughts and experiences throughout the two years we were in PRCS. The entire bridge was made of our own emotions and feelings, and while the AI-generated lyrics focused more on the overall vibe of being a teenager, we decided to focus our lyrics on not wanting to leave these moments behind and some day having to go our own separate ways. We also used juxtaposition (‘see how far I’ve come, see how far I could go’) to show the contrast between what we’ve done so far and what we will do in the future.”

Style/Genre

Ballad, Pop, Bittersweet, Melancholic

B2iv:

Any other musical features

(*underline where applicable)

• Tempo is slow / moderate / fast / other*:

• Texture is thin / moderate / thick / other*:

• Dynamics are soft / moderate / loud / other*: soft in the beginning, then loud towards the 2nd chorus to the end

• Use of key changes

• Use of falsetto to emphasise certain words

C2

Explain how the musical features heard in your final song embody your lyrics and how they fit the theme. You may refer to style/ genre, instrumentation and any other musical features.

“The melody helps to embrace the nostalgic input we wanted to make, the slow speed accompanied by the piano instruments gives the nostalgic yet bittersweet feeling the lyrics portrayed of having to leave our teenage years behind some day. It also makes us feel warm and reminiscent on the days we had spent laughing and making memories together. The use of falsetto in the chorus and also the (somewhat) high note connecting the bridge to the final chorus gives a very bittersweet, almost heartbreaking vibe to the song, like a closure to our journey in lower secondary when we were in the same form class.”

Extract Name

SS4

“Instead of using the normal lines, we put our friends’ and classmates’ names to make it more funny. Mentioning people you know makes the song more personal and relatable, which can resonate more deeply with your audience. Friends and classmates are likely to appreciate the shout-out and feel a special connection to the song.”

Our Remarks

N(T) pair: With limited command of language yet able to describe how they brought about a song that celebrates their social connections in school. As teachers, we were able to gain some insight into their cultural influences, as well as be exposed to previously unknown subgenres, which in this case included Brazilian Phonk and Gangsta Rap.

B2i

Structure Timestamp (min:secs)

• Verse 1

• Chorus

• Verse 2

• Chorus

• Bridge

B2ii

Style/Genre

Extract Name

SS5

Our Remarks

Express pair: Including one new transfer student, which fed into their title, “I’m New Here, Hello!” There was the notable acknowledgment of the inner rhyme, “GeoGRAPHY” and “SG” in the first pre-chorus, and they successfully prompted elements of the Trap Music genre in the second pre-chorus.

• 00:01

• 00:11

• 00:33

• 00:47

• 01:09

Gangsta Rap, Brazillian Phonk

B2ii

Style/Genre

Happy, Cheerful and light-hearted, K-Pop, Trap remix

B2iv

B2iii Instruments

• Drum set

• Voice

• Electric guitar

Any other musical features

(*underline where applicable)

• Tempo is slow / moderate / fast

• Texture is thin / moderate / thick

• Dynamics are soft / moderate / loud

• Electric guitar solo between the 3rd chorus and the 2nd bridge.

“Rhymes, like ‘alive’ and ‘side’, ‘clear’ and ‘cheer’ as well as ‘create’ and ‘place’. There is also a rhyme that’s in the middle of the line, the ‘graphy’ part of geography rhymes with ‘SG’ in the first pre-chorus. For prosody, I feel like most of it is either complex repeating patterns or with shifted patterns as some of the lines are not of the same length.

Song title: “I’m New Here, Hello!”

Extract Name

SS6

Our Remarks

Express pair: Despite having no formal music training, were able to make use of appropriate adjectives, as well as some technical music vocabulary, mainly the major tonality as well as an upbeat and driving rhythm.

“The melody is uplifting and anthemic, matching the enthusiasm of the lyrics. Using major chords throughout the song enhances the feelings of joy and pride expressed in the lyrics. Harmonies in the chorus create a rich, full sound, symbolising the collective voice of the school coming together. An upbeat and driving rhythm captures the excitement and energy of game day. The rhythm can help build momentum, especially during the chorus, “We’re with you!” encourages participation from the crowd. Incorporating the electric guitar and drums build up an upbeat and positive beats. The passionate and engaging vocal style resonates well with the lyrics. Inviting harmonies in the chorus can amplify the theme of unity, making it feel like a shared experience among the students. Moreover the repetitive chorus emphasises the theme of unity and the tempo is fast-paced.”

Extract Name SS7

Our Remarks

Express pair: Despite having no formal music training beyond CCA (self-taught pianist from Chinese Orchestra, the other from choir), they were able to perform a simple cover of their generated song.

“We put in school places, and school-based information such as people in the school, to relate to our lives. At first we started off with a generic love story and then made it more school-related. We have a contrast in the verses so at first shows the girl in love and happy and then later she starts second-guessing her feelings by thinking it was her, ‘delulu reality’. We used rhyming techniques so that it won’t sound too awkward moving from line to line. That would be the usage of end rhymes. It could be classified as wordplay when we said, “Ariel looks at me knowing what I don’t see” which means she knew all along the girl made a mistake falling in love so soon but did not tell her directly.

I feel in a sense this style is similar to artists like Taylor Swift, not in terms of the upbeat music. But Taylor Swift is generally all about love and breakup songs. This was like combining “You Belong With Me” and a generic love story. When you mix both, it is similar to showing how you want to portray and make the guy see that you are the best choice, but ultimately second-guess everything.”

Extract Name SS8

“It creates a more calming emotion in the song. R & B refers to Rhythm and Blues, although the song doesn’t entirely capture its essence, I believe the slowness and simple guitar parts gave a hint to the genre. Additionally the slow singing allowed the song to sound more relaxed than that of it having a hyper singer and a slow backing track.”

Our Remarks

One outlier approached the optional activity by splicing two songs together via BandLab. She had to tweak the tempo and key of another generated song to fit the first, affecting stylistic countermelodies. The creation of the arrangement showcases her strong musical understanding and music technology competencies.

Extract Name

Extra Listening:E1

Our Remarks

Another outlier showcased inventive thinking by hacking (in the sense of creatively using software or technology in an unintended way to achieve an innovative or positive result) the

platform through his unusual way of writing lyrics to create a stylistic product – note his well-researched and complementary prompt. Also, the technique of repetition legitimises the pronunciation of “enduree”, “aree” and “puree”.

Extract Name

Extra

Listening:E2

Our Remarks

N(A) pair: Created the most popular song among students.

Click to listen within Suno, with full lyrics

The content generated by AI is mostly useful in helping me write lyrics/create music

I feel more confident in writing lyrics/creating music with the help of AI

I feel more creative in writing lyrics/creating music with the help of AI

All in all, these varied outcomes underscore the importance of providing tailored support and scaffolding to meet the needs of all learners.

Survey Findings

With assistance from Marvin Leung from the Arts Education Branch, a 4-point Likert scale survey was administered to gauge student perception of the use of AI in music creation,

both of large language models for lyrics, and music generative AI for song generation.

From the first set of data (Figure H), students generally agreed that the use of AI made the creating process less challenging and was mostly useful in their lyrics and song creation process, though this did not necessarily translate to higher motivation to write lyrics and

Figure H: Student Questionnaire Results (Affect).

create music, or feelings of increased creativity. Overall, while AI had the potential to enhance the music learning experience by making it more enjoyable and accessible, its impact on motivation and creativity was less clear.

The next set of survey findings (Figure I) revealed that students were open to using AI in music creation but still valued traditional methods and personal creativity. They saw AI as a helpful tool yet prefer real instruments

and believe in their own abilities to create music independently. Notably, the preference for real instruments over AI-generated ones was relatively stronger, with a clear belief in their capability to create without AI. These insights suggest that future teaching can integrate AI as a supportive tool while continuing to emphasise the development of core musical skills and personal expression. This balance will be key in shaping effective music education modules.

I: Student Questionnaire Results (Agency).

Figure

Figure J Student responses to:

“Please share at least one ADVANTAGE of using AI in music learning and lyrics writing/music creating”

The questionnaire also asked students to share at least one advantage or disadvantage of using AI in music learning and lyrics writing, and add any additional comments that they had. These were grouped into categories as shown below. Students noted that AI made it easy to create songs by providing starters and ideas for lyrics, with this support appreciated by beginners in particular (Figure J). Many appreciated how it offered suggestions for music genres and instruments, helping them get started with their creation.

Others felt that AI enhanced creativity by

providing samples that inspired unique pieces. Additionally, students mentioned that AI assisted those who did not play instruments, making it easier to generate music and lyrics without starting from scratch. Finally, several students highlighted how AI allowed them to write songs quickly and efficiently, saving time in the creative process.

The disadvantages that students identified in Figure K reinforce the need for critical engagement with AI tools in music learning. Many expressed concerns about a lack of originality and creativity, noting that reliance on AI Category

Examples

“Easy to make a song. It helps create a starter and an idea on how to create the lyrics. It is much easier to make music and create lyrics.”

“Gives more ideas on the genre of music and gives a helping hand to begin. It gives ideas on what to write, and ‘suggests’ instruments that should be played in a certain genre.”

“It helps with creativity and makes everything easier. We are able to find a sample of music that we can take inspiration from to create our own unique and authentic song/piece.”

“It’s easier and it helps people who don’t know how to play musical instruments. AI makes it easier for us to think of words as we don’t have to think from scratch.”

“AI helps us create a better song faster and better than we can. One advantage is how convenient it is you can write a song in minutes. It is less time consuming.”

Lack of Originality and Creativity 20

Technical Issues and Reliability 15

“Not genuine. Not much creativity. It causes a lack of creativity as people tend to depend on AI more than their own creativity.”

“Not reliable. Sometimes there can be glitches and you won’t get what you want. It might not generate what you want sometimes and it’s also not very flexible.”

Quality and Suitability 12

Dependency on AI 10

Ethical and Legal Concerns 5

“The song might not be to your liking or what you had imagined. Lyrics not making sense. The music generated may not be the type of music that I want.”

“I feel like it would be the AI doing the job, not me, and I don’t like it. We don’t get to use our own creativity. It takes away the creativity.”

“Plagiarism. It copyrights other. It uses people’s lyrics.”

could stifle their own creative impulses. Technical issues, such as glitches and unpredictable outcomes, highlight the importance of developing critical listening and decision-making skills. Additionally, students found that AIgenerated music often did not meet their expectations, emphasising the need for a personal touch in their work. They felt that dependency on AI diminished their role as creators, echoing the risk of blind reliance as discussed earlier. Lastly, ethical concerns around plagiarism remind us to be vigilant about AI's implications in the creative process.

Students shared an additional range of comments (Figure L) about their

experiences using AI in music learning and lyrics writing. Some found the process enjoyable, appreciating the fun of hearing different songs and lyrics generated across genres and styles. However, others expressed mixed feelings, noting that while AI assisted in their writing, they preferred to create music themselves for greater control over the final product. Suggestions for improvement included allowing students to choose their own topics instead of focusing solely on school themes. Additionally, some students highlighted technical challenges, stating that prompts sometimes did not yield the desired results and that managing AI tools could be difficult.

Figure K

Student responses to: “Please share at least one DISADVANTAGE of using AI in music learning and lyrics writing/music creating”

Figure L

Student Responses to:

“Please share any other comments on your experience in music learning and lyrics writing/music creating with the help of AI”

Reflections

Reflecting on our inquiry experience and survey findings, particularly the feedback from students who expressed a desire for more involvement in creating their own music, we identified several areas for improvement:

∆ In response to students' mixed feelings about AI's role, teachers could adopt a hybrid approach for the song creation module that incorporates multiple methods of creation while offering music generative AI as a support option.

∆ To sustain learner motivation, teachers could diversify activities beyond just working on a Google document, integrating performance and other musicking elements for a more engaging listening-creating-performing experience.

∆ Teachers could enhance scaffolding for lower readiness learners by breaking down open-ended questions into manageable parts, enabling more active participation in the creative process. Better time management should also be a focus, with checkpoints and interim submissions to help pace students effectively.

∆ Teachers could establish clear expectations for roles in pair work that will promote parity in contributions and allow for individual reflection.

∆ Teachers could create platforms for sharing student work, fostering a sense of ownership and pride in their creations, thus ensuring that student voices are at the forefront of our approach.

∆ Recent multifaceted movements in the music industry, including court cases surrounding copyright law involving

Music GAI platforms like Suno and Udio highlight ongoing debates about authorship and ownership. These discussions tie back to student concerns about ethical and legal issues, as noted in our survey, where they expressed worries about the lack of genuine creativity and the risk of over-reliance on AI.

Conclusion

As technology advances, Music GAI can serve as a scaffold for students, facilitating their creative processes while allowing them to maintain their individuality. By integrating AI tools in the classroom, we can encourage students to experiment and explore new musical ideas, enabling them to see AI not as a replacement of

their creativity, but as a collaborator that can inspire and enhance their artistic expression. This opens possibilities for experimentation and self-directed learning, and, with careful positioning by the teacher, serves as an avenue to develop critical and inventive thinking.

This prompts us to consider how we can adapt our teaching practices to leverage these advancements effectively. How might we create an environment that fosters collaboration between students and AI while addressing the ethical concerns raised? These questions set the stage for a deeper exploration of how Music GAI, and other Music AI tools, can shape our students' creative journeys and the future of music education.

Reference ∆ Peters, D. (2015). Musical Empathy, Emotional Co-Constitution, and the “Musical Other”. Empirical Musicology Review, 10(1-2), 2–15. https://doi.org/10.18061/emr.v10i1-2.4611