When Students Teach Creativities: Exploring Student Reports on Creative Teaching

“When Students Teach Creativities: Exploring Student Reports on Creative Teaching” is an article written by Kari Holdhus and published in Qualitative Inquiry in 2018.

In this article, Kari Holdhus shares a journey of research on student teacher reports regarding creativity pedagogies. The empirical material comprises student reports on teaching for creativity. The text draws on the literatures of creativities, creativity pedagogies, and professional improvisation, inspired by a backdrop of literature on narrativity and narrative writing. The text aims to discuss how creativity pedagogies can take place in different practical surroundings and to provide an example of how teaching in higher education can both contribute to research and be research-based. The following research question is asked: What characterizes student teachers’ reports on designs and choices when facilitating creative learning processes, and which interpretations and reflections do these reports evoke within their teacher? In comparing student papers, Holdhus has conceptualized their common features into the following concepts: context, skills, design, and trust. Within the text, each of these concepts is addressed through example narratives extracted from the student reports. Holdhus concludes that a combination of aspects from each of the four concepts can be said to construct a liminal room of immersion.

See the whole article here: https://journals.sagepub.com/doi/pdf/10.1177/1077800418801377

Jonas Cisar Romme

Jonas is lecturer in music education and community music and researcher at Western Norway University College of Applied Sciences, campus Stord. Since 2016 he has been central in the development of Scandinavia’s first bachelor program in Community Music.

Jonas is active as a researcher in “School and concert – from transmission to dialogue” – an innovation project on Norwegian professional visiting concerts in partnership with Kulturtanken, founded by the Norwegian Research Council (www.diskoprosjektet.no). This project runs for four years from 2017.

He holds a master’s degree in Creative Subjects and Learning Processes from 2015. The thesis is named “My Music Performance is Changing!” – Perspectives on “The Aesthetic Talk” in Ensemble Teaching in Upper Secondary School.

Teaching subjects: Arranging/Composing, popular music and jazz music history, ensemble playing, how to workshop, ear training, music theory, community music philosophy, history and central concepts, supervision of bachelor candidates.

He has a background as a music teacher in Norwegian upper secondary school (“Musikklinja”), in municipal culture schools, as music reviewer, arranger for choir and big band, and is currently conducting/leading and arranging for a local big band.

Jonas’s research interests are creativity, learning processes, inclusion, democracy and sustainability, the potential of community music praxis in Scandinavian music pedagogy, music philosophies and their relationship to quality conceptions.

The Dynamics of Creative Music Making: A sociocultural perspective on learning in creative musicking practices

The compilation thesis entitled The Dynamics of Creative Music Making: A sociocultural perspective on learning in creative musicking practices investigates how learning in creative practices can take shape and be facilitated when children and adolescents create music. The dissertation comprises a summary and four blind peer review articles examining creative music making projects from a sociocultural perspective.

The main aim of the thesis is to increase the knowledge and understanding of the learning processes taking place in the shared activities of the community of practice in three different cases taking place in Norway, and how these creative music making practices were facilitated. The research was designed as a qualitative multiple case study, building a combination of interviews and observations of the creative practices as main data collection methods. The empirical data consists of interview transcriptions, musical material, observations and video-recordings.

Through a sociocultural perspective, these practices were analysed as dynamic relationships of musicking, including the use and transformation of mediating tools, and development of aesthetic, artistic and structural reflection-in-musicking. The findings in this study suggest ways of understanding forms of learning in creative musicking practices as social, cultural and situated. First, the facilitator role is discussed in terms of multiple modes of facilitation in an informal learning context. The modes are identified as scaffolding, co-participation and collaboration, and management and distribution of cultural tools. Second, an analysis of adolescents’ development of aesthetic, artistic and structural reflection-in-musicking brings forward an understanding of how learning in musical creative practices can take shape in the process of writing an opera. Third, mediating tools such as different forms of notations, music making actions and interactions, and meaning and transformed experiences are found as crucial in a project involving pupils in a formal learning context.

The results from the analysis point at the complexity of understanding learning in creative music making practices, which builds on dynamic sets of relationships, repertoire and shared participation. Implications for the music education research field includes a discussion of the distinction between learning and experiencing, as well as the roles of the teacher and the artist. The study points further at the importance of understanding learning as a crucial part of creative music making practices.