Designing Appropriate Tasks

Getting to know students’ musical histories can be a powerful connection point for determining students’ knowledge about music and providing them with appropriate assignments that engage them at an appropriate skill and challenge level to enable their success and growth, also while affirming their musical interests and identities (Kaschub & Smith, 2009 and 2017). There has been considerable debate surrounding the structure of composition assignments, as well as the number of freedoms and constraints within those assignments (Kratus, 1989; Wiggins, 2015). Issues include providing students with tasks matched with outcome goals that they believe are attainable, as well as having an appropriate balance between freedoms and constraints.

Too much freedom might overwhelm students with choices, while too much constraint might stifle imagination and focus on satisfying the parameters of the assignment rather than creating a unique product. Jackie Wiggins (2015) provides somewhat of a middle ground and suggests that educators provide students a “point of entry”: an educator- imposed requirement of a musical element students have studied and understand to be included in a work, with the remainder of the artistic decisions to be made by the student. This solution provides students with the opportunity to employ their agency to create a work of personal and artistic significance for them, as well as satisfies teachers’ curricular and assessment objectives. Examples of approaches that capture these ideas are found in Figure 8.1.

Figure 8.1. Key ideas to promote student agency

Conclusion. Composition is a means through which thoughts, emotions, and identities can be expressed and can be an especially useful outlet when students cannot articulate them through the written and spoken word. Educators should consider how students can be encouraged to use their agency in their classrooms to not only satisfy curricular aims and objectives via composition, but also help them make choices that provide them with a sense of empowerment that assist them with creating a fulfilling and meaningful life with realized potential. They deserve nothing less, and the possibilities are endless.

References: Abril, C., & Gault, B. (2006). The state of music in the elementary school: The principal’s perspective. Journal of Research in Music Education, 54(1), 6-20. https://doi.org/10.1177/002 242940605400102

Bandura, A. (1989). Human agency in social cognitive theory. American Psychologist, 44(9), 1175-1184. https://d0i.0rg/10.1037/0003-066X.44.9.n75 Bandura, A. (2006). Toward a psychology of human agency. Perspectives on Psychological Science, 1(2), 164-180. https://doi.org/10.1111/j. 1745-6916.2006.00011.x Barone, T. (2000). Breaking the mold. In T. Barone, Aesthetics, politics, and educational inquiry (pp. 119-134). Peter Lang.

Conway, C., & Hibbard, S. (2020). Pushing the boundaries from the inside. In C. Conway, K. Pellegrino, A. M. Stanley, & C. West (Eds.), The Oxford handbook of preservice music teacher education in the United States (pp. 3-22). Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780190671402.013.1