Recommendations for Practice and Concluding Thoughts

There is indisputable research evidence that indicates that quality music and arts education can develop critical intrinsic and extrinsic attributes in students if taught in an authentic, innovative, and experiential way that challenges learners to think creatively and critically. Engaging with music learning and in particular tasks such as those afforded through composition and performance opportunities, provide processes and experiences that engender a distinctive and critical set of understandings, knowledge, and skills that are required to navigate an unpredictable and ever-changing world. Despite this compelling argument and the statements in the Australian curriculum continuum supporting a sequential learning progression and quality arts education, this is rarely seen in reality:

Realising this aspiration continues to be threatened by a number of issues including the ongoing marginalisation of education in and through the arts, a dearth of teacher professional learning in the arts and an emphasis on reductive definitions of what it means to be literate. (Ewing, 2020, p. 75)

This has recently been amplified in Australia by debates about what should be considered essential and non-essential learning in the curriculum and school programs, sending confusing messages about the perceived value of some disciplines over others (Crawford, 2020c). Cultivating important 21st century skills and knowledge in truly authentic ways that provide students with a holistic learning experience can only be achieved if the thinking by governments, policy-makers, and education authorities change. For example, pretending that the same complex level of creativity explored in music and arts education can be achieved through disciplines such as science, is naive and short sighted. Students need to be provided with opportunities to pursue a range of interests that cater to different learning abilities and modes. This requires a consideration of the important key skills, knowledge, and perspectives that different disciplines can provide young people, particularly if educating toward a society that values diverse thinking and skill sets.

The case studies presented in this chapter represent different educational contexts in Australia that challenge the current rhetoric about the devaluing of the arts, highlighting how engagement with music through composition pedagogy can develop creative and critical thinking, build social inclusive skills and intercultural competence, and use technology to enhance music learning opportunities. Crawford’s (2008 and 2014) multidimensional/non-linear teaching and learning model was used as the theoretical underpinning for the approach applied in the cases. A framework exploring the intersections between the model and the composition pedagogy used in the cases is presented in Figure 34.2, and to provide a platform for how teachers might apply the ideas and recommendations within their practice.

The middle circle in the framework is representative of the three pillars of music learning identified in the Australian curriculum as listening, performing, and composing. These principal activities should be approached with consideration to the key tenets of the multi-dimensional/non-linear teaching and learning model: authentic and experiential learning; valued knowledge, multi-dimensional learning, and the holistic learning/whole person phenomenon. Also found in this middle section are the curriculum threads (music learning strands make and respond), general capabilities (critical and creative thinking, personal and social development, and intercultural understanding), cross-curriculum priorities and interdisciplinary learning, and where possible, technology-enhanced learning.

This is encapsulated in a constructivist framework that supports both composition pedagogy and the multi-dimensional/non-linear teaching and learning model. Students’ engagement with music learning in the three cases described provided visible intrinsic and extrinsic benefits. In all cases composition was placed as the central learning activity that provided behavioral, emotional, and cognitive dimensions. Learning experiences are considered relevant and knowledge is valued by the students as tasks are authentic, contextual, and purposeful and respect different cultural traditions and diverse perspectives. Creative endeavors are encouraged and risk-taking and experimentation are normalized as part of the learning process, which students take responsibility for. A supportive and constructive learning space is established that enhances peer collaborative learning, socially inclusive practices, and intercultural competence.

In addition to social development, making and responding to music through composition can enhance personal development and interdisciplinary learning opportunities, such as building English and literacy skills and knowledge. Recognition of these outcomes is not intended to undermine the fact that music is a discipline in its own right, and the intrinsic attributes and aesthetic values that are developed through engagement with learning music and the arts are part of the very fabric of humanity. This makes an important contribution to lifelong learning and our historical and cultural identity. If thinking about music learning as an experience whichis fundamental to providing holistic learning, then valuing a balance of both intrinsic and extrinsic benefits is required. This was certainly identified as an important aspect to the success of the pedagogical approach used in the cases presented.

Composition pedagogy and creativity in music education as discussed in this chapter is intended to challenge the current rhetoric about what should be considered essential learning in schools and how the Australian curriculum may be enacted. Unequivocal research evidence implores governments, policy-makers, and education authorities to make considered and informed decisions that include providing young people the opportunity to engage with a quality music education and experience holistic learning. Only then will young people in Australia and around the world be able to contribute positively to society and be truly prepared for the unpredictable and uncertain nature of life itself.

References: Australian Curriculum, Assessment & Reporting Authority (ACARA). (2012). The shape of the Australian curriculum, Version 4.0. https://acaraweb.blob.core.windows.net/resources/The_ Shape_of_the_Australian_Curriculum_v4.pdf

ACARA. (2016). Development of the Australian curriculum. https://www.acara.edu.au/curricu lum/history-of-the-australian-curriculum/development-of- australian-curriculum ACARA. (2018a). Key ideas: The arts Australian curriculum, Version 8.4. https://www.australia ncurriculum.edu.au/f-10-curriculum/the-arts/key-ideas/

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Craft, A. (2008). Tensions in creativity and education: Enter wisdom and trusteeship? In A. Craft, H. Gardner, & G. Claxton (Eds.), Creativity, wisdom, and trusteeship: Exploring the role of education (pp. 16-34). Corwin Press.

Craft, A. & Jeffrey, B. (2008). Creativity and performativity in teaching and learning: Tensions, dilemmas, constraints, accommodations, and synthesis. British Educational Research Journal, 34(5), 577-584. https//doi.org/i0.080/01411920802223842

Crawford, R. (2008). Authentic learning and digital technology in the music classroom: PhD thesis. Australia, Victoria: Monash Universit

Crawford, R. (2014). A multidimensional/non-linear teaching and learning model: teaching and learning music in an authentic and holistic context. Music Education Research, 16(1), 50-69. https//doi.org/10.1080/14613808.2013.812627