This article responds to recent calls for situated examples of student-centered education. Our goal is to illustrate what student-centered pedagogies may look like in the music education classroom, particularly in the context of collaborative composition activities. The sample case presented features a Primary 5 Singaporean music teacher…

Prospective primary school teachers had low skill in playing "gamelan degung" (Indonesian Gamelan). To improve skills in playing "gamelan degung" correctly, prospective primary school teachers need to be taught techniques of ringing, muffling ("menengkep"), and memorizing the compositions. Therefore, this research…

"Lemonade in Winter: A Book About Two Kids Counting Money" is a children's book about math; however, when sharing it in the music classroom, street cries and clapping games emerge. Jenkins' and Karas' book provides a springboard to lessons addressing several music elements, including form, tempo, and rhythm, as well as…

Positive self-esteem helps students succeed in and outside of music classrooms. High self-esteem is associated with a positive self-image and fine musicianship. Conversely, low self-esteem is associated with a negative self-image and poorer musicianship. Because students' self-esteem may affect their participation in music classes, the music…

German-born composer Ernst Mahle (b. 1929) holds a respected position in the music field in Brazil, his adopted country since 1951. Mahle is the artistic director and co-founder of the "Escola de Musica de Piracicaba," one of the most important musical institutions in Brazil. His work has focused on conducting, composition, and…

The purpose of this study was to investigate elementary students' creating processes and perspectives through composition. Two fourth-grade classes took part in this action research, which consisted of creating four compositions--two with acoustic instruments and two with computer software. For each of the two sound sources, the first composition…

This study examined trainee music teachers' judgements of the musical creativity of secondary age students. Nine pieces of music composed by Year 8 students (13 years of age) were evaluated by 17 postgraduate, trainee teachers. These musical pieces were sorted into a diamond-shaped formation according to how creative they were perceived to be with…

This article examines the wider meanings of collective inquiries, creative collaboration and learning at work through analyzing a teacher's learning process when plunging into collaborative inquiry and creation with the students in primary classroom context. The incorporation of "songcrafting" into the existing practice of singing…

Composition with students on the elementary level sparks imagination and creativity while engaging students in an experience that can demonstrate personal musical growth. Traditionally, music educators have not been taught how to compose music, let alone lead their students in composing experiences. As music educators take the beginning steps of…

In this study, I explored children's development of rhythmic music literacy using a language acquisition paradigm. An emergent, constructivist curriculum was implemented over one academic year with 39 children, 5-8 years old. Children were involved in audiation-based active listening, singing, moving, chanting, and playing instruments and engaged…

This study considers the way children listen to classical music composed for them and the effect of age on their spontaneous invented notations and verbal responses. The musical selection is a piano piece for children by Claude Debussy:"'Jimbo's Lullaby" from "Children's Corner". Two hundred and nine children 4-9.5-years-old…

Case study techniques were used to investigate perceptions of undergraduate music majors participating as teacher/mentors for elementary students in a university sponsored music composition program. Data included teacher interviews and observation of teacher training and composition mentoring sessions. Teacher perceptions were categorized as…

A conversation between the Director of the University of Manchester's Science & Engineering Education Research and Innovation Hub and the Education Director of England's Halle Orchestra explores the relationship unfolding between science and music. The interview focuses on synergies between music and science and how the two subjects can…

Improvisation, the third content standard for the National Standards for Music Education (Music Educators National Conference, 1994), has received less attention from music teachers. This article advocates for more improvisation specifically free improvisation in general music classrooms. The nature of free improvisation, and its evolution in the…

The purpose of this research was to investigate teachers' beliefs about compositional experiences in the elementary music classroom. Elementary music teachers (N = 176) in Michigan completed a researcher-designed questionnaire, which included a combination of forced-choice and open-ended questions regarding how teachers define composition, why…