Reflection and Critique in the Classroom
| In a comprehensive music program, each aspect of the
program informs the rest. Students bring to their compositions all of
the musical experiences that they have, including singing, playing
instruments, movement, improvisation, music literacy, exposure to
different cultures and styles of music, as well as their personal
preferences. If reflection and critique are a part of the culture of a
classroom, with students critiquing their own and others' work, their
ability to listen, analyze and describe music (National Standard #6)
and to evaluate music and music performances (National Standard #7) is
enhanced, and this in turn enriches their compositions. Reflection and critique are skills that must be taught. They must be planned, guided by the teacher in the classroom and practiced. As students compose with technology, many for the first time, they are awash in possibilities and excited to be creating. Focusing on specific musical elements gives a direction and form to their compositions. In the Vermont MIDI Project sharing site, young composers describe their intent and provide brief biographical information. Sometimes the composition is an assignment for class, so this is explained. The statement of intent is particularly important both in focusing the student on the qualities of their composition and in giving the people critiquing a context for their comments. Students are also encouraged to ask composer mentors for specific feedback. Often, this is difficult for the students to do, as they really are happy with the way things are, but it does help to open them up to receiving suggestions from others. |
"Students have an
investment in their creative work, and there must be a balance between
just making changes that people suggest without taking ownership in the
piece, and digging in their heels and refusing to look at something
with fresh eyes. To me it is a delicate balance." Anne K. Hamilton |
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Students should view and listen to each other's work frequently. They learn new ideas from each other and use them in their own pieces. As they develop more musical vocabulary, they discuss the music itself, not individuals, and this helps to depersonalize the critique. It takes time to teach critique, and it may seem that the investment is not worthwhile at the beginning, but as the class builds skills in this area, their comments are more insightful, the process runs more smoothly, and the impact on their future work is significant.
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"We are nurturing young,
creative spirits. They are a precious commodity and our responsibility
is to respect their ideas while guiding them and helping to build their
skills." Carolyn Keck |
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| Critique as a skill can be assessed. Some teachers in the Vermont MIDI project use a three-point rubric to rate students' comments. The rubric can be posted and referred to as work is discussed in class. | |||||||||||
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Some Approaches to Critique
- The students have to be specifically instructed in how to comment on other people's work. Critique should be positive, respectful and specific.
- Brainstorming appropriate vocabulary and posting it in the classroom give students a ready reference when they are stuck for something to say.
- Frequent, short, focused critique sessions are most productive.
- Critique should be relevant to what the students are learning in class and appropriate to their grade level.
- Look also at the work of great composers, e.g. Beethoven "Ode to Joy". Study the rhythmic, melodic and harmonic elements, repetition, form, etc. What makes a great melody?
- The visual aspect is important- if you do not have a projector, print the music out on an overhead transparency so that everyone can see the notation as the music is played.
- Affective comments are appropriate and should not be discouraged. If a student says "Wow, that reminds me of a circus!" it will generate a rich discussion of the music.
- On occasion show the written music to the students before they hear it and ask them to predict what it will sound like. After hearing it, was it what they thought it would be?
- Have the students listen to the music without seeing it and respond to it both by affective comments and using musical vocabulary. Then show them what it looks like in notation.
- Make a checklist of every student in the class and throughout the quarter make sure that each one contributes a comment in class. Assess the level of comment on the three point rubric (above).
- Written responses are tangible evidence of students' ability to critique. They may also reach the student that is less likely to contribute verbally.
Anne K. Hamilton, music teacher