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 ready-made songs is analyzed and evaluated as a teacher-researcher’s reflection-on-practice. The case of long-term change in practice is modeled as collaborative creative process (Csikszentmihalyi, 199; Sawyer, 2006) and inquiry (Dewey, 1933/LW 8, 1938/LW 12), examining its enhancing and hindering elements. An extension on the definition of songcrafting is presented. By seeing the teacher as a constant co-learner alongside her students, the creative capabilities of both are highlighted. The issues of reproduction and collaborative creation concerning both musical practices and musical works are also examined.
BarrettM. (1997). Invented notations: A view of young children’s musical thinking. Research Studies in Music Education, 8(1), 2–14.
2.
BarrettM. S. (2005a). A systems view of musical creativity. In ElliottD. J. (Ed.), Praxial music education: Reflections and dialogues (pp. 177–195). Oxford, UK: Oxford University Press.
3.
BarrettM. S. (2005b). Musical communication and children’s communities of musical practice. In MiellD.MacDonaldR.HargreavesD. (Eds.), Musical communication (pp. 261–280). Oxford, UK: Oxford University Press.
4.
BarrettM. (2006a). “Creative collaboration”: An “eminence” study of teaching and learning in music composition. Psychology of Music, 34(2), 195–218.
5.
BarrettM. S. (2006b). Inventing songs, inventing worlds: The “genesis” of creative thought and activity in young children’s lives. International Journal of Early Years Education, 14(3), 201–220.
6.
BoldenB. (2009). Body parts, the water cycle, plants and dolphins: Adventures in primary-class composing. General Music Today, 22(3), 8–13.
7.
BreezeN. (2009). Learning design and proscription: How generative activity was promoted in music composing. International Journal of Music Education, 27(3), 204–219.
8.
BreslerL. (1998). “Child art,” “fine art,” and “art for children”: The shaping of school practice and implications for change. Arts Education Policy, 100(1), 3–10.
9.
BroadyD. (1994). Piilo-opetussuunnitelma. Mihin koulussa opitaan [The hidden curriculum]. Tampere, Finland: Vastapaino.
10.
BrunerJ. S. (1996). The culture of education. Cambridge, MA: Harvard University Press.
11.
BurnardP. (2000). Examining experiential differences between improvisation and composition in children’s music-making. British Journal of Music Education, 17(3), 227–245.
12.
BurnardP. (2006). The individual and social worlds of children’s musical creativity. In McPhersonG. E. (Ed.), The child as musician: A handbook of musical development (pp. 353–374). Oxford, UK: Oxford University Press.
13.
CheungJ. (2004). Mapping music education research in Hong Kong. Psychology of Music, 32(3), 343–356.
14.
ClennonO. D. (2009). Facilitating musical composition as “contract learning” in the classroom: The development and application of a teaching resource for primary school teachers in the UK. International Journal of Music Education, 27(4), 300–313.
15.
Cochran-SmithM.LytleS. L. (2009). Inquiry as stance: Practitioner research for the next generation. New York, NY: Teachers College Press.
16.
CreswellJ. W. (1998). Qualitative inquiry and research design. Choosing among five traditions. Thousand Oaks, CA: SAGE.
Creativity, Culture & Education (CCE, 2009–2012). (2009). Founded by Arts Council England, Newcastle on Tyne. Retrieved from: http://www.creativitycultureeducation.org/
19.
Creative Industries Finland (CIF). (2011). Coordinator for Development Programme for Business Growth and Internationalization of Creative Industries 2007–2013, a program directed by the Ministry of Education of Finland. Retrieved from: http://www.creativeindustries.fi/
20.
CsikszentmihalyiM. (1997). Creativity. Flow and the psychology of discovery and invention (2nd ed.). New York, NY: Harper Perennial.
21.
CsikszentmihalyiM. (1999). Implication of a systems perspective for the study of creativity. In SternbergR. J. (Ed.), Handbook of creativity (pp. 313–315). Cambridge, UK: Cambridge University Press.
22.
DaviesC. (1986). Say it till a song comes: Reflections on songs invented by children 3–13. British Journal of Music Education, 3(3), 279–294.
23.
DeweyJ. (1899–1901/MW 1).The School and the society. In The Collected Works of John Dewey, 1882–1953. (2003). (Electronic edition). Charlottesville, VA: InteLex Corporation.
24.
DeweyJ. (1933/LW 8). How we think. In The Collected Works of John Dewey, 1882–1953. (2003). (Electronic edition). Charlottesville, VA: InteLex Corporation.
25.
DeweyJ. (1938/LW 12). Logic: The theory of inquiry. In The Collected Works of John Dewey, 1882–1953. (2003). (Electronic edition). Charlottesville, VA: InteLex Corporation.
26.
DeweyJ. (1938–1939/LW 13). Experience and education. In The Collected Works of John Dewey, 1882–1953. (2003). (Electronic edition). Charlottesville, VA: InteLex Corporation.
27.
DoganiK. (2004). Teachers’ understanding of composing in the primary classroom. Music Education Research, 6(3), 263–279.
28.
DrummondB. (2001). The class-room music teacher – inspirations, aspirations and realities. The evidence from Northern Ireland. British Journal of Music Education, 18(1), 5–25.
29.
ElliottD. J. (1995). Music matters. Oxford, UK: Oxford University Press.
30.
European Year of Creativity and Innovation (EYCI). (2009). Coordinated by the European Commission under the lead of the Directorate- General for Education and Culture, in association with the Directorate- General for Enterprise and Industry. Retrieved from:http://create2009.europa.eu/index_en.html
31.
FarishI. (2011). Helping young songwriters. Canadian Music Educator, 52(3), 41–42.
32.
FautleyM. (2005). A new model of the group composing process of lower secondary school students. Music Education Research, 7(1), 39–57.
33.
FolkestadG. (1998). Musical learning as cultural practice: As exemplified in computer-based creative music making. In SundinB.McPhersonG.FolkestadG. (Eds.), Children Composing (pp. 97–134). Malmö, Sweden: Lund University.
34.
GardnerH. (2006). Multiple intelligences: New horizons (2nd ed.). New York, NY: Basic Books.
35.
GardnerH. (2008). 5 minds for the future. Boston, MA: Harvard Business School Press.
36.
GouldE. (2006). Dancing composition: Pedagogy and philosophy as experience. International Journal of Music Education, 24(3), 197–207.
37.
John-SteinerV. (2000). Creative collaboration. New York, NY: Oxford University Press.
38.
JorgensenE. R. (2008). The art of teaching music. Bloomington: Indiana University Press.
39.
JuntunenM.-L. (2011). Musiikki [Music]. In LaitinenS.HilmolaA.JuntunenM.-L. (Eds.), Perusopetuksen musiikin, kuvataiteen ja käsityön oppimistulosten arviointi 9. vuosiluokalla. [Learning evaluation in music, visual arts and arts and crafts at the 9th grade] (pp. 36–94). Koulutuksen seurantaraportit 2011:1. [Follow-up reports 2011:1]. Helsinki, Finland: Opetushallitus [The Finnish National Board of Education].
40.
KaikkonenM.UusitaloK. (2005). Soita mitä näet: Kuvionuotit opetuksessa ja terapiassa [Play what you see: Figurenotes in teaching and in therapy]. Helsinki: Kehitysvammaliitto [The Finnish Association on Intellectual and Developmental Disabilities (FAIDD)].
41.
KankkunenO.-T. (2009). Vihreä Viserryskone – uusi ääni 1970-luvun suomalaisessa musiikkikasvatuksessa [The Green Twittering-Machine – a new voice in 1970’s Finnish music education]. The Finnish Journal of Music Education (FJME), 12(1), 36–59.
42.
KaschubM.SmithJ. (2009). Minds on music. Composition for creative and critical thinking. Lanham, MD: Rowman & Littlefield.
LyonsN. (Ed.). (2010). Handbook of reflection and reflective inquiry. Mapping a way of knowing for professional reflective inquiry. New York, NY: Springer.
45.
MajorA. E.CottleM. (2010). Learning and teaching through talk: Music composing in the classroom with children aged six to seven years. British Journal of Music Education, 27(3), 289–304.
46.
MezirowJ. (1990). How critical reflection triggers transformative learning. In MezirowJ. and associates (Eds.), Fostering critical reflection in adulthood: A guide to transformative and emancipatory learning (pp. 1–20). San Francisco, CA: Jossey-Bass Publishers.
47.
MuhonenS. (2004). Helping children to compose: Song crafting. In KarppinenS. (Ed.), Neothemi – Cultural heritage and ICT. Theory & Practice (pp. 204–210). Helsinki, Finland: University of Helsinki.
48.
MuhonenS. (2010a). Creativity – A slippery slogan? In RikandiI. (Ed.), Mapping the common ground: Philosophical perspectives on Finnish music education (pp. 84–103). Helsinki, Finland: Sibelius Academy.
NilssonB.FolkestadG. (2005). Children’s practice of computer-based composition. Music Education Research, 7(1), 21–37.
57.
PaavolaS.LipponenL.HakkarainenK. (2004). Models of innovative learning communities and three metaphors for learning. Review of Educational Research, 74(4), 557–576.
58.
ParttiH.KarlsenS. (2010). Reconceptualising musical learning: New media, identity and community in music education. Music Education Research, 12(4), 369–382.
59.
PaynterE.PaynterJ. (1974). The dance and the drum: Integrated projects in music, dance and drama for schools. London, UK: Universal Edition Ltd.
60.
PolanyiM. (1967). The tacit dimension. London, UK: Routledge & Kegan Paul Ltd.
61.
ReimerB. (1989). A philosophy of music education. Englewood Cliffs, NJ: Prentice Hall.
62.
RozmanJ. C. (2009). Musical creativity in Slovenian elementary schools. Educational Research, 51(1), 61–76.
63.
SalavuoM. (2006). Open and informal online communities as forums of collaborative musical activities and learning. British Journal of Music Education, 23(3), 253–271.
64.
SawyerK. R. (2006). Explaining creativity: The science of human innovation. Oxford, UK: Oxford University Press.
65.
SawyerK. R. (2007). Group genius. The creative power of collaboration. New York, NY: Basic Books.
66.
SchaferR. M. (1979). The rhinoceros in the classroom (2nd ed.). London, UK: Universal Edition Ltd.
67.
SchönD. A. (1983). The reflective practitioner. How professionals think in action. New York, NY: Basic Books.
68.
SchönD. A. (1987). Educating the reflective practitioner: Toward a new design of teaching and learning in the professions. San Francisco, CA: Jossey-Bass.
69.
StakeR. (1995). The art of case study research. Thousand Oaks, CA: SAGE.
70.
StakeR. E. (1994). Case studies. In DenzinN. K.LincolnY. S. (Eds.), Handbook of qualitative research (pp. 236–247). London, UK: SAGE.
71.
StakelumM. (2008). Creating a musical world in the classroom: Application of a Bourdieuan approach towards understanding teacher practice. British Journal of Music Education, 25(1), 91–102.
72.
StaufferS. L. (2002). Connections between the musical and life experiences of young composers and their compositions. Journal of Research in Music Education, 50(4), 301–333.
73.
StenhouseL. (1975). An introduction to curriculum research and development. London, UK: Heinemann.
74.
SternbergR. J.LubartT. I. (1999). The concept of creativity: Prospects and paradigms. In SternbergR. J. (Ed.), Handbook of creativity (pp. 3–15). Cambridge, UK: Cambridge University Press.
75.
SternbergR. J.KaufmanJ. C. (2010). Constrains on creativity. In SternbergR. J.KaufmanJ. C. (Eds.), The Cambridge handbook of creativity (pp. 467–482). New York, NY: Cambridge University Press.
76.
van ManenM. (1991). Reflectivity and the pedagogical moment: The normativity of pedagogical thinking and acting. Journal of Curriculum Studies, 23(6), 507–536.
77.
VygotskyL. S. (1978). Mind in society: The development of higher psychological processes. Cambridge, MA: Harvard University Press.
78.
VäkeväL. (2006). Teaching popular music in Finland: What’s up, what’s ahead?International Journal of Music Education, 24(2), 126–131.
79.
WengerE. (1998). Communities of practice. Learning, meaning and identity. Cambridge, UK: Cambridge University Press.
WigginsJ. (1990). Composition in the classroom: A tool for teaching. Reston, VA: MENC. The National Association for Music Education.
82.
WigginsJ. (2001). Teaching for musical understanding. New York, NY: McGraw-Hill.
83.
WigginsJ. (2011). When the music is theirs: Scaffolding young songwriters. In BarrettM. (Ed.), A cultural psychology for music education (pp. 83–113). London, UK: Oxford University Press.
84.
YoungS. (2006). Musical communication between adults and young children. In MiellD.MacDonaldR.HargreavesD. J. (Eds.), Musical communication (pp. 281–299). Oxford, UK: Oxford University Press.
