by Elizabeth Menard

Creative Thinking
in Music
Developing a Model for
Meaningful Learning in
Middle School General Music
Abstract: Creativity can be experienced in many roles of musicianship: performing, improvis-
ing, and composing. Yet, activities that encourage creative thought in our music classrooms
can be a challenge to implement. A strong music education curriculum for middle school gen-
eral music is important; as this may be the last time we reach students who do not participate
in band, orchestra, or choir. This article provides information on the development of a mid-
dle school general music curriculum model where creative thinking in music through music
composition activities is the focus of instruction. Students with limited experience in music
were given opportunities to explore and express musical ideas in their compositions. Music
fundamentals were introduced following the composition experience. The composition expe- Composing offers
riences provided fertile ground for creative thinking in music, and students in the program students in pre-
were highly engaged in the music-learning process. The Webster Model of Creative Thinking
in Music is examined to discover the keys to success in this model. ensemble classes
Keywords: composition, creativity, curriculum, general music, middle school, Webster Model the chance to think
of Creative Thinking
creatively and be
successful with

S music regardless of
ome believe that music programs activities that encourage creative thought in
in our schools are naturally creative our music classrooms can be a challenge
classes. If students are participating to implement in the curriculum. Problem past experiences.
in a music program, they must be creative. solving, experiential learning, and creativ-
However, music activities in many class- ity development are key concepts in many
rooms focus primarily on the development education circles today. How do we make
of ensemble and individual performance sure that these dimensions of learning are
or acquisition of facts—not always creative truly a meaningful part of the music educa-
endeavors! Creativity can be experienced tion curricula in our classrooms?
in many roles of musicianship: performing, Peter Webster, a scholar known for his
improvising, and certainly, composing. Yet, work in creativity and music education,
Copyright © 2013 National Association
for Music Education
Elizabeth Menard is an assistant professor of music education at Bowling Green State University College of Musical Arts, Bowling DOI: 10.1177/0027432113500674
Green, Ohio. She can be contacted at emenard@bgsu.edu. http://mej.sagepub.com

www.nafme.org 61
 music learning from creative thinking
occurs when children are given a chance
The Institute for Music Research at
to explore musical ideas and apply them
the University of Texas at San Antonio in problem-solving tasks. Their musi-
proudly announces the formation of cal imagination is involved. Students
become more engaged with this type of
musical experience—and more excited
about musical learning.
The Donald Hodges While creative thinking can occur
in many aspects of music learning, the
Lecture Series focus of this article is to examine how
the process of music composition encour-
ages creative thinking in our classrooms.
Peering into the How do we find time to include meaning-
ful creative composition activities in the

Musical Brain
inaugural lecture
music education curriculum? At what age
should we focus on these ideas? The mid-
dle school general music curriculum is
one area where composition and creative
thinking can have a very successful rela-
The Donald Hodges Lecture Series will feature distinguished tionship with student learning in music.
research presentations in the areas of Music Psychology, Music
Learning, and Music Technology. The series will provide opportu- Creative Musical Thinking
nities for students, faculty, and community members to engage in
At Roberts Middle School in Cuyahoga
discourse with the people doing cutting edge research in these Falls, Ohio, sixth-grade general music had
areas. been dropped from the curriculum. The
district decided to bring the class back
Dr. Donald Hodges has graciously agreed to present the first to the middle school for the 2011–2012
lecture in the series named after him. school year. It became the goal of the
principal and the music teachers involved
Donald A. Hodges serves as Covington Distinguished Professor of
Music Education (2003-2013) and is currently Professor of Music
to rework the curriculum in order to cre-
Education and Director of the Music Research Institute (MRI) at the ate a more successful model for the pro-
University of North Carolina at Greensboro. Hodges’ prolific writings gram than had been previously used. The
include books and more than 140 book chapters, papers, and first order of business was to change the
multimedia programs in music education and music psychology. His
biographical sketch is in the New Grove Dictionary of American Music.
name from General Music to Music Crea-
A current vita and copies of many of his papers can be accessed at tions class. This was going to be a class
http://sites.google.com/site/donaldahodges/. that was quite different from a traditional
general music class. A National Board
Certified Teacher, music educator Pamela
February, 24th 2014 Music Recital Hall Rezach, took the lead on investigating
University of Texas San Antonio the possibilities. Rezach was inspired by
at 7:30 pm One UTSA Circle the Credit Suisse Very Young Composers
Free Admission San Antonio, TX 78249
(VYC) project developed by New York
Philharmonic bassist and composer Jon
Deak. The VYC provides opportunity for
elementary children with limited or no
believes that creative thinking in music defines creative thinking as a “dynamic musical experience to explore and create
is actually problem solving with musi- mental process that alternates between musical ideas, have these ideas notated
cal sound and that creative thinking in divergent (imaginative) and convergent by “scribes,” and then have their com-
music should be an integral component (factual) thinking, moving in stages over positions performed by members of the
of a child’s music education.1 Webster time. It is enabled by internal musical philharmonic.3 Students are introduced to
uses the term creative thinking in music skills and outside conditions and results instruments of the orchestra and learn to
to emphasize this important role in in a final musical product which is new create musical ideas that the instruments
teaching and learning about music. He for the creator.”2 Webster explains that might play. Though she could not adapt

62 Music Educators Journal  December 2013

the exact VYC model in her classroom, stepwise, and by leaps). The students new composition correctly. They were
Rezach’s goal was to produce a curricu- were allowed time for musical explora- very creative in their methods of getting
lum for middle school general music that tion on melodic percussion instruments their instruction just right. In the final
worked harmoniously with these ideals and were encouraged to create short component of this part of the class, each
in a public school setting. melodies. This was problem solving composer performed his or her work for
The first sixth-grade Music Creations with musical sound in action! Working the class in its extended form with the
class was one semester long and had in small groups (two to three students), group accompaniments. This required
eighteen students registered. Rezach, who they took turns exploring different musical collaboration between students
served as both band director and general instruments and made decisions on how in preparation for the performance. Stu-
music teacher at the school, faced the to best arrange the notes to express their dent composers experienced a strong
same challenges many music educators ideas. They seemed to enjoy listening sense of pride and accomplishment as
face in trying to implement composition to each other’s pieces. Students were they shared their musical compositions
activities in the classroom. She did have encouraged to use graphic notation with their classmates. Rezach remarked
a few students with previous experience symbols—called “composition maps”— that every time she asked for volunteers
in elementary band, but most students to help them remember their ideas. to perform pieces for the class, or for
had little prior musical experience. The Composition maps consisted of draw- visiting guests, every hand was eagerly
only available classroom was the middle ings with swirls, steps, circles, and other raised. This was a warm and receptive
school band room. She had limited instru- notations to represent the music they audience that had experience compos-
ments available and no student comput- composed. Students with music experi- ing. They were supportive of their class-
ers to use for composition activities. She ence were encouraged to use traditional mates and of the new musical ideas that
did have five-gallon “bucket drums” and music notation in their maps. This was they shared.
a set of drumsticks for each student in an excellent method of allowing dif- No musical terms other than those
the class, an acoustic piano, a couple of ferentiated instruction to accommodate defining how notes move (steps, skips,
electronic keyboards, and a number of differing levels of musical experience. repeats, up, and down) were used to
mallet percussion instruments in the band These young composers were encour- begin this process. Music learning was
room—a place to begin! aged to use the rule “play it three times occurring through exploration and stu-
in a row.” A creation was considered dent creativity. After completion of the
Music Creations Class “composed” when a student could initial compositions, Rezach introduced
repeat the same musical idea three times fundamental musical concepts, such as
The semester began with musical explo- in a row. The students worked hard on form and dynamics, using the student
ration of rhythmic patterns on bucket their projects and prepared to share compositions as models. For example,
drums to create a comfortable atmos- their simple melodic compositions with students learned to identify form in
phere and stimulate the creative musi- the class. They were required to play their own works and the works of their
cal thinking and exploration that would their musical ideas and present their classmates. They also explored how
continue throughout the Music Creations composition map with a verbal descrip- the compositions might be made more
class. Initial problem-solving activities tion of the melodic patterns they used. interesting by adding dynamic contrasts,
for the students included echoing pat- The next step was to go back to accents, and other musical elements.
terns played by the teacher, improvis- work and extend the compositions. The After the introduction of each element,
ing their own patterns, and then leading students worked to develop more com- students were given time to modify their
the drumming sessions. Throughout the plex compositions by expanding and compositions using the new concept
semester, Music Creations class began adding to their original compositional that had been introduced.
with a “breaking-the-ice” group activity ideas. After new musical ideas were In some general music classes, stu-
that reinforced concepts such as finding added, students worked together in dents may resent having to read and
steady beat and rhythmic subdivisions small groups to create accompaniments write about composers from the past.
of beat by playing bucket drums, bounc- for each composition using additional Here, students completed research pro-
ing balls, or batting balloons to a partner nonpitched percussion instruments, such jects on important composers in his-
on subdivisions of the beat, all while as maracas, triangles, and small drums. tory using the school computer lab and
listening to music recordings. Collaboration was an important part of library. They seemed to share connec-
Composition activities with pitch this process. Students were also required tions with the composers they wrote
began with careful instruction on how to teach their melodies to another mem- about in class. One student shared that
to use the instruments in the classroom ber of their group. This “student teach- his composer, Duke Ellington, “was
appropriately, an explanation of the ing” component surprised Rezach with inspired as a teenager and even started
different sounds the instruments were its effectiveness. It was very important his own jazz band!” This writing activity
capable of, and a discussion of how to the “student teachers” that the stu- (often an important component of Com-
notes can move (up, down, repeat, dent receiving the instruction play the mon Core initiatives) may have had a

www.nafme.org 63
greater impact because the students first class may be the final opportunity we there is an exchange of knowledge; (4)
had the experience of composition. have to provide music education for stu- knowledge and skills tend to be learned
Student compositions provided con- dents who do not participate in band, in random, nonsequenced steps; and
text in which to apply the fundamental orchestra, or choir programs. (5) informal approaches usually involve
music concepts they were learning about Active participation may be the integration of listening, performing,
and may have encouraged a greater most important component of a middle improvising, and composing with an
understanding of why it was important school general music program. In his emphasis on personal creativity. 7 The
to learn about these concepts. Creative text Teaching General Music in Grades Music Creations class allowed these
thinking in music, encouraged through 4–8: A Musicianship Approach, Thomas middle school students to bring musi-
these composition activities, provided a Regelski states that without active music- cal ideas from personal areas of experi-
spirit of teacher–student collaboration, making, students tend to remain passive ence. They worked individually and in
with students taking an active part in consumers of music. Students should be collaboration with peers, exploring their
creating the learning environment. involved in active learning activities and musical ideas and creating their own
experience the real-life roles of musi- compositions, which provided a path to
cians. 5 In the middle school general music learning.
Why Middle School General music class, where students of differing
Music? levels of musical experience limit oppor- Creative Thinking at Work
tunities for performance, composition
If we consider creative thinking an can become the means for engagement. Webster also encourages music educa-
important part of the music education In the Music Creations class, the role of tors to “design environments that help
process, what better place to implement composer provided the opportunity for learners to construct their personal
creative activities than a middle school active learning—an integral part of the understanding of music . . . to develop
general music setting? Often middle creative-thinking process—and allowed a sense of musical independence.”8 The
school general music classes do not have an in-depth understanding of music that center portion of Webster’s model (see
a clearly identified purpose. Should the might not be achieved in a traditional Figure 1) identified as the “thinking pro-
class be required for all students? Does music appreciation format. cess” provides a view of how creative
it become a music appreciation class When considering composition activi- thinking in music occurs across time,
that emphasizes fact-based learning? Is ties for the classroom, music educators and may help to provide an understand-
there a performance component? With may be concerned that they lack proper ing of why the Music Creations class
students having a wide range of music training to teach composition effectively worked so effectively (see Figure 2).
experiences, it is often difficult to plan or that the creation of musical ideas is too
effective musical performances. With- difficult for students who do not come
out an active focus on performance and from a music performance background. Enabling Skills
musical context, the middle school gen- Composition activities can provide an Webster acknowledges that each stu-
eral music class can become drudgery excellent context for learning about con- dent must have certain aptitudes and
for both student and teacher, instead of cepts such as dynamics, form, texture, conceptual understanding of music to
a place for enthusiastic music learning. and notation.6 Middle school students compose successfully. A sense of aes-
This lack of agreement on the cur- enjoy the process of creating their own thetic sensitivity is important as well.
ricular goals for the middle school gen- musical ideas and may be the perfect age While many of these students had only
eral music class often causes it to be for musical development of this type. a music listening background, they were
shuffled to a position of lower priority Their preferences are being developed, still musically curious and enjoyed the
in the minds of teachers and administra- and they have enough informal musical process of exploration to find ways of
tors. In her book Middle School General experience to recognize a variety of musi- expressing themselves musically. They
Music: The Best Part of Your Day, Eliza- cal forms and changes. Music education started with the simplest level of con-
beth McAnally reminds us that the mid- researcher Lucy Green investigates how ceptual understanding: music moves
dle school years are an important time informal, popular music learning strate- up, moves down, repeats, moves step-
for students to develop musical prefer- gies can promote effective learning in the wise, and moves by leaps. This was
ence and identity. This is a critical time classroom. She identifies five principles enough information to begin the pro-
to involve middle school students in that support this concept: (1) Informal cess. The students who were members
an effective music education program. learning begins with music that students of the school’s band program brought
McAnally shares that “middle school choose for themselves; (2) the main higher levels of musical experience to
general music represents our last, best method of music learning occurs through the process. They were intrigued by the
hope for convincing adolescents that aural experiences rather than notation; structure of the class and blended with
they can be musical.”4 In many school (3) informal learning happens not only the inexperienced members of the class
systems, a middle school general music individually—but also with peers, where beautifully. By the end of the semester,

64 Music Educators Journal  December 2013

 FIGURE 1
Webster Model for Creative Thinking in Music

Product Intention
Compose Perform Music Listen Repeatedly Listen Once Improvise
of Others

Thinking Process

Divergent Thinking

Time Away Enabling Conditions

Personal
Enabling Skills Preparation Working Through Subconscious Imagery
Aptitudes Exploration Revising Motivation
Conceptual Understanding Primitive Gesturals Editing Personality
Craftsmanship Planning Forming New Ideas
Social/Cultural
Aesthetic Sensitivity
Verification Context
Rehearsal Task
Polishing Peer Influence
Past Experience

Convergent Thinking

Creative Products
Composed Music Recorded Written Mental Representations Recorded
Scores/Recordings Performances Analysis of the Music Heard Improvisations

Supplied and reprinted by permission from Peter R. Webster, “Creative Thinking in Music: Advancing a Model,” in Creativity and Music Education, ed.
T. Sullivan and L. Willingham (Toronto, Canada: Britannia Printers, 2002), 16–34.

there was a much greater level of con- Enabling Conditions problems to solve—starting with small
ceptual understanding for all students. ideas—and then encouraged develop-
Rezach explained to the students that Webster divides this part of the creative- ment of these ideas. This process gave
since they were all composers of new thinking process into two main areas: students an opportunity to bring their
musical ideas, they must also respect personal (the characteristics each stu- musical identity and preferences to the
the ideas of their fellow students. All dent brings to the classroom) and social/ task, work from different levels of musi-
students were careful and appreciative cultural. The Music Creations class “con- cal accomplishment, and collaborate
listeners to the compositions of their text” provided a safe space in which with their peers in the process. Pro-
peers. This was a wonderful method creativity and musical exploration were viding enabling conditions for these
of developing aesthetic sensitivity and encouraged. The class also challenged students to problem solve in a musical
acceptance of new musical ideas! each student with musical tasks or context may be the most important step

www.nafme.org 65
 FIGURE 2
Music Creations Class Outline at a Glance

Music Creations Class Outline

Rhythm Activities
• Rhythmic call-and-response activities
{{ With teacher as leader

{{ With students as volunteer leaders

• Identify and play rhythms of nursery rhymes, children’s songs, popular music
{{ Creation of original rhythmic ideas

• What new ideas (rhythmic patterns) will compliment an original idea?

• What different sounds (tone colors) can your drum produce?
• Rhythm activities are often used as warm-up activities.

Keys to Success
• Directions to students: Eye Contact, Listening, Respecting, and Focusing
• Activities are fun and should create an atmosphere of comfort
• Sharing Time: Students enjoy sharing ideas with the rest of the class.

Melodic Composition Activities

• Introduction to melodic percussion instruments
{{ Instrument care (and expense)

{{ Using instruments properly.

• Introduction of Basic Terminology (when creating melodic patterns):

{{ Prime – Repeating on pitch while using a variety of rhythms

{{ Steps – Creating a pattern that moves to the note next door (ascending or descending)

{{ Skips – Creating a pattern that skips over notes (ascending or descending)

{{ “Three times in a row rule” – An idea moves beyond exploration to composition when a student can repeat it three times in a row.

• Exploration and creation of musical ideas on available instruments

• Creation of Music Maps–graphic notation maps of pieces composed
• Group work to combine, extend, and elaborate upon musical compositions
• Teaching musical ideas to others.

Keys to Success
• Encourage students to listen and describe the compositions they hear
• Continue to plan for sharing time in every class period
• Continue to include fun warm-up activities.

Introduction of Music Concepts

• Teach musical concepts and ideas to students using their compositions as examples
• Allow modification of compositions based on new concepts learned
{{ For example: Dynamics, Articulation, Form, Expressive terms

• Relate compositions to music in our culture and others

{{ For example: Music History, Composers, Cultures, Genres

• Understanding the roles of a musician: Composer, Performer, Audience member

Keys to Success
• Students continue to develop compositions as concepts are learned.
• Encourage a culminating performance.

66 Music Educators Journal  December 2013

in assuring that creative thought can be indicate the positive effects the class had thinking in music through music compo-
developed in our students. on their music learning:9 sition should be a more important focus
for learning. Many of the techniques
Ingrid: “At first Mrs. Rezach didn’t teach
demonstrated in this model could also be
Divergent Thinking Process us a lot because she wanted us to learn for
used in elementary general music classes
ourselves. I learned about how the xylo-
According to Webster, the thinking and with musically inexperienced stu-
phone works and I wrote my own musical
process should involve four important dents in high school settings. This mid-
piece. We learned how to read music—
steps. Preparation, time for students to dle school general music classroom was
like reading the notes like D-sharp and
explore musical ideas and think about definitely a place where creative think-
E-flat. We learned how to make music.
where these ideas might lead, was ing in music enhanced the curriculum
We looked for things like making the A
clearly an important component of the and provided opportunity for in-depth
section, B section, and the coda. I learned
Music Creations class. Students began learning as the students stepped into the
about how to perform. I have to speak
with the most primitive of musical real-life roles of composers.
loud enough so everyone can hear me, I
gestures—and of musical understand-
have to stand up straight so I am facing
ing—and began the process of creative
thinking. Students were given time to
the audience—and I have.” Notes
work through their ideas by revising John: “I learned that mixing melodies and   1. Peter R. Webster, “Creativity as Creative
and creating new ideas by extending certain instruments sounds beautiful.” Thinking,” Music Educators Journal 76,
the compositions and adding accompa- no. 9 (1990): 22–28.
Carl: “I’ve learned that anybody can
niment figures through the use of hand-   2. Ibid, 28.
compose music. I’ve also learned how
held percussion instruments. Through   3. Credit Suisse Very Young Composers,
to play music on a xylophone. I have
sharing times and performances, each accessed November 9, 2013, http://
learned about different composers. I
student was provided the opportunity nyphil.org/education/csvyc.cfm.
learned how to put background with
to verify the composition. Rezach felt   4. Elizabeth A. McAnally, Middle School
music as well. It has been really fun.”
strongly that time away from compos- General Music: The Best Part of Your
ing was important as well. After a few Maria: “I learned how to create music. Day (Lanham, MD: MENC/Rowman &
days of activities that did not involve First you figure out what you want to Littlefield Education, 2009), vii.
composition, the students returned to play. After that, you play it and see if you   5. Thomas A. Regelski, Teaching General
the composition process and seemed like it or not. Then you write pictures to Music in Grades 4–8 (New York: Oxford
to approach their compositions with match the music to help you remember. University Press, 2004).
renewed enthusiasm and energy. Finally, you just practice.”   6. Kevin W. Gerrity, “Enhancing Middle-
Level General Music: Suggestions from
Jessica: “I really liked Music Creations the Literature.” Music Educators Journal
Convergent Thinking Process
class because it was more like a class 95, no. 4 (2011): 41–45.
The students’ musical explorations where we didn’t really need to know a   7. Lucy Green, Music, Informal Learning
and creative-thinking processes came lot about music to create music.” and the School: A New Classroom
together in a completed composition Pedagogy (Hampshire, UK: Ashgate,
product, which was videotaped for This model offers an opportunity for 2008).
posterity. Each student could proudly students to actually experience creative   8. Peter R. Webster, “Creative Thinking in
identify his or her own composition as thinking through composition, allowing Music: Advancing a Model,” in Creativity
a creative achievement. them to think musically in a way that is in Music Education, ed. T. Sullivan
quite different from performing or listen- and L. Willingham (Toronto, Canada:
ing. Students often feel differently about Britannia Printers, 2002), 16–34.

Student Discoveries music they perform after the experi-   9. Pseudonyms were used for all students
ence of composition and often demon- to protect privacy.
After its initial semester, the Musical Cre- strate increased musical understanding 10. Elizabeth Menard, “An Investigation
ations class was declared a roaring suc- through this creative thinking process.10 of Creative Potential in High School
cess and continues as the middle school In her book Teaching for Musical Under- Musicians: Recognizing, Promoting, and
general music offering at the school. A standing, Jackie Wiggins states, “Musi- Assessing Creative Ability through Music
Composition” (PhD dissertation, Louisiana
financial grant from the Parent-Teacher cal thought is more than thinking about
State University and Agricultural and
Association enabled Rezach to purchase music; it is thinking in music. Opportu- Mechanical College, 2009), available
keyboards to facilitate musical explora- nities for thinking in music are essential from http://www.proquest.com/ (publica-
tion and learning in future classes. At the to the music education process.”11 As we tion no. AAT 3451495).
end of the first semester, the students work to make music education a more 11. Jackie Wiggins, Teaching for Musical
were asked to write about what they meaningful part of the general education Understanding (New York: McGraw Hill,
learned in the class. Student comments process, perhaps the process of creative 2001), 85.

www.nafme.org 67