Professional Documents
Culture Documents
PLAY IN ADOLESCENCE 1
Musical
Play
in
Adolescence:
Validating
natural
music
learning
processes
in
education
University
of
Washington
Sarah
Moyer
arms
wildly
to
inspire
some
kind
of
reaction.
A
handful
of
students
watch
her
eagerly,
following
along
in
their
scores.
Five
or
six
students
in
the
back
row
hide
their
phones
behind
their
black
folders
and
move
their
mouths
silently,
impressed
by
their
own
cleverness.
Yet
another
group
is
overcome
by
giggles
at
a
joke
that
no
one
else
seems
privy
to.
In
this
classroom
teeming
with
teenage
angst,
energy,
heartache,
boredom,
and
curiosity,
there
lies
a
potential
for
creativity
that
is
currently
untapped.
What
would
happen
if
the
students
suddenly
became
the
conductors
of
their
own
learning?
What
if
they
held
the
baton
and
watched
their
own
creations
come
into
fruition?
When left to their own devices, adolescents are capable of creating musical
the
inclusion
of
musical
play
within
formal
music
education
will
enrich
the
musical
experience
for
adolescents
and
facilitate
life-long
music
learning.
What
is
Musical
Play?
development
of
the
very
young
(Marsh
&
Young,
2006).
Newborns
and
infants
learn
through
exploring
the
musical
worlds
around
them.
They
imitate
their
beloved
adults,
touch
and
taste
musical
objects
of
interest,
and
experiment
through
movement
and
vocal
play
(Gruhn,
2002).
As
children
grow
older,
musical
play
takes
the
form
of
spontaneous
improvisation
and
self-
and
peer-initiated
musical
games
(Marsh
&
Young,
2006).
The
creative
process
of
musical
play
involves
integrating,
transforming,
and
generating
ideas
using
the
musical
material
they
encounter
throughout
the
day.
This holds true for adolescent musical play, which is spontaneous, self-
regulated,
collaborative,
and
engaged
in
for
enjoyment.
Musical
play
is
most
closely
associated
with
informal
learning
in
professional
literature
(Marsh
&
Young,
2006).
Students
engage
in
analytical
listening
even
as
they
are
playful,
choosing
at
leisure
to
listen
to
favorite
recordings,
experimenting
with
and
learning
musical
parts.
Participating
in
garage
bands,
dancing
and
singing
along
to
a
recording,
and
improvising
with
friends
fall
within
the
realms
of
musical
play.
The practice of Community Music (Higgins, 2012) offers a rich model for the
secondary
music
education
classes?
Historically,
informal
learning
has
not
held
a
significant
position
in
large
ensembles
of
band,
choir,
and
orchestra
musicians,
which
are
the
primary
course
offerings
in
secondary
schools.
The
low
profile
or
complete
absence
of
informal
learning,
and
musical
play,
in
secondary
schools
may
be
due
to
the
nature
of
the
ensemble
origins.
Band,
choir,
and
orchestra
offerings
in
secondary
education
are
rooted
in
their
professional,
sacred/ceremonial,
and
military
functions,
which
did
not
tend
to
include
musical
play
in
the
learning
process
(Keene,
2009).
It
is
important
to
reconsider
the
role
of
these
ensembles
in
modern
society,
and
the
purposes
for
having
them
as
part
of
the
public
education
setting.
History
shows
that
the
goal
of
educators
has
shifted
over
time
to
reflect
modern
society
and
the
needs
of
students,
which
implies
that
a
shift
in
music
education
practice
may
be
welcome
and
needed
as
well.
While there is much to gain from ensemble participation, the traditional top-
down
method
of
transmitting
knowledge
may
not
be
ideal
for
modern
youth
to
maintain
motivation
to
continue
making
and
loving
music
throughout
their
lives.
demanding,
and
students
are
unpredictable
as
they
navigate
the
many
social
and
personal
dealings
of
their
lives.
Playing
can
seem
like
a
superfluous
use
of
time.
But
perhaps
the
embodied,
multimodal,
and
self-motivated
assets
of
play
will
help
students
engage
more
in
class,
connect
to
the
repertoire,
and
find
meaning
in
music
as
an
expression
of
their
life
experiences.
Within
ensembles
Improvisation and choice are two facets of musical play that can and should
Western
art
music
as
well
as
in
countless
other
music
traditions
in
western
culture
and
around
the
world:
jazz,
Javanese
gamelan,
secular
Arab
music,
Cantonese
opera,
Hindustani
instrumental
music,
rap,
and
countless
other
musical
cultures
include
elements
of
improvisation
in
musical
practice
(Nettl
&
Russell,
1998).
Providing
students
with
opportunities
to
make
decisions
about
repertoire,
instrument
selection,
and
musical
expression
will
help
them
on
the
road
to
becoming
independent
musicians.
learning
practices.
Choosing
their
instruments
and
repertoire
was
closely
associated
with
enjoyment
by
many
participants.
While
enjoyment
may
not
be
the
primary
goal
of
education,
If learners enjoy learning, it follows that they will be more highly motivated
themselves; and if they apply themselves, they will be likely, at least in the
Alternative
course
offerings
Musical
play
is
common
practice
for
many
popular
musicians.
In
Greens
(2008)
informal
music
project,
she
chronicles
behaviors
exhibited
by
youth
who
were
at
the
early
stages
of
their
development
in
the
making
of
popular
music.
The
participants
were
assigned
the
project
of
creating
a
pop
group
and
learning
a
popular
song
(not
an
original
composition);
she
observed
them
listening
repeatedly
to
the
reference
recording
without
the
use
of
notation.
She
also
found
that
rather
than
slowing
sections
down
to
learn
each
part
accurately
at
a
relaxed
tempo,
students
would
play
along
with
the
recording
at
speed,
grabbing
perhaps
just
one
or
two
notes
the
first
times
through,
and
gradually
adding
more
complexity.
Campbell
(1995)
had
found
similar
evidence
for
the
importance
of
analytical
listening
in
her
case
study
of
two
Seattle-based
youth
rock
bands.
Introducing
courses
that
allow
students
to
learn
through
their
own
self-
initiated
processes,
as
in
a
rock
band,
pop
group,
or
songwriting
class,
will
include
those
students
who
do
not
fit
in
to
the
formal
music
ensemble
scene.
Other
course
offerings
that
could
potentially
have
students
engaged
in
collaborative,
play-based
music
making
are
guitar,
music
technology,
mariachi,
or
African
drumming.
Connecting
to
Standards
understanding
in
areas
that
reflect
the
actual
processes
in
which
musicians
engage
(www.nafme.org/my-classroom/standards/).
Students
learn
through
a
variety
of
methods
and
modalities.
Some
students
understand
music
processes
through
envisioning
shapes
and
colors;
some
learn
best
through
listening
and
imitating;
and
some
find
their
learning
niche
in
movement.
With
all
these
processes
and
individual
proclivities,
it
seems
the
most
effective
way
for
students
to
learn
is
for
them
to
discover
their
own
natural
processes.
Discovering
a
process
for
oneself
is
likely
to
be
more
effective
than
being
told
how
to
do
something.
This
philosophy
of
learning
parallels
the
recent
shift
in
pedagogy
that
focuses
on
student-centered
learning,
where
a
teacher
fills
the
role
of
facilitator
rather
than
instructor
(Meeks,
2014).
Musical
play
and
informal
learning
can
function
as
an
effective
way
for
students
to
create,
perform,
and
respond
to
music
by
connecting
their
musical
processes
and
identities
to
the
musical
world
around
them.
Conclusion
overarching
fear
that
music
may
lose
its
place
in
education.
In
an
attempt
to
validate
music
in
education,
articles
have
been
produced
acclaiming
the
many
benefits
of
music
on
a
students
growing
mind,
from
the
well-known
adage
music
makes
you
smarter
to
the
specificity
of
what
an
unborn
child
should
listen
to
(Mozart
effect).
In an endless advocacy fight, music educators must not forget the students.
To paraphrase American president John F. Kennedy, we might think not what can
music
do
for
young
people,
but
rather,
how
can
young
people
engage
in
music
in
a
way
that
is
life-giving
and
transformative.
We
can
pursue
critical
questions:
What
is
the
role
of
educator
in
facilitating
this
kind
of
open
and
playful
environment?
Are
the
students
engaged?
Are
they
learning
the
actual
processes
with
which
musicians
within
and
outside
of
their
own
cultures
engage?
Will
their
experiences
in
the
classroom
equip
them
for
becoming
lifelong
music
lovers
and
learners?
Musical
play
is
one
of
many
ways
to
empower
students
to
make
musical
choices,
create
of
their
own
volition,
and
develop
a
deep
enjoyment
of
the
music
making
process.
References
Campbell,
P.
(1995).
Of
Garage
Bands
and
Song-getting:
The
Musical
Development
of
Young
Rock
Musicians.
Research
Studies
in
Music
Education,4(1),
12-20.
Campbell,
P.
&
Higgins,
L.
(2010).
Free
to
Be
Musical:
Group
Improvisation
in
Music.
R&L
Education.
Gates,
J.
T.
(1991)
Music
participation:
Theory,
research,
and
policy.
Bulletin
of
the
Council
for
Research
in
Music
Education,
109,
pp.
1-35.
Retrieved
from
http://www.jstor.org/stable/40318446.
Green,
L.
(2008).
Music,
Informal
Learning
and
the
School:
A
New
Classroom
Pedagogy
(Ashgate
popular
and
folk
music
series).
Abingdon,
Oxon,
GBR:
Ashgate.
Gruhn,
W.
(2002).
Phases
and
Stages
in
Early
Music
Learning:
A
longitudinal
study
on
the
development
of
young
childrens
musical
potential.
Music
Education
Research,
4(1).
Carfax
Publishing.