Cleo Keener

Summer 2019

Fostering Creativity in the Elementary Music Classroom: A Review

Fostering creativity among students is an important factor in teaching music skills and
having a comprehensive music curriculum. However, research shows some common difficulties
in knowing how to address these needs, as well as how creativity is defined, perceived, and
how it can be fostered successfully in a classroom.
Research shows differing ideas of what difficulties exist in trying to teach creativity in an
elementary general music classroom. Coulson and Burke (2013) identify an issue with lack of
time given to students for practicing and developing skills privately, which leaves students with a
lack of confidence in improvising. Burnard (2000) and Crow (2008) share similar concepts in
that vulnerability within a lacking safe creative environment is another challenge in students’
improvisational performance. When a student does not feel confident in an activity, they feel
vulnerable, especially when they don’t perceive their classroom as a positive and safe space.
This can cause them to be discouraged and uninterested because they don’t want to be
embarrassed for making mistakes or being considered “different.” Noteworthy is a study that
recognizes a plateau in creative development between grades four through six (Kiehn, 2003).
This stand-still in creative learning may be from curriculum issues, where a teacher focuses on
covering specific material or performance skills instead of emphasizing creative thinking. The
plateau could also be from sociological or psychological factors that create an individual’s need
to conform and not be portrayed as different from the norm (Kiehn, 2003).
This term “creativity” is perceived differently through research, and numerous authors
support the claim that creativity is subjective. Through studying elementary music students’
perceptions of creativity, Coulson and Burke (2013) found that these students define the term as
music that includes variety, originality, and personal appeal. Comparatively, student teachers
believe that creative musicians should have a high level of musicianship, inspiration, originality,
and performance skills (Crow, 2008). In the elementary students’ perspective, they enjoyed the
idea that creative music, which they recognize as improvisational music, has no specific pattern
that needs to be followed and can therefore be different every time it is played (Coulson and
Burke, 2013).
One trend in research is that teachers can begin to foster creativity in a classroom after it
has been given a working definition by the group, and is therefore understood (Crow, 2008,
Coulson and Burke, 2013, Burnard, 2000). There is strong evidence that structure in
improvisational lessons helps students develop creatively (Gruenhagen & Whitcomb, 2013,
Coulson & Burke, 2013). Gruenhagen & Whitcomb (2013) suggest that “creative musical
growth” happens within a balance of structure and freedom, and that 78% of elementary music
teachers use specific guidelines to implement improvisational activities. Their research portrays
that structure within these lessons provides a sense of security because the students do not
have to make all of their decisions. Within this, a safe environment is provided because the
students can not make a horrible decision that would embarrass them and therefore potentially
cause a loss of motivation and confidence in improvisational learning (Gruenhagen & Whitcomb,
2013). Coulson and Burke (2013) found a similar understanding in structuring of lessons. They
found that limiting the pitches available for improvising or providing a specific rhythm helps
establish this safe environment, without fear of messing up. For example, giving students only
the pentatonic scale to improvise with eliminates dissonance and therefore narrows the potential
for improvisations that sound uncomfortable or incorrect.
Other research supports the claim that a safe classroom environment is beneficial for
creative development, specifically through improvisational lessons. Burnard (2000) has a
conclusion that this environment helps students feel comfortable to be creative, therefore
keeping them motivated and willing to learn and try activities that are out of their comfort zones.
Burnard (2000) suggests that understanding individual students’ backgrounds can help teachers
frame lessons around what the student already understands and has experienced. When an
improvisational lesson begins with an activity that a student has already participated in, or is
similar to one, they are more comfortable and adamant to participate (Burnard, 2000). In
relation, Gruenhagen & Whitcomb (2013) found that a step-by-step process of sequencing
improvisational lessons causes students to perform satisfactorily and to be engaged in the
learning.
Another aspect that contributes to creating a safe creative environment is giving room for
exploring vocal sounds, a variety of instruments, and a variety of rhythms (Coulson & Burke,
2013). This space to experiment helps students grow in skill, as well as confidence, which
affects their overall improvisational development. Other research agrees with this statement;
Gruenhagen & Whitcomb (2013) establish that improvisational lessons should include many
opportunities to explore and internalize one’s improvisational skills before performing.
In summary, research has provided valuable information regarding creativity in the
elementary music classroom. These concepts include difficulties of fostering creativity and the
struggles that classrooms endure, as well as how creativity is perceived and how it can be
successfully developed within an elementary music classroom.

Reference List:

Burnard, P. (2000). How children ascribe meaning to improvisation and composition: Rethinking
pedagogy in music education. Music Education Research, 2(1), 7-23.

Crow, B. (2008). Changing conceptions of educational creativity: a study of student teachers’

experience of musical creativity. Music Education Research, 10(3), 373-388.

Coulson, A. N., Burke, B. M. (2013). Creativity in the elementary music classroom: A study of
students’ perceptions. International Journal of Music Education, 31(4), 428–441.

Gruenhagen, L. M., & Whitcomb, R. (2014). Improvisational practices in elementary general

music classrooms. Journal of Research in Music Education, 61(4), 379-395
Kiehn, M. T. (2003). Development of music creativity among elementary school students.
Journal of Research in Music Education, 51(4), 278-288.