Veblen, K. K., Kruse, N. B., Messenger, S. J., & Letain, M. (2018).

Children's
clapping games on the virtual playground. ISME International Society for Music
Education.

. . . This article is very interesting because its taking a concept that is still so new to the teaching
world such as YouTube and social media, that is very 21st century and applying it to the learning of young
children. This is something that is important especially since as the new wave of teachers are coming into
school for elementary grades, they want to use everything that is available to them to improve and
perfect their teaching style. So, by having four professors that are experts in their field of study looking
into something as simple as clapping games and what they look like on social media and YouTube means
that society is moving into a direction acceptance of a new age.
While reading through the article, the way in which the four authors break down the study, allows for a
good understand of the entire study. Beginning with the method that was used (watching multiple videos
with varying ages and genders) ending with the Results in a chart form with descriptions about what is
going on and what information was observed. This method that was used as well as the way the results
were shown to the audience, it really helps a lot with the understanding of the article as well as what the
article can mean for future teachers and future students. . . Haley Fine

. . . I found this article to be fairly informative regarding the topic of children’s

clapping games on YouTube and while I appreciated the research and insight behind
the purpose of these videos, I would have liked an in depth account to why the
importance of these games. Perhaps, a discussion on the potential use of such videos
in an educational setting could have been touched upon. Nevertheless, I took it in my
part to share my thoughts regarding these unanswered questions. As to the value of
using these videos as educational tools, it is my belief that while personally teaching
students clapping songs is an effective strategy, the importance of diversifying styles
of teaching, such as using videos, is likewise a method to be further investigated. In
particular, through my educational experience, I have heard many times that students
learn best if they are taught by their peers. As I have personally experienced this, I
fully agree with the reasoning behind such thought process. With respect to
incorporating this mentality in class, I believe that using videos showing children of
similar age to those in your class teaching, for instance, clapping games, could prove
an adequate method of learning for students. Evidently it would be at the educator’s
discretion to what video they present their students. I would suggest educators
 choose ones that are easily comprehensible and that effectively organise a step by
step process of teaching in a manner to which young children could easily follow.
Victor Stec
This article seeks to define and explore whether incorporating YouTube into the school music classroom
should be implemented. Society can have a lot of thoughts on the effects of social media on students now a days,
but, did you ever think that if used correctly social media can be a positive attribute to a classroom setting. The
advance technology of YouTube has become an important resource in the music industry specifically in the music
classroom. For all types of educators, either teacher, conductor or student, several studies have stated that there
is a significant power of social media and digital technologies in the classroom. For music education, YouTube
continues to be of special interest for this generation. Whether you are a teacher, conductor or a student,
YouTube is a huge resource in many ways. Recordings of music are put on this cite for all to watch and listen. This
can be very beneficial to students when learning a new choral or solo piece of music. For teachers if there is a
certain topic that you are struggling with on how to approach to a mass of students, YouTube can be an alternative
resource that will have so many creative ideas for you to use. Now some would say, this great resource is cheating
the traditional system of how to learn a new piece of music. Not everyone knows how to play the piano but
everyone has ears and can use them to learn their part through listening to a recording online. Also, as an educator
using YouTube as a resource, this can assist in exploring vast range of different music faster and more efficiently.
YouTube is a safe space to allow oneself to be themselves and be creative in any way they choose to present
themselves online. Through doing this it brings different perspectives to the table for so many people can get ideas
from this and possibly use these ideas into their own performances, or in their teachings. From personal
experience, I was always so worried that if I listened to a recording to learn a new piece of music, that I wasn’t a
good musician for doing that. I learned from some professors that YouTube is just another resourceful resource to
help educate and bring new perspectives to you. When I interpret a piece of music, it is hard for me to look at the
text and see it from a different perspective from my original idea, but when I watch other people perform the
same piece on YouTube, it completely opens up more possibilities for me to try new things and grow as a musician.
When it comes to choir, after I have learned my part by playing the notes on the piano, I try to find a recording so I
can follow along and sing with it. Having all the other parts there with you will enhance a more effective learning
environment plus you will be more prepared for rehearsals as well. Overall, using YouTube in a positive manner
allows students a lifelong time of learning and growing as musicians. Open access videos can reinforce learning in
new creative ways to bring new perspectives to oneself that will be more beneficial to all educators. Carinna
Sabetti

Veblen, K. K. and Jo, H.E., & Messenger, S. J. (2016). Teaching the supreme art: “It is the
supreme art of the teacher to awaken joy in creative expression and knowledge”-Albert
Einstein. In L. Haddon & P. Burnard (Eds.). Creative Teaching For Creative Learning:
Rethinking Creativities In Higher Music Education. Surrey, UK: Ashgate & Gower.

A common theme I noticed in this article was that there always seemed to be a connection between
improvisation and processes, and between composition and a product. Some students who participated in the
study wrote that they liked improvisation in private or more informal contexts, an example being that they like to
make up music on piano, guitar or ukulele during their free time. When they were asked about composition
however, some regarded it as lengthy, with negative connotations. I inferred from the reading then that students
associated improvisation/processes with freedom and composition/products with academia. Problems and
anxieties arose when freedom and academia were combined. It seemed that in both their current and previous
studies, the pressure of achieving high scoring academic results marred their comfort levels and desire to create
something completely new. This may be rooted in the competition that often accompanies education and
performance anxiety. One student noted that they were not invited to improvise until being in a jazz band in high
school. Since most students begin learning music in a classical style, the isolation of improvisation within the
context of jazz and the heavy focus on classical styles in education also contributes to students having low comfort
levels when improvising.

I also noticed that an anecdote where a student was leading students on improvising on top of Jingle Bells
that the exercise was considered structured, whereas I would have considered that creative. While giving students
a framework to jump off was effective, when thinking about it, I can understand that there are ways to make that
activity more creative. Instead of or following that activity, the children might have been asked to create a
baseline rhythm or song that was improvised off of instead of starting with something they were familiar with.
This realisation is also relevant to the article, because like the students studied for the article, I was rarely invited
to improvise in music class during school and as an adult practicing music I have low comfort improvising or
‘jamming’ with others.

One thing I disagree with from the article was in one of the responses from the students. They remarked
that “creativity is directly related to intelligence” (page 14) and I disagree with this statement because although
knowledge and intelligence can inform certain improvisation choices, they are not necessary to improvise. For
example, if someone is going to improvise on a drum and another person is going to play a song only they know on
a guitar, if both musicians start at the same time the one improvising on a drum doesn’t need to know the chord
structure or even how many pulses are in each bar of the guitar player’s piece to improvise with it. I think this is an
important understanding to have when teaching children music because if we believe knowledge is the precursor
to creativity then we may be putting limits on children’s creative ideas and development. Jasmine Bustard-
Johnson

This reading couldn’t have been assigned at a more perfect time for me, as I am currently finding myself
in a struggle with the concept of creativity. This semester I’m taking a music class that requires quite a lot of
confidence in creative ability, namely songwriting. My dilemma began when I discovered that course and felt
immediate excitement towards the opportunity to express myself creatively, only for that to be countered by
much anxiety when it came to actually doing the creative work. I quickly realized that the problem is, despite
my passion for creative endeavors, that creativity had never been enough of a focus in my music education,
which rendered me without enough creative competence. As someone who is experiencing the negative
implications of creativity being, for the most part, ignored in music curriculums, I am a strong believer in
creative practice being a significant aspect of music learning. That isn’t to say that it should be given more
importance than any other component, as I also consider adequate knowledge in foundational areas like
theory and history to be a necessary base on which to explore creatively. Although through my first few
classes and assignments in my creativity-based course I am learning how to do creative work, I know I would
still be much more comfortable with it had I of learned about the art of creativity much earlier on in my music
education. When we are children we possess a unique imagination, but in too rigid of a curriculum that is
silenced in order for adherence to strict musical practice. I think that by introducing creative practice to kids
while they’re still young enough to have that imagination and by continuing to offer creative opportunity
throughout their music education, that they can retain the ability to use their imagination to create
confidently. In the study discussed in the article, all of the participants agreed with this concept of having
 creative practice start early and be reinforced often. It upsets me that, rather than enjoying creative self-
expression in my creativity-based music class, I’m facing a lot of difficulty just becoming comfortable with the
approach to making and sharing my creative work. As a music educator, I would ensure for my students a
musical knowledge that includes how to be creative, so that they are able to confidently apply their base of
skills to a type of music practice that can be very rewarding. KIRSTEN CARRIERE

The reading focuses on the results of researching done on pre-service teachers and the importance of
creativity in young children's lives. Most researchers believe that creativity is an important factor in
developing a child's musical development and when students don't get the opportunity to explore their
imagination, improvisation or compositional skills then further down the road it has resulted in pre-
service teachers not feeling confident enough to teach those skills to their future students. Researchers
discovered that most teachers look at developing "originality, independence, imagination" and can only
reach success if they are comfortable and strong at performing these qualities themselves which
research has shown that not many teachers are because they lacked the opportunity to develop such
skills at a young age. Many teachers introduce improvisation by using random rhythmic patterns, having
the students use percussion instruments as well as doing call-and-response singing. Researchers found
that "creative habits of mind" are a desirable feature amongst music teachers, these music teachers
then believe that creativity is developed as students follow instructions rather than actually teaching it
as part of the curriculum. Creative learning is not linear, progress amongst students vary and with each
passing year the way to bring about creativity in a child changes and the teacher must be adaptable. In
2012 researchers went to Western University to study the “Teaching in Elementary” course and found
many parallels amongst the students as well as varying musical backgrounds. Parallels amongst the
students were; believing creativity is crucial in young children, they believed that the class room should
be made to feel safe and comfortable for students to explore, they believed that creativity is a fun
activity but shouldn’t be a serious part/focus in music education, many lacked any chance for
improvisation and compositional education in their early music education experiences as well as all of
them were not the most confident in themselves to teach young children these skills. Some differences
being; a few of the students improvised and composed as a leisure activity while others didn’t
experiment at all, some believed that improvising should be complete free-will for children while others
believed that loosely-based instructions would help guide the children. Music in the class for young
children should be made fun; singing, dancing and giving opportunity for creative should be constant but
only if fundamentals, such as music theory are being enforced. To conclude, many educators and pre-
service teachers believe that creativity and expression are important, if not crucial, in the musical
development of young children and that ever opportunity should be given for students to broaden their
musical horizons. JUSTINE ELLIOT

It is vital for children to be creative in their general development, but especially in their musical
development. Specific aspects of creativity that allow children to thrive are opportunities to be
independent, show originality, use their imagination, and to think deeply about the subject. In this study,
researchers examined pre-service students on their understanding of creative teaching and their growing
ability to provide opportunities for creativity to their future students. Researchers asked pre-service
students various questions that related to their personal experiences with improvisation, song selection
and competency in facilitating composition after an elementary music methods class.
These five outcomes from the interviews came to the fore. The productive struggle while
improvising is far more important to learning than the final product. Many of the pre-service individuals
viewed musical creativity as a leisure activity as opposed to a formal type of music education and
struggled to connect the two mindsets effectively. Students need creative opportunities as early as
possible in order to create a solid foundation for children in music while incorporating the skills necessary
to thrive. Because many pre-service students are uncomfortable improvising and composing, they should
actively engage in opportunities to practice those skills until they are comfortable; otherwise, it will be
impossible to demonstrate improvisation effectively to children because they will sense their teacher’s
discomfort. Finally, educators need to create a balance between structure and creativity.
Several aspects of this study were fascinating to consider. It’s interesting that the elementary
music methods class is set up as a community of practice since it creates a safer space for learning in
comparison to a lecture-style class. Also, many of the pre-service students expressed that they did not
feel competent in composition and improvisation, regardless of self-identification as a creative person in
relation to music.
When setting up a class for creative opportunities, instruction and ample creative time are key.
Many children are able to compose freely in several unstructured settings but to make improvisation
seem like a tangible task, boundaries need to be in place so that composition through improvisation is not
overwhelming. The children need a place to start, and some guidelines to keep their attention on the task,
to set the students up for success. It’s incredibly important to have planned for a good balance between
structure and freedom.

Aiden MacPherson

I’m not a very good doodler, and I’ve always believed that it’s just because I wasn’t born
with that kind of creativity in visual arts. However, I do enjoy song-writing, and that’s
probably because I was born with a knack for musical creativity. How does someone learn to
be creative? Isn’t it something you’re either born with or without? This is what I’ve always
believed until I read the Veblen, Jo, and Messenger’s (2016) essay and reconsidered creativity
as something that can be fostered and facilitated in the classroom.
I found it fascinating how the “studies indicate[d] that the teacher’s own comfort and
familiarity with a variety of creative practices are pivotal in furthering his or her learners’
musical explorations” (Veblen, Jo, & Messenger, 2016, p. 3). I didn’t think that the teacher
could have so much influence over the creativity of the student, and I am fascinated by the
idea of the instructor as a “facilitator” through whom creativity in the classroom can be
conducted (Veblen et al., 2016, p. 6). Whether it be through the typical methods of
improvisation found in the Gruenhagen and Whitcomb’s survey with US elementary music
teachers, discussed in the essay – such as spontaneous rhythmic patterns, melodic
improvisation on pitched percussion instruments, or call-and-response singing – or some other
approach, the key is providing students a foundation on which they can build their creativity. I
liked the idea of “creative play” as a “cyclical event”; that with every repetition of a
compositional or improvisational activity, students were adding layers to their creative
capacity for music (Veblen et al., 2016, p. 7).
Throughout reading the essay, I became more curious about how exactly music educators
could set up this kind of environment for their students to flourish. The students interviewed in
Veblen et al. (2016) “noted that while children have an innate creative capacity, sequenced
and comprehensive instruction with ample time for experimentation effect the optimal setting
for success.” This was when the dots connected for me, and I was able to relate my personal
experience in working with children to the essay’s findings. While working with children this
summer, I noticed that when I brought a box of instruments out for them to play with, their
interest did not usually exceed ten minutes. However, when we played music games and
provided the children with a purpose behind music-making, their interest level skyrocketed
and they became excited to continue playing for extended periods of time. I agree that not only
is it “easier” for children to come up with ideas with a “broad outline… theme, or required
 elements, from which to start the process,” it is also more enjoyable to have some guidelines
from which to build (Veblen et al., 2016, p. 13).
As an aspiring teacher, I look forward to learning musical activities with “transferable
skills” to bring to the classroom – activities in which students can build their fundamental
musicianship through creative music-making (Veblen et al., 2016, p. 15). My goal as an
educator is to ignite a curiosity in music-making as a means of expression for my students, and
Veblen et al. (2016) articulate my vision quite clearly because there is great value in “fostering
relationships and creating environments where creative teaching can be the springboard for
creative learning” (Veblen et al., 2016, p. 16). KELLY LIN

This article emphasized creativity, which I believe should be encouraged in all settings and that
unfortunately, the education system tends to view both student and educator success on academic
progress instead of process. I appreciated reading that “most music educators value qualities such as
originality, independence, imagination, and divergent thinking skills in teaching and learning music”
(Diakidoy and Kanari, 1999; Leung, 2004; Burnard, 2012; Odena, 2012; Elliott and Silverman, 2014). As
a music student, I found this interesting because since the age of four, majority of my music education
was black and white, restricting opportunities for creativity. Although I believe that creativity cannot be
learned, I advocate that creativity emerges from whether or not the educator’s teaching methods
encourage creativity within the student, both in a classroom setting as well as in the outside world.

I have chosen to approach education with the mindset that the student’s process should be favoured over
their progress, and that a positive and encouraging environment is essential for creativity. I believe that
creativity can only emerge in a comfortable setting because the fear of judgment is removed and the
opportunity to be fully expressive is available. A common theme that I have noticed throughout my
musical journey is that individuals who were subject to improvisational learning in their early years are
more comfortable with the idea of improvisation, possibly due to the familiarity of this concept. As stated
in the article, “Some class members noted a sense of loss for the lack of experiences in their earlier years,
having missed something important in their development as musicians” (Veblen, Jo, & Messenger, 16).
Since I believe that familiarity encourages creativity, educators who embrace connections of the outside
and incorporate different ideas into their classroom, especially during methods classes, successfully create
an interactive and engaging learning environment.

Furthermore, many students expressed their opinion(s) on how minimal guidelines may be helpful for a
student during improvisation because although boundaries and rules in music making should not be a
primary mindset towards music education, I believe that minimal limitations allow for further exploration
and open up the creative mind to push beyond these boundaries. To clarify, I feel as though providing
students with a directed pathway encourages focus in improvisations and is beneficial because it gives the
student the opportunity to either choose their own journey or feel comfortable enough to rely on what the
educator has provided. Marija Ristic

The article being discussed had many interesting points. For example, in a 2014 study it was
found that when an elementary music teacher was going to introduce improvisation it would be
through three main ways; 1) spontaneous rhythm patterns 2) melodic improvisation on pitched
percussion 3) call and response singing. According to the author, “These teachers stated they
were most interested in the quality of the improvisational process rather than with the product
and indicated that sequencing was crucial in the instruction of improvisation”. I found this rather
interesting because in a gig you’re not always going to figure out a cool solo, write it down, then
perform it the same every time. Those great musical moments come from players who improvise
on the spot. It’s good to see them focusing on that fundamental process because once it is second
nature a whole new set of musical doors will open. I found it quite surprising that classical music
majors disagreed with formal teaching of improvisation. The article said, “Previous studies have
found that music majors questioned the value of creative work in formal schooling”. This is hard
to believe because in my opinion improvisation is one of the main aspects that makes us
musicians. If you are at a tavern and a spontaneous jam pops up you do not want to be that
person who pulls out their sheet music. As a percussionist I find these scenarios the perfect
opportunity to try out new ideas and have fun musically. Whether that’s on my cajòn, bodhran,
or drum set (when we can fit it in!). This leads into a passage from page 9. It talked about a
musician who practices their principle instrument rigorously but when they go home it is the
guitar or ukulele that the love to play for fun. Why can’t this be the case with our principle
instrument too? If we practice improvisation and completely new skills but with a ‘jumping in’
and a 'having fun with it’ kind of attitude we could develop a brand new excitement about it! (not
that doing this on guitar or ukulele isn’t fantastic). Something I found frustrating was it never
discussed long term goals. The main goal/point mentioned was to gain the child’s interest,
hopefully they’ll stick with music classes because it is fun. But what about using this as a
transferable skill? In grade 1 and 2 we learn about adding and subtracting, so why can’t we have
this as our baseline for future musical studies. If I wanted to say anything to the author it would
be on page 14 it says creativity in the classroom is directly related to intelligence. I feel like this
is too broad of a statement. I would love to see it discuss more about which type of improvisation
we should encourage in the classroom. There needs to be certain guidelines that will foster a
young students mind, therefore leading to independent thinking, being able to self reflect, or be
creative in other areas of their lives as well as many other academic strengths. Andrew
Robichaud
 The quote at the beginning of this chapter strikes me: “It is the supreme art of the teacher to
awaken joy in creative expression and knowledge”. Einstein does not specify music teacher or arts
teacher, but simply the teacher. So, according to Einstein, to be a teacher is to be an artist. Although
the focus of this chapter is music education, reflecting upon this quote caused me to question the role
of all teachers. As I recall my elementary and high school experiences, I notice that the teachers who
inspired me the most encouraged their students to find joy in learning. They incorporated exploration
and creativity into all subjects – even math and science. They also cultivated an environment where
mistakes were not only accepted, but encouraged. One of my second-year professors introduced me to
a motto: “I am allowed to make mistakes, because I am a learner”. As I move closer to completing my
degree and prepare to go to teacher’s college, I aim to incorporate this into my teaching philosophy.
Whether I am a music teacher, a general classroom teacher, or both, I hope to share in the excitement
of learning with my students. I want my classroom to be a place where students can feel confident
while expressing themselves and eager to explore new ideas – especially when they are trying
something for the first time.
As I read further into the chapter, the student responses regarding improvisation stood out to
me. I agree with Jeryl-Anne’s thoughts about creating a safe space for improvising on page 11: “If it is
not comfortable, it may not happen, especially when you are looking for something as personal as
musicianship”. She continues to say that a child’s early experiences with an activity (for example,
improvisation) tend to impact their opinion and future encounters with it (11). This highlights the
importance of cultivating an encouraging and accepting classroom environment. While reading this
section, I was reminded of a few musical classroom experiences of my own.
In grade 5, my music class did a unit on recorders. We were paired up and asked to play a piece
together in front of the class. When it came time for my partner and I to present, we struggled through
the performance. Potential reasons for why this happened include: nerves, not enough individual
practice, not enough practice time together, etc. At the time, I was embarrassed and never wanted to
experience anything like it again. Although it was not an improvising activity, it still made me feel
vulnerable. While this experience alone did not hinder my ability to perform in front of others, it may
have contributed to the performance anxiety that I sometimes experience today.
In contrast to this challenging performance experience, I had a wonderful introduction to jazz
improvisation in grade 11. This was my first time playing in a jazz band, and I was nervous. It was not
that I had a limited knowledge of jazz music that made me apprehensive, but the fact that I had to
improvise by myself every day. I had had a nerve-wracking experience with improvisation the year
before, and feared that I would not be able to get it “right”. My experience, however, was the opposite
of what I had expected. As it turned out, I loved the beginning of class, because that is when we
improvised. My teacher facilitated an encouraging environment, and allowed each of us to learn and
experiment freely. If music teachers incorporated improvisation into their lessons, whether it is
individual or as a group, I think it would help many students feel more comfortable and confident in
their musical and creative abilities. After reading this chapter, I wonder: how would it have affected
me? Would I have been as nervous going into jazz band in grade 11? Would I have been more
comfortable playing in front of the class in grade 5? I will continue to explore the ideas presented in this
chapter, and keep them in mind as I move closer to becoming a teacher. NAOMI SIMPSON