Pamela Burnard, University of Cambridge York University, HEA Conference 13 May 2013

1. ~Pedagogies as Jazz~Evolving the field of ‘Creative Teaching for Creative Learning’in developing diversified creativities in HME Pamela Burnard, University of Cambridge York University, HEA Conference 13 May 2013 InternationalMusicInstitutionsLeadersForumBeijing7-10Oct2012

2. ‘Learning cultures’ A way of thinking about learning as a cultural practice, in which learning is viewed as constructed within learners’ experiences, values and social positionings, and mediated by the institutions in which learners participate. • Burt-Perkins (2009), ‘The learning cultures of performance: applying a cultural theory of learning to conservatoire research’. • Available at www.performancescience.org • See also James et al. (2007), ‘Improving learning cultures in further education’, Routledge. Rosie Perkins: rperkins@rcm.ac.uk or www.rcm.ac.uk/cps

3. ‘Learning cultures’ from the C19th

4. BBjӧrk (Biophilia Recent Album/App) Boundaryless career as performing composer, singer-song writer, performing artist, inventor, designer, musicologist and computer science professor

5. Your views? Your practice? • Think of someone you know from your institution (learning culture(s)) that you think is particularly creative. Why do you think so? 2. What is ‘creative teaching’? How does it happen? Why is it important? 3. What is ‘creative learning’? How does it happen? Why is it important?

6. creativityGood for: economies societies communities re-engaging the disaffected enhancing learning improving teachers’ practice

7. creativity described…

8. NACCCE Creativity and Culture (1999) Creative Partnerships (2002) Creative Thinking Skills 5-16 (2003) Creative Development early years (2004) Roberts Review (2005) Select Committee recommendations re creativity & curriculum integration (2007) Government response (DCSF, 2008) Creativity in Higher Education report on the EUA Creativity Project (2006-2007) McMaster Report (2008) Rose Review (DCSF, 2009) EU Year of Creativity (2009) Music Manifesto: Creative and cultural skills Ofsted Music Report (2009) Henley Reviews of Music Education National Plan for Music Education (NPME) Creativity and creative learning policy

9. creativity in education National Advisory Committee on Creative and Cultural Education (NACCCE report, 1999) ‘Creativity is imaginative activity fashioned so as to produce outcomes that are original and of value.’ www.ncaction.org.uk/creativity/about.htm

10. creativity in education • Questioning and challenging • Making connections and seeing relationships • Envisaging what might be • Playing with and exploring ideas and keeping options open • Representing ideas in a variety of ways QCA (2006)

11. Musiccreativity/iesdescribed

12. Reflecting on my own creativities_

13. ‘Creative learning’Craft, Cremin and Burnard (2006) Significant imaginative achievement as evidenced in the creation of new knowledge as determined by the imaginative insight of the person or persons responsible and judged by appropriate observers to be both original and of value as situated in different domain contexts

14. ‘Creative learning’ … can generate genuine collaborations and conversations about pedagogy Creative Learning is simply any learning that develops our capacity to be creative. It equips young people with the knowledge and skills they need to succeed in today’s world, nurturing ways of thinking and working that encourage imagination, independence, tolerance of ambiguity and risk, openness, the raising of aspirations (Creative Partnerships, 2005, para 2) www.abp.unimelb.edu.au/unesco/ejournal/ vol-one-issue-three.html

15. Sawyer, R.K. (Ed.) (2011) Structure and Improvisation in ’Creative Teaching’. Cambridge, CUP • Experienced teachers do two apparently contradictory things: They use more structures, and yet they improvise more…..Conceiving of teaching as improvisation highlights the collaborative and emergent nature of effective classroom practice, helps us understand how curriculum materials relate to classroom practice, and shows why teaching is a creative art. The best teaching is disciplined improvisation because it always occurs within broad structures and frameworks. Expert teachers use routines and activity structures more than novice teachers, but they are able to invoke and apply these routines in a creative, improvisational fashion. Several researchers have noted that the most effective classroom interaction balances structure and script with flexiblity and improvisation…the direction of the class emerges from collaborative improvisation between the teacher and the students.’ (pp. 1-3)

18. PART 2: NARRATIVES OF PRACTICE Chapter 3 Originals bands Chapter 4 Singer-songwriters Chapter 5 DJ cultures Chapter 6 Composed musics Chapter 7 Improvised musics Chapter 8 Interactive audio design

19. Leah Kardos (leah@gloryboxstudios.co.uk)

21. The art of the possible "Core" Music by composer Leah Kardos. Video art by Matthew Greasley. http://www.youtube.com/watch?v=p4AUcdz-fmQ Leah’s blog http://thisticklesleah.tumblr.com/ http://www.leahkardos.com/

22. Composed musics

23. Originals bands

24. DJ musics

25. Interactive audio design/Game musics

26. Singer song-writers

27. Improvised musics

30. So, how should we teach for creative learning in music? • Create an environment of musical possibility (questioning and challenging) • Use time and create opportunity to contribute and create ideas in performance and discussion (making connections and seeing relationships) • Work imaginatively with sound itself (imagining what might be) • Ensure creative involvement of the teacher (as music leader, creative champion, facilitator)

31. Creative learning communities

32. Sawyer, R.K. (Ed.) (2011) Structure and Improvisation in Creative Teaching. Cambridge, CUP • Experienced teachers do two apparently contradictory things: They use more structures, and yet they improvise more…..Conceiving of teaching as improvisation highlights the collaborative and emergent nature of effective classroom practice, helps us understand how curriculum materials relate to classroom practice, and shows why teaching is a creative art. The best teaching is disciplined improvisation because it always occurs within broad structures and frameworks. Expert teachers use routines and activity structures more than novice teachers, but they are able to invoke and apply these routines in a creative, improvisational fashion. Several researchers have noted that the most effective classroom interaction balances structure and script with flexibility and improvisation…the direction of the class emerges from collaborative improvisation between the teacher and the students.’ (pp. 1-3)

33. Teaching Music CreativelyBurnard & Murphy (2013)

34. Practising creativity Mirjam James, Karen Wise & John Rink AHRC Research Centre for Musical Performance as Creative Practice University of Cambridge PSN, 6 April 2013

35. ‘Inside the practice room’ RESEARCH QUESTIONS: • What are the processes involved in creative work as students practise a piece? • How do individual creative decisions develop? • What is the relationship between technical issues and creative ideas? Longitudinal study with multiple elements, including video recall

36. Processes in forming one’s own interpretation (1) First level themes: • Character: looking for and/or naming different characters in a piece • then you’ve got other things you can work on in the bottom line, and kind of giving them characters like ‘I’m not in a rush,’‘cheeky’ (vibraphone) • Emphasising or finding contrast and variety • I started working on… how to make it more interesting by emphasising the accents and the difference, because the music, as it’s written {TURNING PAGES} actually does have different accents (horn) • Experimenting/exploring ideas • I’m experimenting with different types of singing (horn) • experimenting with different contact points and attacks of the bow to achieve different characters (violin)

37. Conclusions • Creative process is not linear • Solutions are for the moment, not final • Challenging polarities between technical and expressive elements • Process about negotiating and integrating multiple aspects of performance (by working out a technical problem changing the expressive, • More than one approach • Widening concepts of practising

38. ‘Creative learning’and pedagogies Burnard & White (2008)

41. Burnard (2011:60) The improvisatory space of teaching. • …as teachers, we need to be working with multiple pedagogies….pedagogies as jazz….developing our pedagogical identity for moving between‘entrances’ and ‘exits’ which unfold as crucial events in a temporal sequence of a teacher authoring their lessons as played out between scripted and improvised segments. Like Jazz leaders, the teacher picks the tune, sets the tempo, and starts the music, defines a ‘style’. After that, its up to the band to be disciplined and free, wild and restrained leaders and followers, focused and wide-ranging, playing the music for the audience and accountable to the requirements of the band. Teaching as jazz…is likegood storytellers who make use of flashbacks and flash-forwards, introducing characters and events to engage and surprise the reader, teachers who jump into the artists’ teaching frame have the possibility of using a glimpse of the end-point to act as an advance organizer or motivator for the class. (p.60)

42. Our graduate students need to: (1) manage change; (ii) be entrepreneurial in outlook; (iii) contribute creatively; and (iv) engage in creativelearning as a globallynetworked, yet intensely localized, lifelong activity

44. Thank you! http://www.educ.cam.ac.uk/people/staff/burnard Developing Creativities in Higher Music Education: International Perspectives and Practices