Examining Sixth-Grade Students - Music Agency Through Rhythm Comp
Examining Sixth-Grade Students - Music Agency Through Rhythm Comp
Examining Sixth-Grade Students - Music Agency Through Rhythm Comp
Scholar Commons
Spring 2022
Recommended Citation
Spearman, R. Z.(2022). Examining Sixth-Grade Students’ Music Agency Through Rhythm Composition.
(Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/6838
This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and
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Examining Sixth-Grade Students’ Music Agency
Through Rhythm Composition
by
Bachelor of Music
University of South Carolina, Columbia, 2017
____________________________________
Music Education
School of Music
2022
Accepted by:
Tracey L. Weldon, Interim Vice Provost and Dean of the Graduate School
© Copyright by Robert Zagaroli Spearman, 2022
ii
ACKNOWLEDGEMENTS
I thank Dr. Valerio for her support and assistance throughout this program and the
completion of my thesis. The opportunities to work with her have made this program and
my research more meaningful than I could have imagined. I am truly thankful to have
her as a mentor.
Thank you to Dr. Gail V. Barnes and Dr. Amanda Schlegel for your guidance,
comments, and support throughout this thesis process. I thank my students at Saint
Peter’s Catholic Elementary School for participating in this study. I am so proud of all of
the work they have accomplished. I greatly appreciate my friends and colleagues Austen,
Allison, Katherine, and Julia for assisting me in times of distress. It means the world to
I greatly appreciate my family for their support during my program. Thank you to
my brothers, Joseph and Peter for reading and providing feedback on all of my work (I
promise I’ve become a better writer). I am also thankful for my mom’s unending love and
I am thankful for the support and love from my partner, Laura, and her family.
Thank you, Laura for enduring a long-distance relationship with me. Our mid semester
trips to Kentucky are some of my fondest memories of the past two years. I can’t wait to
Thank you to all who has assisted me on this journey and in this research study. I
iii
ABSTRACT
Music agency refers to ones ability to have control over their musical actions and
musical ideas. With the intent of examining music agency, the purpose of this action
composition processes, were: (a) What did students think about making choices, and (b)
I utilized purposive sampling that comprised the 2021-2022 St. Peter’s Catholic
activities in the role of their teacher during nine 45-minute classes. As a researcher, I
observed, recorded, reflected, and analyzed data collected from our classroom during this
interviews with students, and video recordings of their completed composition. I coded
Four themes emerged from the data. Students demonstrated music agency by
feelings after using their music agency. Having music agency allowed students to own
their rhythm compositions. Students described how they utilized their music agency in
their rhythm composition processes using action words. I provide descriptions and
iv
examples of each theme. I discuss implications for my pedagogy, the pedagogy of other
composition, choices.
v
TABLE OF CONTENTS
ABSTRACT ....................................................................................................................... iv
REFERENCES ..................................................................................................................52
vi
LIST OF FIGURES
vii
CHAPTER 1
INTRODUCTION
Students enjoy engaging in music composition activities that provide them with
the opportunity to express themselves (Auh, 1997; Younker, 2000; Miller, 2006; Blair,
2009; Muhonen, 2016). Through music composition students create and arrange sounds,
give meaning to those sounds, document those sounds, and share their music ideas with
one another (Miller, 2006). As music educators guide students through music
composition experiences, they may provide their students with varying opportunities for
agency, that is, varying opportunities for choice or action during those experiences.
Within those opportunities for choice or action, each student’s awareness of their musical
identity and beliefs in their musical abilities may influence their music composition
where students have limited agency. The focus of learning in those instances becomes
driven by teacher-created goals or teacher-driven performances that leave little room for
student exploration and student choice. Students may feel that they cannot express their
musical identities when they have limited agency. I have also witnessed instances of
students having nearly unlimited agency during music composition activities. In those
instances, students may feel overwhelmed by the number of decisions that they have to
Godt (2005) described the role of a composer as someone who “makes decisions
and accepts responsibility for choosing consistently among the available sound” (p.86).
1
The composer makes musical decisions deliberately, not random sounds or chance music.
Younker (2000) found that engaging students in conversations about their music
compositions gave insight regarding their feelings about composing and how they
insights regarding rhythm composition activities, I learned about their music agency.
Music Agency
Wiggins (2016) defined a student’s music agency as, “their sense that they can
initiate and carry out their own musical ideas and ideas about music” (p. 103). Blair
(2009), Sutela (2020), and Muhonen (2016) researched the concept of student agency.
Sutela defined agency as the potential for making intentional actions within contexts.
Muhonen defined musical agents as individuals that use music to express themselves and
their identities. Similar themes of control and choice exist among those researchers’
definitions of agency.
Blair’s (2009) fifth-grade students utilized their agency, working together and
sharing ideas, as they created listening maps, i.e., graphic representations of recorded
music. The students utilized their agency by choosing how they depicted the music in
their hand drawn maps without Blair’s guidance. The students felt empowered by sharing
2
During Blair’s (2009) study, the students utilized listening skills and graphic
representation skills, but they did not compose any new musical materials or ideas.
By gradually choosing to participate and work with others during the Dalcroze-
based music and movement activities, a student with Asperger’s syndrome (AS)
developed agency (Sutela, 2020). For example, Sutela elaborated that the student
developed musical skills and became more confident in the ability to utilize agency when
voluntarily choosing to participate in a chain dance and becoming the leader of the
activity. The student indicated likes and dislikes among the music and movement
activities, but “was not able to reflect on his agency development during the interviews.”
(p. 79) That inability to reflect may have been due to the student’s difficulties with
communication.
activities. During the songcrafting activities, the students composed melodies and lyrics
to songs and tunes in collaboration with others and performed them later. The students
utilized their agency by collaborating with others and making decisions during the
songcrafting process. Students who perceived they had less musical talent than others
contributed less to the songcrafting process. The students’ perception of their musical
talent resulted in some utilizing their agency less than other students.
Blair (2009), Sutela (2020), and Muhonen (2016) provided opportunities for
students to work in collaboration with others and express their agency in their learning.
Those researchers did provide insight into how student agency relates to participation and
1
Muhonen (2016) used the one-word term, songcrafting.
3
growth in music skills; however, the students in those studies did not receive multiple
Miller (2006), Mayo (2018), and Younker (2000) reflected on student music
compositions and student music composition strategies. Miller (2006) noted that
constraints in the classroom. Mayo (2018) found that students’ levels of anxiety during
musical choices that enhanced their music composition’s themes and ideas. Miller’s
students possessed the ability to describe their musical choices when composing and why
they made these choices. Miller promoted a positive music environment for her students
to work in: “All children, regardless of intellectual level, have been able to participate in
group composition activities and to discuss and perform their compositions” (p. 62).
anxiety during a short music composition task. The researchers divided the students into
two groups, an experimental group that received instructions, parameters, and tools to
4
group utilized their agency by choosing what tools and strategies they learned in class to
assist them with their music compositions. Students in each group exhibited a strong
students of various ages to better understand what strategies they use to compose music.
Younker found that engaging the students in conversations about their music
compositions gave insight into their music composition strategies. The students were
aware of the choices that they made when composing, with one student identifying as a
composer.
Miller (2006), Mayo (2018), and Younker (2000) provided insight regarding how
students utilize music composition strategies and their agency during music composition
activities. The students in those studies utilized a variety of strategies to complete music
compositions, and enjoyed discussing how they utilized their agency when composing
music.
With the intent of examining music agency, the purpose of this research was to
5
CHAPTER 2
RELATED RESEARCH
Miller (2006)
minute class periods. Miller cited Bruner’s constructivist theory, the idea that previous
learning informs new learning, as a basis for the curriculum used in this study.
Method
music composition projects across several grade levels. Miller observed their own
students during this study. Participants of this study included students from two schools
in grades kindergarten through fifth grade. Miller taught in a designated music classroom
at one school and traveled between classrooms at the other. Class sizes averaged between
Miller described this study as an ongoing project spanning several years and
believed that the length of their study supported its trustworthiness. The researcher
recorded observations from each class in a research journal, and coded and categorized
6
the data from the research journal by topic. After lessons, Miller discussed the
effectiveness of the lessons with other teachers. Miller video recorded the students during
the music composition projects “for later analysis” (p. 61); however, Miller did not
explain the video recording analysis process. The researcher included member checking
in the form of student submitted self and group critique papers to establish credibility.
Students and classroom teachers provided Miller with written and verbal feedback and
parameters of their school. Miller noted that all the students could participate and be
composing, the students utilized different composing strategies such as choosing between
using standard notation and invented notation. The researcher noticed that students
composition activity.
Over the course of the study, the students recalled previous information from
classes and utilized that information during music composition projects. The sequence of
the music composition projects created by Miller included small assignments or goals for
students to complete or reach. This allowed students to focus on completing smaller tasks
rather than feeling overwhelmed by the entirety of the music composition projects.
music classrooms by carefully planning the projects. Students in Miller’s study composed
7
music using strategies and skills like invented notation, standard notation, singing, and
playing instruments. During one activity, students utilized their agency by picking what
instruments they will use for their composition. I implemented music composition
activities with the intent of examining my student’s music agency. Miller’s study serves
completed.
Like Miller, I utilized the following data sources: video recordings of student
handwritten research journal. I transcribed each video recording for subsequent analysis.
Then, I coded all data, and searched for patterns and themes. A peer elementary music
teacher with qualitative research experience served as an expert analyst and review my
Muhonen (2016)
interviews with previous students about their experience with songcrafting during
primary school to understand how teachers can support creative agency. Songcrafting
involves students and teachers collaborating to create, write, and perform songs and
tunes. Students utilized their agency during songcrafting by negotiating with others and
choosing the meaning, form, and sound of their songs and tunes.
8
Method
involved in songcrafting activities during the years of 1997-2004. With consent from
each participant and their parents, Muhonen conducted 30-minute (approximately) group
interviews taking place 3-4 years after each participant’s songcrafting experiences to
allow for them to mature, reflect on their experiences, and possibly utilize their
Muhonen utilized artifacts like recordings of student composed songs and notated
constructed the interviews to have a “conversational tone” to account for the “emotional
researcher and the participants allowed for an open and comfortable environment.
Muhonen audio recorded and transcribed the group interviews. During analysis,
in the students’ narrations” (p. 269). The researcher’s initial analysis from the interviews
identified several themes “I can/I can’t, my/our/their song, joy, sharing, empowerment,
peripherality” (p. 269). The researcher utilized meaning condensation when analyzing the
participants’ narrations, which allowed for the researcher to draw a theme from the
participants’ viewpoints (Kvale & Brinkman, 2009). Kvale and Brinkman defined
9
meaning condensation as,“an abridgement of the meaning of an interviewee statement
into shorter formulations, usually remaining within the understanding and language of the
into three storylines: (a) peripheral participation, (b) experimentation, and (c) deep
participation. Those storylines outline “how the agency theme manifested in the students’
narrations” (p. 271). The researcher provided examples of each storyline in the form of
Muhonen noted that the participants utilized music agency when connecting,
collaborating, and contributing with others during the songcrafting process. The
participants placed value in being a contributor and collaborator with their peers and
teacher. Participants’ narrations indicated opportunities for multiple options during the
group songcrafting process. The opportunities for collaboration and support from their
Some participants indicated they felt like they had little agency in the songcrafting
process. The participant described in the peripheral participation vignette chose to not
actively participate in part because of his perceived musical abilities. Narrations within
The participant’s whose narrations fell within the deep participation storyline
10
senses of music agency and creative agency. They also had a greater belief in their
abilities and thought songcrafting may have influenced them to continue composing.
The songcrafting process provided an outlet for the participants to express their
creative and music agency. Only three of the participants indicated that they believed
they could not create music. Muhonen noted that a student’s perception of their own
musical abilities may influence their desire to exhibit their music agency. The
participant’s narrations indicated that their teacher’s belief in their music and social
activities. Unlike Muhonen, my students reflected during the study, at the end of each
class, rather than years after participating in music composition activities. Like Muhonen,
I utilized meaning condensation (Kvale & Brinkman, 2009) when analyzing data sources.
Younker (2000)
In this qualitative study, Younker observed students during and after music
composition sessions. This study revolved around patterns of thought which Younker
defines as “any regularities of thought processes that may occur while the students
compose music” (p. 25). Younker used the following research questions when designing
this study:
● What patterns of thought and strategies emerge, if any, from an analysis of the
following?
11
o Students’ verbal reports and verbal response collected while composing
Method
The participants of this study consisted of nine students representing three age
groups equally. The three age groups of this study were ages 8, 11, and 14. Younker
randomly sampled the participants from a list of names of students who had not received
private music instruction. Each of the students participated in seven 1-hour sessions over
the course of the study. During the first two sessions, Younker instructed the students in
their respective age groups on how to use the keyboard and MIDI interface. The third
session consisted of an individual review of the technology with each student followed by
using the keyboard, making musical choices, and describing their process for making
choices for 45 minutes. For the last 15 minutes of the sessions, Younker engaged the
students in semi-structured interviews about their music compositions. During the last
12
session, the students shared their compositions with the others in their age group and
Each session had a break between 3-5 days to allow students to reflect about their
composing. Younker implemented very few parameters for the composition activity.
Those parameters included the computer program utilized for composition, the keyboard
Younker encouraged students to “think aloud” to gather data on their thoughts and
strategies during the activity. “Thinking aloud” occurs when subjects, “are asked to
perform a task and to verbalize whatever crosses their mind during the task
performance.” (Jääskeläinen, 2010, p. 371) During the interviews, Younker video and
audio recorded students’ thoughts about music composition and composition strategies.
Two other individuals transcribed the audiotapes for the researcher. Younker compared
the transcribed audiotapes to the corresponding videotapes and made any necessary
When reading the transcripts of the audiotapes and videotapes, Younker noted
when students would interact with a musical element like rhythm, melody, form, timbre,
or texture. Those elements represent basic components of music. The students’ choices
regarding the elements they manipulated gave rise to new codes related to musical
concepts such as tempo. Younker also noticed a theme of expressive gestures. Younker
utilized the themes to create individual profiles of each student to assist in identifying
13
Younker analyzed the students’ responses during the interviews after each session
by highlighting key words in their responses that encompassed their entire responses. The
researcher then compared the students’ responses to one another to discern any patterns
recording, listening, evaluating, and editing, but not in any set order. Perceived ability
and comfort impacted the students time spent on each of these processes, rather than age.
When given the choice between viewing their material in graphic or traditional notation,
The students interacted with the elements and concepts to a degree that limited
patterns. Younker noted some patterns such as the 8-year-old students composing narrow
melodies in narrow ranges with some exploration into the outer registers. Two of the 11-
year-old students created melodies with similar stepwise motions, but also incorporated
skips and a more controlled use of registers. Most 14-year-old students composed
melodies using stepwise motion, with two students also incorporating skips and leaps into
their melodies. Over half of the students incorporated known material into their
compositions.
Younker identified several patterns from the students’ verbal responses about
their music compositions. Students were aware of the activities and could recall previous
activities, but demonstrated a lack of depth in describing the choices that they made when
composing. Over the course of all the interviews, seven of the nine students gave more
information to the researcher after the composing session rather than before it. Six of the
14
students took ownership of their compositions, identifying their work as their own and
age groups. Students across the age groups approached composing music in different
ways regarding creating new material, using old previous material, and the manipulation
comfortability with the keyboard varied across the age groups. Students within and across
the age groups manipulated different elements of music at different frequencies. The
researcher found that the students ability to recall previous sessions and what occurred
during those sessions depended on the involvement of the individual in the session.
groups. Younker noted those differences may be due to the students’ confidence and
composed music and included a class regarding using technology for recording purposes.
15
handwritten reflections2 and a presentation at the end of the study along with short
individual interviews.
2
Due to a lack of reliable technology, the participants in this study explained their music
composition processes through handwritten reflections.
16
CHAPTER 3
METHOD
Design
For this study, I used a qualitative action research design (Conway & Borst,
2001). I filled the role of teacher-researcher in the sixth-grade music class at St. Peter’s
Catholic Elementary School, Columbia, SC. Conway and Borst described action research
as “inquiry that is designed by teachers to make changes and affect teaching” (p. 3). I led
researcher, I observed, recorded, reflected, and analyzed data collected from our
classroom during this study. Through observing my students during rhythm composition
processes, I planned to gain understanding regarding their music agency and music.
Participants
I utilized purposive sampling for this study. Sharma (2017) noted that researchers
who utilize purposive sampling select their sample based on their own judgement and for
specific purposes. My purposive sample comprised the 2021-2022 St. Peter’s Catholic
those students and I had established music classroom procedures, protocol, skills, and
capabilities. Two new students enrolled in St. Peter’s sixth grade for the 2021-2022
school. During the first few weeks of the school year, I established teacher-student
17
relationship with those students, gained an understanding of their previous music
education experiences, and introduced those students to our music classroom procedures,
Setting
This study took place at St. Peter’s Catholic Elementary School in Columbia,
South Carolina. During this study I visited the sixth-grade class twice-per-week to
facilitate music classes, and each music class lasted for 45 minutes. Each student had a
desk to themselves.
The music curriculum and experiences of these students are based in Gordon’s
music learning theory (Gordon, 2013). The students experience music through audiation
and participating in musical play (Valerio et al., 1998; Reynolds et al., 2020). The class
and creating music. Green’s (2006) informal music learning philosophy has also
influenced the structure of activities in the music classroom. The students dictate the flow
of improvisation and creation activities, with me, their music teacher, serving as someone
Students in St. Peter’s sixth grade each have a music kit and a music journal. The
music kits contain the following items: a pair of plastic rhythm sticks, a pair of wooden
rhythm sticks, cut sections of pool noodles for scrapping, a handmade shaker made from
a plastic soda bottle, bean bags, and scarves. My mentor and fellow music teachers at St.
Peter’s Catholic Elementary School and I compiled the music kits for all of the students
18
Procedures
During nine lessons held during nine consecutive class meetings, I led the students
knowledge and skills my students worked on in the previous school year, and the
COVID-19 pandemic restricted activities in the music class such as singing and sharing
instruments. I drafted an outline for my learning plan and data collection over a three-
week data collection period (See Appendix Table C.1 for the initial learning plan).
Though I Initially planned for the rhythm composition unit to take six total classes, I
adjusted as necessary to assist students in meeting the end goal (See Appendix D for the
implemented learning plan). The nine lessons culminated with a rhythm composition
completed, performed, recorded, and presented by each student. Though each student
composed a rhythm chant, some students also composed a rhythmic accompaniment for
During the first class, the students improvised a rhythm chant based on a theme of
their choice. I prompted the students to create their themes by thinking of topics that they
enjoyed. The students first improvised the words to their rhythm chant. I played several
drum loops for the students to chant over and experiment with the rhythm of their chants.
At the end of class, the students completed a reflection sheet about their musical choices
found in Appendix E.
During the second class, the students reviewed their musical ideas from the
previous class and choose some of their ideas to begin creating their rhythm chants. The
students notated their rhythm chant using a notation form of their choice that allowed
19
them to remember how they wanted their chant to sound. I made this decision based on
research done by Campbell and Scott-Kasner (2019), which describes how students use
students completed the same reflection sheet from the first class at the end of this class.
During the third class, the students continued to compose their rhythm chants
individually. Some students began creating rhythm accompaniments using their music
kits, which they recorded in some way in their handwritten music journal. At the end of
During the fourth class, the students continued working on their rhythm chants
and accompaniments. I instructed the students who had finished their chants and
During the fifth class, the students began to finalize their chants and
accompaniments and continued to practice them. Some students began to work in groups
with one another to practice their chants and make changes. Students completed a
reflection sheet on their musical choices at the end of class. The reflection sheet questions
The sixth, seventh, and eighth classes comprised students practicing and then
recording their chants and accompaniments (if applicable) using the camera on an iPad.
instructed each student on how to record using an iPad. At the end of each of those
20
During the ninth class, with each student composer’s permission, together the
students and I watched each of their recorded videos using Apple Airplay on a TV
monitor in their classroom. After watching each video, each student composer told us
about their rhythm composition and how they felt about the whole project, respectively.
The students did not complete a reflection sheet at the end of this class.
Materials
I used a Go Pro Max camera to video record each class. I utilized an iPad as a
secondary recording device for the classes. Using an iPhone 8, I recorded short
interviews with each student once during our classes seven and eight on November 1st
and November 3rd, respectively. At the end of each class, I provided paper for each
their rhythm compositions. Each student could use body percussion, found sound, and
unpitched percussion instruments (each student at St. Peter’s Catholic Elementary School
has a personal music kit) during the composition process. Each personal music kit
contained several items to play as instruments, including wooden and plastic rhythm
sticks, pool noodles for scraping sounds, scarves, and bean bags. Each student also had
access to a tubano drum. The students and I created the tubano drums during the previous
school year. The students chose the design of their drumheads and the outside fabric of
their drums3. The tubano drums are 18” tall and 12” in diameter.
3
The students used materials from the drum kits found at this website:
http://music4wellness.com/marketplace.html#!/Drum-Making-Kits/c/29767005
21
Data collection took place over 35 days, starting on October 6th, 2021, and ending
on November 10th of 2021. Music classes took place from 2:10 to 2:55 on Monday and
Data Sources
Video recordings
before data collection using a Go Pro Max 360 Camera and an iPad. I reviewed the
videos and determined that an external microphone was not needed to improve sound
quality, but the Go Pro Max 360 Camera and iPad were both needed for optimal data
collection. Using an iPhone 8, I recorded short interviews with each student during
classes 7 and 8. I transcribed each of the videos after the data collection using Otter.ai.
Student Artifacts
compositions. I collected students’ written reflections at the end of each class and kept
Data Analysis
the first data coding cycle, I used In Vivo coding, for each of the class video
transcription, students’ handwritten reflections, and short interviews with the students.
Saldaña defines In Vivo Coding as when a researcher “Uses words or short phrases from
the participant’s own language in the data record as codes” (p. 264). Saldaña
22
recommended In Vivo Coding “to honor children’s voices and to ground the analysis
from their perspectives” (p.61). By using In Vivo coding, the literal words of the students
become emphasized in the analysis. For analyzing the students’ rhythm compositions and
my personal handwritten research journal, I utilized process coding. Saldaña (2016) noted
that,
“Process Coding uses gerunds (“-ing” words) exclusively to connote action in the
watching TV, drinking coffee) and more general conceptual action (e.g.,
I chose process coding because it allowed me to verbalize the ways in which students
notated their rhythm compositions. I used process coding for my handwritten research
journal because my notes also primarily focused on actions that I could see the students
doing.
organize the data around categories. A peer elementary music teacher with qualitative
research experience served as an expert analyst to check the codes to determine if they
represent the data (Patton, 2015). I organized my data into a code mapping structure as
recommended by Saldaña (2016). A code mapping refers to how codes are organized and
labeled my four categories in a table and placed each individual code into each category.
I organized the codes by data source as well. I examined the codes for patterns and
themes. After determining patterns and themes, the peer elementary music teacher with
23
qualitative research experience served as an expert analyst check the patterns and
themes to determine if they represented the data as an expert analyst (Patton, 2015).
the words of her interview to reflect her working with two other students to working with
“my friends”. A peer elementary music teacher with qualitative research experience
served as an expert analyst to check the codes, patterns, and themes to determine if they
Confidentiality
action research that results in non-generalizable findings is not subject to the Protection
CFR 46 et. Seq as documented in Appendix B. Nonetheless, the guardian of each of the
students involved in this study received the consent form approved by the St. Peter’s
Catholic Elementary school principal and presented in Appendix B before the study
began. I provided each of the students with a pseudonym to protect their identity. The
student rhythm compositions has been modified with the consent of the student
composer.
24
I stored all data on a password protected laptop and on a single SD card. Any
card. The students’ notebooks always remained within the classroom during the study. I
took the students’ notebooks to my home for analysis and returned them to the classroom
25
CHAPTER 4
FINDINGS
Prior to and while analyzing the data for this study, I reviewed my research
purpose and guiding questions. With the intent of examining music agency, the purpose
Based on my data coding procedures and conversations with my expert data analyst, I
express the findings of this action research study using four emergent themes. Those
themes include:
rhythm compositions.
• Theme 2: Students described a variety of feelings after using their music agency.
compositions.
• Theme 4: Students described how they utilized their music agency in their rhythm
labeled each student with a different letter, beginning with letter A and ending
26
with J. I omitted the names and identifying information from students’
Rhythm Compositions
students to use standard Western rhythm notation when notating their compositions.
Though my students had experience with standard Western rhythm notation, I feared that
they would become anxious with having to use standard Western notation (Mayo, 2018).
After consulting with my mentor on this concern, I decided to let my students have
agency over how they would record their rhythm chant in their personal notebook. The
students’ rhythm composition notation comprised two styles: all students notated their
rhythm compositions using words, while some notated their rhythm compositions with
All students used words as part of their notation strategy for their rhythm
compositions in their handwritten music journals. Seven of the 10 students notated their
rhythm compositions using only words. During the short individual interviews, some of
the students expressed in their short interviews and written reflections that they “wrote
the words and the beats” and “wrote it down normally”. The phrase “wrote it down
normally” implied writing down something musical without notation. Some students, like
Student-I, neatly organized the parts of their chant in a stanza form as presented in Figure
4.1.
27
Figure 4.1 Student-I’s Composition
Student-I also included the breakdown of the syllables for the word “imagination” in their
chant. Many of the other students who only utilized words wrote their chants in a
paragraph style, rather than a stanza style. Student-A crossed out words that they did not
want to use, rather than erase them from their journal as presented in Figure 4.2.
28
Figure 4.2 Student-A's Composition
Student-A along with others included drawings to go along with their rhythm
compositions.
29
Students Documented Their Chants with Personal Versions of Standard Western
Notation
when recording their chants in their personal journals. Two of the students, Student-C
30
Figure 4.4 Student-J’s Composition Page 2
31
Student-J included several different rhythmic values, including quarter notes, half
notes, eight notes, and quarter rests. Student-J stated in their interview with me that the
rhythm notation made it difficult to read the chant, saying that it was “hard to follow with
the notation”.
32
Figure 4.7 Student-C’s Composition Page 2
Student-C’s composition includes drawings like those of their peers who recorded using
only words. Students’ included drawings to illustrate the characters, topics, or story of
their chants like some of the notation provided by students in Miller’s (2006) study.
Student-F deviates from the pattern set by the previously mentioned 2 students by
using standard Western notation for only parts of their rhythm chant, as presented in
33
Figure 4.8 Student F’s Composition
Student-F used standard Western notation to note the “steady beat” of their chant as well
as the pattern that needed to be played the “whole song”. Student-F drew lines to show
where the fragments of notation go and labeled them with words like “clap” and “beat”.
Student-F also notated the way the drum is supposed to played by the performer “inside
of drum”.
Theme 2: Students Described a Variety of Feelings After Using Their Music Agency.
Understanding how the students felt about making their choices was a critical
question I had when formulating this action research study. As I continue to develop my
experiences of my students to give future students the best possible experience. Having
agency over your composition processes can bring about anxiety to students, as found in
34
Mayo’s (2018) study. In a study like Younker’s (1999), the students had the opportunity
During my action research study, the students had many times to reflect on their
musical choices. At the end of classes one through eight, the students filled out their
reflection sheets, which included the question “What did you think about making your
musical choices?” I wanted to understand how students’ felt about having agency
throughout this composition unit. Through this question on the reflection sheet, as well as
regarding their musical choices. Most students described their feelings regarding their
musical choices using positive language, though in some instances they expressed regret
or negative emotions.
Positive Emotions
Many of the students’ responses on their reflection sheets contain simple, one
sentence answers. For example, Student-H ended their reflection sheet using almost the
same phrase, describing their choices as being “fun” almost each day. Similarly, many
students used the word “fun” to describe their musical choices for each day. Other
students used different positive words such as “good” or “awesome”. The overall
experience of making musical choices seemed to be a positive one for the students, with
The students expressed similar sentiments during our short interviews. During the
short interview, I asked Student-C how they felt about their choices and getting to make
them, they stated “I liked making my own decisions”. Others like Student-D also
expressed in their interview how they enjoyed getting to pick the topic of their chant, “It
35
was fun to write about a topic I like”. Student-G described their fondness for the whole
experience during our short interview. The following is a transcript from our short
interview:
R. Spearman
Can I ask you a few things while you're rewriting? So, how'd you come up with
this rhythm chant? How'd you compose your rhythm chant? What kind of things
Student-G
Well, I just thought of what I really liked. And I just experienced it so I thought it
R. Spearman
I liked that you used the phrase “experienced it”. What do you mean by that?
Student-G
Student-G and many of the other students expressed an many positive emotions when
asked to describe how they felt about making their choices. The daily reflection sheet and
short interviews at the end of study both contain mostly positive comments from students.
Negative Emotions
experience, some students described their difficulties with making musical choices or
used some negative emotional terms to describe their choices. Student-I wrote in their
reflection sheet during the fourth class (October 20th, 2021) on their ostinato they created.
36
They “didn’t really like it” and wanted to “find another one” during the next class.
Student-I also expressed some regret about their choices made during the recording
process. This lead Student-I to record a second time, after which they had felt better.
They had made changes to their chant and even included other individuals in their second
recording process.
Student-H expressed some difficulty with creating their chant, as they thought that
“most of it was fun” when describing their choices in their reflection sheet, but that their
“ideas were hard to make a chant out of”. This frustration could have arisen from the lack
of formal instruction and structure I gave to the students for this project. While each
student expressed mostly positive emotions when describing how they felt about making
Compositions.
influence as much as possible from the students’ composition processes to give them as
much agency over the composition as possible. Similar to Younker (2000), I assumed the
role of facilitator and helper to assist the students when needed without telling them how
I would do the project or how they should do the project. I also observed the students and
In many of the students’ reflections and interviews, the words “my” and “I” occur
frequently when the students describe what choices they made. The students also use
those words when they describe their feelings in their handwritten reflections and in their
interviews, noting how it was “fun to use my own ideas”. The use of these words
37
establishes a sense of ownership over these rhythm compositions for each student. The
students chose words like “my” and “I” throughout their reflections and interviews,
establishing their personal connections to their rhythm compositions and their processes.
R. Spearman, in any of their reflections or their short interviews. Student-G was the only
one to mention me in their reflection sheet. When answering what they thought about
making their musical choices, they wrote in their reflection sheet for that day, “I thought I
did great and I hope you will like my song I found this interesting.” While Student-G felt
Theme 4: Students described how they utilized their music agency in their rhythm
The students utilized action words when describing how they made their musical
choices each day. Several action words occur frequently throughout the data, primarily in
the students’ written reflections. Students identified the following five actions as essential
Audiating
In several instances, the students described how they made their musical choices
with their “mind” or “in my head”. The use of this phrase represents music thinking, or
often use the term, audiation, during our activities. Gordon Institute for Music Learning
(2022) defined audiation as “to hear and comprehend music in the mind.” Students are
familiar with the term, audiation, and have used it when putting the music “in their
38
heads” during such as resting tone activities and when we are learning songs or chants.
Audiating is a common phrase I have used in my classroom for the past two years.
In my handwritten research journal notes, I also noticed the students often quietly
working at their desks while composing, and at some points it seems like they made no
sounds at all. It seemed to me the students were still working, just silently audiating their
music in their heads. I told the students during several class that they could practice and
say their chants out loud, but most of them continued to work quietly while
Playing
During the initial process of composing their chants, most of the students worked
while silently audiating; however, as we moved through the unit, it became apparent that
“playing” became a new action for the students to make their musical choices. This
action word “playing” came from several instances of students describing how they made
choices with body percussion or music kit items. Student-B played the rhythm of their
chant several times using their drumsticks from their music kit. Student-F played their
Student-J took different parts of their music kit and combined them to make new
and interesting sounds for their chant. Student-E asked if they could use their metal
chopsticks from their lunchbox to play their chant. They liked the sound of the chopsticks
and thought it would go well with their chant about turtles. Playing instruments and
exploring musical sounds became an important part of the composing process for many
of these students. Student-G combined their plastic rhythm sticks and scrapers made from
pool noodles to explore different sounds for their accompaniment. During Student-I’s
39
final recording of their rhythm chant, they had another student use their scarves from
Writing
The action of “writing” occurred throughout the data, especially during the
reflection sheets. At the beginning of the study, I asked students to document their topics
and their rhythm compositions into their personal journal. They knew that they had to
write down something in their journal. When students described how they made their
choices, they used phrases such as “I wrote down the words”. Early in the rhythm
composition unit, when the students generated topics for their chants, they described their
choices as “writing down the topics” they had improvised to that day. Writing their ideas
in some shape or form was essential for the students’ composing processes.
Making
Similar to writing, the term “making” occurs several times in the data. Students
described their musical choices for the day as “making a beat” or “making a chant”.
Others described their choices for the as “making their words rhyme”. By using the term
“making” students demonstrated they knew they were agents of their own music. They
were the creators who made and notated their personal music compositions, and they
Collaborating
Students began to collaborate and work with one another after the first five initial
classes. At the beginning of the study, I told the students that they would work to create
their own rhythm chant. This implied that they would work separate from one another;
however, several of the students expressed that they wanted to work with one another.
40
Eventually they all began working in groups of two or three students, sharing their
compositions and giving each other advice. I decided to let them collaborate with one
another to give them additional agency over their process. The students decided if they
Student A began to work with Student-J, and even described how Student-J
helped them with one of their reflection sheets. Student-J also reflected on helping
Student-A that same day. Other instances of collaboration occurred between Student-H
and Student-E. Student-H told me in their interview about how Student-E helped them:
R. Spearman
What kind of choices did you get to make? For when you were writing all this?
Student-H
R. Spearman
Student-H
chanted. Student I articulated a similar need for others to assist them. During our short
R. Spearman
So, we get to record again, which is awesome. How’d you feel about getting to do
it again? Better? What do you think? How did you feel overall getting to do
something like this project? Just getting to write your own chant.
41
Student-I
The writing part was really fun and I got to be really creative. But the recording
Collaborating with the other students allowed for Student I to feel more successful than
they had felt about their first. From my observations, students enjoyed collaborating and
42
CHAPTER 5
With the intent of examining music agency, the purpose of this research was to
Method
For this action research study, I utilized purposive sampling that comprised the
2021-2022 St. Peter’s Catholic Elementary School sixth-grade students. I led my students
through music composition activities in the role of their teacher over nine classes. As a
researcher, I observed, recorded, reflected, and analyzed data collected from our
43
Findings
I utilized In Vivo coding and Process coding for my data sources as recommended
by Saldaña (2016) and organized my data into a code mapping structure. Based on my
data coding procedures and conversations with my expert data analyst, I express the
findings of this action research study using four emergent themes. Those themes include:
rhythm compositions.
• Theme 2: Students described a variety of feelings after using their music agency.
compositions.
• Theme 4: Students described how they utilized their music agency in their rhythm
Regarding theme 2, the students described a variety of feelings after using their
music agency. Students described how they felt about their ability to have musical agency
with both positive and negative emotions. Words such as “fun” and “good” appear
frequently in their reflection sheets. During the short interviews, students described how
they felt with phrases such as “I liked getting to make my own choices.” Some students
did express negative emotions such as “regret” in their reflection sheets, with one student
expressing they “didn’t like” part of the choices they made. As I described with regard to
theme 3, having music agency allowed students to own their rhythm compositions. The
students used words that identity ownership when describing their rhythm chants, such as
44
Question 2: How do students describe making choices? Regarding theme 1,
compositions. All students utilized words to document their chants, while 3 utilized
standard Western notation. Students described their notating process in their written
reflections and during their short interviews. IN their reflections, students used words and
phrases that described writing down their chants with “words.” This relates to what I
described in theme 4, students described how they utilized their music agency in their
rhythm composition processes using action words. The students utilized action words
when describing how they made their musical choices each day. Several action words
occur frequently throughout the data, primarily in the students’ written reflections.
Students identified the following five actions as essential to their composition process:
implications (Patton, 2015). As I designed and implemented this action research study
and analyzed the data from the various sources, I have reflected and continue to reflect on
my music pedagogy. When creating and implementing each learning plan, I asked
myself, “Where can I give my students agency in this lesson?” As I have continued that
practice, I increasingly view my role in the music classroom as a music facilitator for my
I acknowledge that I have expertise and experience in music and music education,
but so do all my students. I had fears about allowing my students to have so much agency
45
over their learning. I worried that giving them so much control over the lesson would
make it boring and unexciting, or that we would lose site of the goal of completing their
worried that encouraging my students music agency would lead to distractions and off
task behavior from my students. However, I was surprised by how diligently they worked
towards their goals. Although the data collection period took longer than expected, I was
content with the length that it took my students to finish their rhythm compositions. The
students enjoyed working and completing their rhythm compositions and expressed
One of the rights located in the Music for People Bill of Musical Rights4 (2019)
to absolutely everyone.” The students in this study each demonstrated their personal
music self-expression through this rhythm composition project. During this study I
learned that my students are creative individuals with the capacity to utilize their music
agency, describe how they utilize their music agency, and describe how they think and
feel about their music agency. They inspire me with their music skills, music creativity
and abilities to express themselves through music. Giving the students music agency
throughout their rhythm composition processes gave them the opportunity to have self-
expression. Wiggins’ (2016) defined students’ music agency as, “their sense that they can
initiate and carry out their own musical ideas and ideas about music” (p. 103).” Music
agency is the vehicle that students utilized to partake in self-expression and creativity. In
4
Use the following link to access the Music for People Bill of Musical Rights.
https://www.musicforpeople.org/wp/bill-musical-rights/
46
the frame of the Music for People Bill of Musical Rights, all people, including students,
have the capacity for self-expression; therefore, they should have the capacity for music
agency in the music classroom. Composition activities such as the one implemented for
this study offer students opportunities to creatively express themselves using music and
to demonstrate music agency. That music creativity and expression was evident because I
adopted the role of music facilitator who encouraged each student’s music agency.
incorporate more opportunities for students to have music agency in all music classes I
teach at St. Peter’s Catholic Elementary School. The fifth-grade students at St. Peter’s
Catholic Elementary School explore sound and their creativity through miniature
keyboards5. I give the students instructions to create music and explore the individual
sounds of each MIDI instrument available on the keyboard. The students share their
music and describe their sound choices and their musical ideas. I have found the students
enjoy the agency they have to create and explore on their own with the keyboards.
With my five-year-old kindergarten students, student music agency takes the form
of students sharing their improvised songs in class. We had sung a “goodbye” song in F
Major, duple meter at the end of every music class. During one class, a student began to
improvise his own goodbye song using chord tones from the same tonality as our
goodbye song, and in the same meter. I asked the student to repeat the improvised song
several times for the other students and me. Once we had listened several times, we sang
5 We use the Casio SA-76 44-Key Mini Personal Keyboard at St. Peter’s Catholic
Elementary School.
47
the improvised song with that student. After the students and I sang through that
improvised song, another student began to improvise a different goodbye song. This
occurred all in one class period. Now many of my students desire to share improvised
chants and songs during each music class. Each student’s song takes us in a new direction
the image of a tree. At the root and base of the tree are my understanding of musical
contexts and musical knowledge. As I present opportunities for students to make music
and utilize their music agency, the branches begin to grow, symbolizing their musical
ideas. From there, the students develop and plant their own musical trees, symbolizing
their own creativity and improvisation grown into its own entity.
With my youngest students at St. Peter’s, the three-year-old students, I find that I
Gordon (2013), Reynolds, et al. (2020), and Valerio, et al. (1998) for opportunities for
student music agency. For example, when a child makes a sound in response to some
or rhythm, and I and encourage the student to explore sounds in their own way. Reynolds
et al. (2007) discussed music and its relationship to language acquisition, stating that
moving fluidly in and out of the roles of novice and expert guiding the participation and
thereby the learning of one another through the interaction” (p. 212). As my students and
48
I exchange musical “audeas6” (Reynolds et al., 2020) we also exchange roles of novice
and expert, and learner and facilitator. Arrasmith (2022) and Reynolds & Burton (2017)
describe those serve and return music exchanges as fundamental to early childhood
inherent in all people, as stated in the Music for People Bill of Musical Rights (2019);
however, if persons do not experience music agency they may never fully express their
musical selves, may not fully know their musical selves, and may not fully develop their
musical selves. By studying my students’ music agency, I now have a desire to develop
and facilitate opportunities for music agency for all my students. Moreover, as I continue
to develop and facilitate opportunities for music agency and opportunities for my
students.
they can offer students more opportunities for music agency in their classroom activities.
but when I did, I was able to learn so much about my students. we have as educators over
every aspect of music learning in our classrooms. I encourage other music educators to
let go of the control they exhibit over aspects of their pedagogy and allow their s students
opportunities for music agency and the exchange of musical ideas. Fleischmann et al.
(2021) stated that regarding music agency and creativity, “For students to experience
6
“Valerio’s coined word audea means focus on a music thought” (Reynolds et al., 2020,
p. 11).
49
agency through creativity their voice needs to emerge predominantly in the classroom.”
Each student is unique in their capabilities and musical identity, and therefore, should
have the agency to express themselves using music. Moreover, knowing each student
through their music creativity and music expression leads to understand our students on a
Other educators might modify the lessons I used during this research study for a
beginning guitar class or ukulele class to encourage students to write their own songs. An
instrumental ensemble instructor might have their students collaborate or work alone to
create their own music or arrange the music they are working on in class.
rhythm compositions and related discussions at the completion of this studies’ rhythm
Future researchers may modify my method to fit their pedagogies. For example,
guitars might yield interesting findings that differ from those of this research study. Like
Cape (2014), they could incorporate technology such as Garageband, Soundtrap, and
BandLab to facilitate their students’ music composition. Researchers who use protocols
such as the one I implemented might also examine how students exercise their music
50
I encourage researchers to examine what music agency looks and sounds like in
their research settings. Students with music agency are aware of their music actions, are
responsible for their music action, can describe their music actions, can reflect on their
music actions, and can learn from their music actions. Student composers with music
agency decide their strategies for composing and creating their music compositions. The
more we examine and understand students’ composition processes, the more we may
51
REFERENCES
for upper elementary students. Bulletin of the Council for Research in Music
Arrasmith, K. K. (in press). Social music interactions and vocal music improvisations in
Cape, J. E. (2014). Creating opportunities for voice and choice: Elementary students’
Conway, C. M., & Borst, J. (2001). Action research in music education. Update:
https://doi.org/10.1177/87551233010190020102
Fleischmann, M. P., Schroeder, C., & Edgar, S. (2021, October 5). Musical creativity is
the-dna-of-sel/
52
Godt, I. (2005). Music: A practical definition. The Musical Times, 146(1890), 83-88.
https://doi.org/10.2307/30044071
Gordon, E. (2013). Music learning theory for newborn and young children (2013 Edition).
GIA.
Gordon Institue of Music Learning. (2022, March 3). About Music Learning Theory.
https://giml.org/mlt/about/
Green, L. (2005). The music curriculum as lived experience: Children’s “natural” music-
https://doi.org/10.2307/3400155
Green, L. (2017). Music, informal learning and the school: A new classroom pedagogy.
Routledge. https://doi.org/10.4324/9781315248523
374.
Karlsen, S. (2011). Using music agency as a lens: Researching music education from the
121. https://doi.org/10.1177/1321103X11422005
Kvale, S. & Brinkman, S. (2009) Interviews: Learning the craft of qualitative research
https://doi.org/10.1177/1321103X040220010901
53
Muhonen, S. (2016). Students' experiences of collaborative creation through songcrafting
https://doi.org/10.1017/S0265051716000176
https://www.musicforpeople.org/wp/bill-musical-rights/
Inc.
Reynolds, A. M., & Burton, S. L. (2017). Serve and return: Communication foundations
for early childhood music policy stakeholders. Arts Education Policy Review,
Reynolds, A. M., Taggart, C. C., & Valerio, W. H. (2020). Music play 2 – Bundle
Reynolds, A. M., Long, S., & Valerio, W. H. (2007). Language acquisition and music
voices: Research and practice in early childhood music (pp. 211-227). Canadian
Saldaña, J. (2016). The coding manual for qualitative researchers (2nd ed.). Sage
Publications Ltd.
Sharma, G. (2017). Pros and cons of different sampling techniques. International journal
Sutela, K., Juntunen, M., & Ojala, J. (2020). Applying music-and-movement to promote
54
Journal of Music Education, 37(1), 71–85.
https://doi.org/10.1017/S0265051719000184
Valerio, W. H., Reynolds, A. M., Bolton, E. M., Taggart, C. C., & Gordon, E. E. (1998).
Music play: The early childhood music curriculum guide for parents, teachers,
https://doi.org/10.1177/1321103X0001400103
55
APPENDIX A: IRB APPROVAL LETTER
56
APPENDIX B: LETTER OF CONSENT SENT TO PARENTS
10.3.21
Dear
Parent(s)/Guardian(s):
Data for this study will be collected as a part of the regular music class curriculum,
during the established sixth-grade music class period. I will use a video camera to record
each music class period. Other data sources will include your child’s music journal, your
child’s reflection sheets, my personal journal, and my lesson plans. Each of these data
sources is a part of our current music class curriculum. All data will be coded with no
identifying information, including names. Videotapes will not be published, but will be
used for my future research presentations.
At any time, you may discontinue your child’s participation in this study without
prejudice. If you do wish for your child to participate in this study, data provided by your
child will not be analyzed or used in this study. Should you have any questions about this
research, please contact Robert Spearman at rzs@email.sc.edu. The UofSC School of
Music is eager to ensure that all research participants are treated in a fair and respectful
manner. If you have any concerns or questions about your child’s treatment as a subject
in this project, contact Dr. Wendy Valerio (wvalerio@mozart.sc.edu).
57
If you agree for your child’s journaling and videotaped composition activities to be used
for this study, please complete the following page and return it to your child’s classroom
teacher by October 6th, 2021. Thank you for considering supporting this study.
Sincerely,
X Robert Spearman
Robert Spearman
Informed Consent
Today’s Date
Signature of Parent
58
Return by October 6th, 2021
59
APPENDIX C: INITIAL LEARNING PLAN FOR STUDY
Table C.1
Outline of Rhythm Composition Unit
60
6 Teacher shares the students’ recordings Students’ hand-written reflections.
of their rhythm composition. Students’
each describe their rhythm compositions Class video recording.
to the class. Classmates offer verbal
feedback to each composer.
61
APPENDIX D: IMPLEMENTED LEARNING PLAN FOR STUDY
Table D.1
Outline of Rhythm Composition Unit
62
3 topics of which they are
knowledgeable and want
to create music about in
their music journal.
c. Students will share their
three topics with others
d. Students will listen to
their teacher improvise
about one topic.
e. Students will improvise a
rhythm chant over a drum
loop about one of their
three topics
f. Students will choose a
different topic to
improvise a rhythm chant
to over a drum loop
g. Students will choose a
different topic to
improvise a rhythm chant
to over a drum loop
h. Students will record their
musical ideas from their
improvisation in their
music journal
4. Reflection on Choices
a. Students will complete
the reflection sheet given
to them by their teacher.
63
b. Students will create their
own rhythm patterns
using a neutral syllable
c. Students will create their
own rhythm patterns V/A
at the creativity improv
level.
d. Students will perform
rhythm patterns using VA
after teacher performs
rhythm patterns on neutral
syllable.
3. Rhythm chant Creation
a. Students will review their
musical ideas from their
improvisation from the
previous class period
recorded in their music
journals
b. Students will choose one
topic for their chants and
begin creating and
recording their chants
c. Students will record their
work in their music
journal.
d. Teacher will work with
students individually as
they work on their rhythm
chants.
4. Reflection on Choices
a. Students will complete
the reflection sheet given
to them by their teacher.
64
stretches Reflection sheets
2. Duple Rhythm Patterns ● Teacher’s research
a. Students will imitate notes
teachers patterns at the
Aural/Oral (A/O) and
Verbal Association (VA)
skill level
b. Students will create their
own rhythm patterns
using a neutral syllable
c. Students will create their
own rhythm patterns V/A
at the creativity improv
level.
d. Students will perform
rhythm patterns using VA
after teacher performs
rhythm patterns on neutral
syllable.
3. Rhythm Chant Creation
a. Students will review their
written rhythm chants
from the previous class
period and continue to
work on them.
b. Students will record their
work in their music
journal
c. Teacher will assist
students individually as
they work on their rhythm
chants
4. Rhythm Chant Accompaniment
a. Students will create a
rhythm accompaniment to
go along with their
rhythm chant
b. Students will use drums
and their student music
kits to play their rhythm
accompaniment
c. Students will record their
rhythm accompaniment in
their journal.
d. Teacher will assist
students individually as
65
they work on their chants
and accompaniment.
5. Reflection on Choices
a. Students will complete
the reflection sheet given
to them by their teacher.
66
b. Students will record all
work in their music
journals
c. Teacher will assist
students individually as
they work on their chants
and accompaniments
4. Chant and accompaniment
practice
a. Students will practice
their chants and
accompaniments outloud.
5. Reflection on Choices
a. Students will complete
the reflection sheet given
to them by their teacher.
67
syllable.
8. Rhythm Chant/Rhythm
Accompaniment
Creation/Review
a. Students will continue
creating their rhythm
chants and rhythm
accompaniment
b. Students will record all
work in their music
journals
c. Teacher will assist
students individually as
they work on their chants
and accompaniments
9. Chant and accompaniment
practice
a. Students will practice
their chants and
accompaniments outloud.
10. Reflection on Choices
a. Students will complete
the reflection sheet given
to them by their teacher.
68
own rhythm patterns V/A
at the creativity improv
level while moving
around the room.
d. Students will perform
rhythm patterns using VA
after teacher performs
rhythm patterns on neutral
syllable.
3. Rhythm Chant/Rhythm
Accompaniment
Creation/Review
a. Students will continue
creating their rhythm
chants and rhythm
accompaniment
b. Students will record all
work in their music
journals
c. Teacher will assist
students individually as
they work on their chants
and accompaniments
4. Chant and accompaniment
practice
a. Students will practice
their chants and
accompaniments outloud
5. Recording chant with
accompaniment using iPad
a. Students will video record
their chant and
accompaniment using my
iPad.
6. Reflection on Choices
a. Students will complete
the reflection sheet given
to them by their teacher.
69
e. Students will lead their ● iPad video
classmates in body recording of
stretches students’ chants
2. Duple Rhythm and
Patterns/Percussion Line activity accompaniment
a. Students will imitate ● Students’
teachers patterns at the completed
Aural/Oral (A/O) and Reflection sheets
Verbal Association (VA) ● Teacher’s research
skill level notes
b. Students will create their
own rhythm patterns
using a neutral syllable
c. Students will create their
own rhythm patterns V/A
at the creativity improv
level while moving
around the room.
d. Students will perform
rhythm patterns using VA
after teacher performs
rhythm patterns on neutral
syllable.
3. Rhythm Chant/Rhythm
Accompaniment
Creation/Review
a. Students will continue
creating their rhythm
chants and rhythm
accompaniment
b. Students will record all
work in their music
journals
c. Teacher will assist
students individually as
they work on their chants
and accompaniments
4. Chant and accompaniment
practice
a. Students will practice
their chants and
accompaniments outloud
5. Recording chant with
accompaniment using iPad
a. Students will video record
their chant and
70
accompaniment using my
iPad.
6. Reflection on Choices
a. Students will complete
the reflection sheet given
to them by their teacher.
71
a. Students will share their ● Teacher’s research
rhythm chant recordings notes
and discuss the choices
they made
b. Students will watch other
students’ recordings.
3.
72
APPENDIX E: STUDENT REFLECTION SHEET
Name_____________
Date_____________
73
Name_____________
Date_____________
74
APPENDIX F: CODE BOOK
4 Categories
Data Source Notation Feelings Ownership Action
Codes From “words be the “I loved it a “I get to make “I get to make
Interviews song, the title” lot” my, my, the my, my, the
words that I words that I had
“I wrote it “awesome” had to put in to put in my, my
down my, my song” song”
normally” “it was fun”
“I got to “I do it to read
“thought it “liked making decide” my book. That's
would be nice my own it.”
to write it decisions” “I got to decide
down.” um my topic” “It because in
“fun to write my book I found
“I wrote what about a topic “how I wanted a lot, a lot of
came into my that I like” to write it.” rhymes”
head first.”
“rally liked it” “My turtle “. I decided
“I just wrote inspired me” what speed I
the words and “like that I got wanted to play
the beats” to choose what “choose what the ostinato and
I wanted to do my steady beat how fast I
“hard to and what I like was And to wanted to say
follow with to do.” choose what my
the notation” lyrics would fit composition”
“hard to read “really enjoyed best and what I
the notation when it like the most” “and showing
happened” you how to say
“I chose to do the words that
“it Was rhythm beats are.”
fun…to write that I'd known
stuff” the best and “how I wanted
that I like the to write it.”
“recording part best”
was kind of “I wanted to try
hard…” “I got to be to make it
really creative” rhyme because
“writing part it helped me to
was really fun” remember.”
75
“decide what
“wanted to my I wanted it “I also got to
improve” to be about” make a pattern
to go with that
“my ideas” and I got to
make that all by
“my patterns” myself.”
used my
chopsticks to
make a beat”.
“thought of
what I really
liked.”
“asked Student
E to help me”
“I wrote what
came into my
head first.”
“make some of
the two most
random things I
could think
about together”
76
“Did a good “I made “Made a cute
Job” something” song”
77
“doubted “thought of
myself” “my chant” turtles”
78
“fun” “used my own “chosed the beat
thoughts and of my song and
“yes ” words” words”
79
“looking at my
“happy with ideas”
my chants”
“find an
“good because ostinato”
I used my own
thoughts” “audiated then
played it”
“fun to record”
“If it rhymed it
“fun” would sound
better”
“great”
“found the
“fun” perfect beat”
“helped Student
with pattern”
“very good
musical
choices”
80
“mind”
“found what
sounds best”
“memorize my
chant”
“thought about
the length”
“continued
song”
“looking back”
“make my
pattern easier
for myself”
“played it on my
sticks and
drum”
“student helped
me make my
choices”
“made a
rhythm”
“in my head”
“played it
(beat)”
“made my own
rhythms”
“youtube video”
81
“practiced my
chant”
“in my brain”
“recorded my
chant”
“chose to record
today”
“remake my
video”
“helped student
decide ostinato”
“listened to her
ideas”
“playing my
song”
“my mind”
“worked with
other students”
“listen to their
rhythm chants”
“made a lot of
great rhyme”
“listening words
that rhymed”
“used my own
thoughts and my
own words”
“using a friend”
“practiced my
chant”
82
“played my
chant on my
drum”
“in my mind”
“made a
summer song”
“listening”
“played my
chant on my
drum”
“played my
patterns”
“said what
sounded best”
“recorded my
rhythm chant”
“helped student
finish their
chant”
“helped with
their beat”
“decided speed”
“listened”
“made the
ending of my
song”
“telling a friend
to help me”
“used my love
for topic for my
83
musical
inspiration”
Student wrote
words to chant
marked out in
stanzas.
Student wrote
out diction for
certain words
in chant
Student wrote
just words for
chant (I)
Student wrote
out chant
multiple
times,
crossing out
words not
used
Student used
standard
notation and
84
words in
rhythm chant
Student wrote
multiple
chants
referencing
previous
material
Student wrote
chant in
paragraph
form
Student used
small amounts
of notation,
noted as
“beat”. Along
with words
Student
included
notation for
clapping part
of chant.
Student wrote
out rhythm to
ostinato in
standard
notation
Student
connected
composition
to previous
classroom
project.
Student wrote
chant using
words.
85
Student
credited
another
student with
edits to their
composition.
Codes From Students’ used Students’ Students’
Teacher’s notation in enjoying and improvised with
Research composition laughing body percussion
Journal during
(descriptive Students’ improvisation Students’
coding) wrote words bobbed head to
with no music Students’ internal beat
notation. enjoying
sharing ideas Students’
with each other referenced book
Students’ Students’
nervous about referenced
sharing outside music
recordings when
with class composing
Students’ Students’
unsure about reading music in
describing head
their choices
Students’
chanting
quietly.
86