Gary Spruce concludes the launch of the book:
Creative and Critical Projects in Classroom Music has a Janus-like quality. It both looks back to the work of, particularly, John Paynter, through celebrating and critically reflecting on the paradigm shifting influence of Sound and Silence, whilst at the same time looking forward to consider what these ideas might have to offer contemporary, classroom music education. Inasmuch as Sound and Silencerepresented the possibility of new ways of working for music teachers in the seventies so the present book considers how a reimagining and reworking of these ideas, fifty years on, might offer new possibilities for music educators both in and beyond today’s schools.
One way of understanding the book is as a bridge between these two worlds and this is particularly true of John’s chapter on Recontextualising Sound and Silenceand of the Voices section. In the latter, those who worked directly with John Paynter – or who came into contact with his ideas as they emerged from, for example, the Schools Council Project- describe how his personality and the ideas he promoted have had a continuing influence over their professional practice and thinking sometimes for more than half a century. However, as many also note, the educational world into which Sound and Silence was born is very different from the music education world of today. In the seventies, teachers had much more agency to experiment and try out different approaches without feeling they were, as Lucy Green writes ‘under surveillance from the government or inspectorate, or a head teacher in ways that they were to feel after the introduction of the National Curriculum’.(26)
This sense of surveillance has increased significantly over the last ten years. In a recent article about the policy and practice of music education in England over the last decade, Jonathan Savage (2020) writes how music teachers increasingly experience feelings of ‘reluctance compliance’ as they are compelled not only to comply with things they may not believe in but also find themselves conscripted as standard bearers for the ideologies that are imposed upon them, which are often at odds with their lived experiences and beliefs. Such ideologies include those which seek to promote arguably narrow conceptions of for example, musical knowledge and of the nature of childhood and being a child.
Music education has arguably been complicit in such ideologies through its increasing embroilment in the narratives of advocacy. These narratives often pay little attention to the purposes of music education, and particularly the purposes of classroom music education. Wayne Bowman notes how advocacy narratives often fail to distinguish between musical engagement and music education and even less between music education and music training; thus, ironically, making it more difficultto argue coherently for the purposes of music education and particularly music education in schools.
What then might our book offer to music education and particularly school music education? Firstly, it seeks to reaffirm, particularly in its projects, the central importance of music making as the primary means through which children and young people develop and demonstrate their developing musical knowledge and understanding. Secondly, it articulates the centrality of the role of the music teacher and of music teacher agency in the unique circumstances and pedagogical relationships of each individual classroom; through what John has referred to as the ‘adventurous conversations between teacher, pupil and what is being learnt’ (47). As with the projects in Sound and Silencethe projects in this new book do not seek to provide fully worked out lessons which can, in the language of contemporary education, be ‘delivered’, but rather provide ‘gateways for teachers to devise work appropriate to their own context, and as a means of evolving their own practice in the music classroom’ (7). The agenctic capacities of teachers are foregrounded.
Thirdly, and again with a focus on teacher agency, the book similarly offers gateways into the discourses of music education. Discourses defined here not simply as debates, conversations and discussions – important as these are- but the means by which power and influence are obtained and exercised. Many- if not all- of the chapters seek to make visible and then disrupt and challenge dominant conceptions of pedagogical relationships promoted through official discourses e.g. relating to direct instruction, powerful knowledge, knowledge rich curricular as well as beliefs about what it is to be a child and childhood itself that underpin such conceptions. As Chris writes in his chapter on musical meaning, the intention is to examine ideologies and identify ‘the potential for the discourse to challenge’ them (134)
Subject to particular scrutiny are the ideologies surrounding the concept of creativity. Almost all chapters seek to deconstruct the term from their particular perspectives with the aim of, as Derrida (in Rehn and De Cock 2009 23) says, spotlighting what dominant narratives seek to consign to the periphery, and which would make the assumed hierarchy fall apart. The chapters trace the historical and ideological development of creativity as a concept, challenging the Romantic notion of creativity as being solely the outcome the individual creative genius, set apart from society producing great works, demonstrating how both the beliefs and practices of creativity are socially constructed, pluralistic, participatory and central to music making as a form of praxis.
Finally, and returning to the issue of the pedagogical relationships of the music classroom, the book seeks to foreground central, ontological questions about children and childhood. In an age where, as Pauline Alderson has noted, traditional discourses often adopt a neophyte view of children- one consequence of which is that creativity is seen as contingent on the acquisition of an often undefined body of knowledge- the book seeks to adopt a more nuanced understanding of childhood perhaps as a continuing dialectic between what Sue Young in her chapter describes as the ‘balancing act between providing for all children to be musical and become musical’ (105).
Sue makes a compelling argument for close attention being paid to, particularly, young children’s music making as having value of itself. Such attention she suggests, offers us the opportunity to rethink fundamental assumptions and premises about music and childhood. An outcome of such rethinking maybe, as John suggests, ‘the child … no longer … constructed as immature, dependent and without agency…[but].. wanting respect and recognition as a potential agent in their own being and becoming and, in conjunction with adults, having a desire for some degree of self-determination’ (45). The projects, in particular, offer sites for the unique working outs of the dialectical relationship not only between being musical and becoming musical but the dialectical relationship between the teacher, the child and what there is to learn. The projects and chapters hopefully offer both innovation and challenge for teacher and pupil as well as causing us to reflect on the nature of music and childhood music making within it.
References
Rehn, A. and De Cock, C. (2009) ‘Deconstructing Creativity’ in T. Rickards, M. A. Runico and S. Moger (eds) The Routledge Companion to Creativity. London and New York: Routledge.
Savage, J. (2020), The policy and practice of music education in England, 2010–2020. Br Educ Res J. https://doi.org/10.1002/berj.3672
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