research
Composing and Improvising and Bloom’s Taxonomy of Learning Domains Composing and improvising experiences in music provide students with many op- portunities for developing kinesthetic, af- fective and cognitive understandings and abilities within and outside of music. Im- provising and composing engage students in the cognitive processes of remembering, understanding, exploring, experimenting, application of learned knowledge, analyz- ing, evaluating, synthesizing and creating. Students develop in the affective domain of learning in many ways while compos- ing: through the making of choices regard- ing personal expression through sound manipulation, through social interactions and group choices, through social inter- actions with composers and their com- positions (even in studies of composers from the past) that are given as listening examples or context building examples before and during the composing process and through the discussions of the mean- ings inherent in the composers’ music. Psychomotor learning is incorporated into the improvising and composing process as students experiment with ways to realize their musical ideas on instruments and play, practice and perform their compo- sitions during the “working out process” of assignments. At times, students might also use movement to make sense of what they want to convey in sound. In effect, improvising and composing involve inter- play of all the defined areas of Bloom’s taxonomy. To create music, students go back and forth between remembering and understanding information in order to apply it, and are continuously analyzing and evaluating their choices as they work out their ideas. Cognitive processes are revisited as needed and students explore ways to express meaning through sound. Students learn from the process and move forward in knowledge, skills and disposi- tions (attitudes) in their learning. Students’ finished composition assignments can inform teachers with information on where students are in their learning. Providing students of all age levels opportunities to improvise and compose involves them in cognitive, affective and kinesthetic ways
Wisconsin School Musician
of human knowing, expands their devel- opment of skills and deepens their under- standing in music (Guderian, 2012).
Reference:
Guderian, L.V. (2012). “Music Impro- visation and Composition in the General Music Curriculum.” General Music To-
day: Journal of the National Association for Music Education 25 (3) (April 2012) 6-14.
Lois Veenhoven Guderian is the music education coordinator at UW-Superior. Email:
lguderia@uwsuper.edu
The Viterbo University Music Department Features
• a piano and voice faculty of artist-teachers • a faculty coach accompanist for each voice major • a flourishing opera program • recently restored Steinway grand pianos • a variety of choral ensembles • national and international tours • placements in top notch graduate programs
Music Faculty Nancy Allen Diana Cataldi
Mary Ellen Haupert
Dan Johnson-Wilmot Jean Saladino
Ann Schoenecker
Degrees • B.M. in Music Performance • B.M. in Music Education (choral/general) • B.A. in Music
To learn more about Viterbo University’s music program, visit
www.viterbo.edu/music or contact
dejohnsonwilmot@viterbo.edu
900 Viterbo Drive, La Crosse, WI 54601 1-800-VITERBO •
music@viterbo.edu
Timothy Schorr Judy Stafslien
David Richardson
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