3.1 Group activities for spotting musical potential: problematic exercises

Hugh led the whole class groups in a number of sticks exercises, where everyone was playing sticks on chairs. These exercises included copying and following and also similar exercises to those in ‘Body Rhythms’ and ‘Creative Group Instrumental Play’.

However, this material couldn’t be easily used to demonstrate any examples of facets of potential because, if it is evidencing any musical potential or talent, it is too difficult to observe from a full class context. The reason for this is in the lack of differentiation in the sound as everyone is playing the same instrument (sticks on chairs) and creating a very similar sound. While playing Sticks is good for focusing the group and playing together rhythmically, it often more clearly identifies those who are NOT as focused as the others, and is therefore identifying those who are struggling rather than those who are more able. (Similarly, when playing the Name game most individuals get it ‘right’ and so the ones who we mostly notice are those who ʻget it wrongʼ and this is not necessarily very helpful towards observing musical potential). We discovered that when groups are divided playing a range of sounds (e.g. on body or on mixed percussion instruments) then it is much easier to observe differences and choices (they have been asked to find their own rhythm and sound) and to see those who are making positive and interesting contributions.

Additionally, dividing the class into smaller groups within the same space is difficult to observe. A good example we filmed is with the Year 7 class in the Secondary School, where we sang Tongo together. We then discussed the song and I set the challenge of creating a new song in five minutes in four small groups (of 5 or 6 in each group). The rules were that it was to be about rowing, it had to be original and that there was to be no writing anything down. This is a good example of a session that begins as a ‘traffic lights’ session (the teaching of and singing of ‘Tongo’) and leads into a ‘roundabouts’ session where the group are getting on with their tasks, making their own decisions etc. in smaller groups.

We filmed the process of the four groups making up a new song and Bob, in particular, observed some interesting discussions and dialogue, and noticed individual contributions etc. as he went around filming. However, when we came to analyse the film it was very difficult to clearly identify any of the aspects that Bob had observed. What we could observe were groups discussing and exploring and, generally, getting on with the activity. What is interesting from the film however is that it seems easier to observe those who are NOT attending to the task, rather than those who are contributing in an interesting way. So again, as with the full class singing, clapping or playing sticks, it seems easier to spot those who are disaffected or appear to be less integrated/bothered rather than those offering examples of musical potential.

We also led a similar session at Torbay and Devon Music Service with the percussion ensemble where they created several small group pieces of music in the same room at the same time. Again this was a useful exercise, but again it was very difficult to identify individual facets - even with repeated viewing of the film footage.

We also observed the high school music teacher leading a class where all the students played keyboards while wearing headphones. While the teacher had some ideas about how you might identify facets of musical potential from these activities (e.g. position of the hand) it seemed to us that, while the activity might be useful, it is not a good one to use in this context.

Therefore we found the most useful material to be that which is music-leader directed, but also creative, using a mix of instruments.  When music activities are led which involve either whole class activities with same instruments/voices (singing, keyboard playing, all playing sticks on chairs) or when the class is sub-divided into small groups for group composition/creation then it is very difficult to observe any clear filmed examples of musical talent or potential.