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3.1 Group activities for spotting musical potential: problematic exercises

Whole Group Playing the Same Instrument or Singing

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.

Whole Group Song-writing

Hugh writes: ‘we also led some song-writing workshops: this was working in a full group situation with me leading/chairing throughout. 

‘As everyone was contributing in different ways (words, melodies, structure etc.) and frequently articulating alone, this meant that the video clips can identify certain individuals and their specific moments of involvement. However, what this process also really shows is how groups work together and how they integrate with each other to collectively produce a song whose strength is in the combination of people, rather than the individual involvement.

‘This means that the collaboration and the dialogue between people is of major importance and there were moments where there was a lot of ʻnoiseʼ in the room as people were engaged in the process and chatting about it with each other.’ 

Whole group song-writing projects can be really useful for bonding a group and for quickly creating a group piece, and they can lead to some identification of individuals with musical potential and talent. It is just that the process as a whole is more difficult to observe as the dynamic is constantly shifting between ‘traffic lights‘ (the music leader directing and chairing) and ‘roundabouts‘ (the class/group talking with each other and communicating freely).

Clearly the music-making processes and the learning outcomes for the participating young people are of similar value to the Suggested Exercises – they’re just not as obvious in achieving this programme’s specific aims and outcomes, i.e. identifying facets of musical potential within individual young people in a group, so that this potential can be supported.

Below are some film clips of various scenarios and exercises which for various reasons proved ineffective for showing facets of musical potential:

Clip 1

Torbay percussion ensemble (Roundabouts approach)- Group development - two trios working out a short composition in the room at the same time.

Clip 2

Group development exercise.  Again you possibly could identify several people exhibiting elements of facets 4,5,6 and 8 from the group in front of the camera, but not clearly and unequivocally and not from any of the other (four) groups in the room.

Clip 3

General keyboard lesson. This is very hard to use - there is no sound and the group are all working at different speeds. The teacher who set the task observed that the only thing she could tell from this was whether or not the students had a good hand position for playing the keyboard.

Clip 4

Torbay percussion ensemble - Sticks. With this exercise you can see who is the leader, and therefore this person probably does have elements of facets 4,5 and 6, but it is hard to tell anything very significant about any of the rest of the group except for those who are particularly slow or unobservant).

Clip 5

Unison singing - very hard to tell anything!