Rvta Girdzijauskifne
Klaipfda University, Lithuania
PRIMARY SCHOOL CHILDREN’S CREATIVE EXPRESSION IN
SINGING
Izvirni znanstveni èlanek / Original Scientific Article
Abstract
In the article the results of the research on primary school children’s creative expression in
singing are presented. Two hundred and five junior school age children (7-11 years old)
participated in the study. The bulk of the material was collected through observation.
Additional data were obtained through analysis of video recordings. Information was also
collected from the subjects of the study. The research data showed that the level of creative
expression in singing is not high among junior school age children. Almost one third of the
subjects were assigned to the low level of creative expression in singing, and only one
fourth – to very high level of creative expression in singing.
Keywords: creativity, creative expression, singing, primary school children
Izvleèek
Kreativno izraanje osnovnošolskih otrok pri petju
V prispevku so predstavljeni rezultati raziskave o ustvarjalnem izraanju osnovnošolskih
otrok pri petju. V študiji je sodelovalo dvestopet osnovnošolskih otrok, starih 7-11 let.
Veèina gradiva je bila zbrana z opazovanjem. Dodatni podatki so bili pridobljeni z analizo
videoposnetkov. Informacije so bile zbrane tudi s strani raziskovanih subjektov. Rezultati
so pokazali, da pri osnovnošolskih otrocih raven ustvarjalnega izraanja pri petju ni
visoka. Skoraj ena tretjina subjektov je bila razvršèena v nizko raven ustvarjalnega
izraanja pri petju in samo ena èetrtina v zelo visoko raven ustvarjalnega izraanja pri
petju.
Kljuène besede: ustvarjanje, ustvarjalno izraanje, petje, osnovnošolski otroci
Introduction
Intensive research on creativity began in the middle of the last century. Some scientists
(Wallas, 1945; Piirto, 1999; Treffinger, 1979; Butkienf, Kepalaitf, 1996) analyze
creativity as a process which consists of separate stages: perception and formulation of an
idea or a problem, active consideration of the problem, search of probable solution
variants, its development, evaluation, and realization. Many psychologists (Guilford,
1950; Torrance, 1988) determine creativity as thinking of a person. The other group of
authors (Taylor, 1999; Finke, 1990; Simonton, 1999; Weisberg, 1999) describes creativity
as ability or a complex of abilities (capability to discover the essence, to decline wrong
presumptions and stereotypical ways of thinking, to orientate and find a solution in
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Rvta Girdzijauskifne, PRIMARY SCHOOL CHILDREN’S CREATIVE EXPRESSION IN SINGING
non-standard situations, and etc.). Among previously mentioned concepts of creativity an
evident tendency to describe creativity as a quality of a person (Edvards, 1989; Sloboda,
Howe, 1991) or a complex of qualities distinguishes (Jovaiša, 1993; Cropley, 1999;
Walberg, Arian, 1999). Scientists present a distinctive complex of qualities characteristic
to a creative personality. Such concepts of creativity influenced the research on creativity
in music as well.
For a long time the focus of attention in the research on creativity in music activity has
been on the creative process and the ensuing musical product (Balkin, 1991; Webster,
1991; Wiggins, 1996; Davidson, 1991). Investigations of creativity in musical practice
tend to spotlight improvisation and composition. Other creative areas of musical practice,
such as performance, listening to, and evaluation of music, tend to receive fragmentary
attention (Mazzola, Park, Thalmann, 2011). Over recent years a tendency to analyze
musical creativity without emphasizing one or the other musical activity reveals. It is
recognized that traditionally distinguished musical activities (performance of music,
creation of music, music listening and analysis) vary in their nature, therefore, their
analysis on the basis of the same methodological approach is inconsistent as well as
expectation of the same characteristics of the expression of creativity. According to
P. Burnard (2012), we cannot unambiguously define musical creativity, thus, various
musical creativities manifesting in different musical activities need to be investigated.
Singing is variety of the language, it increases vocal range, helps to improve the culture of
speech and pronunciation. With the help of vocal exercises we can eliminate speech
defects, and the position of the body while singing as well as movement performed
alongside with music help to form correct body posture, to strengthen muscles. Singing
solo or together with the others expands and changes a function of children’s development
and growth, a consequence of their socialization into cultural institutions (Welch, 2005).
Singing may provide an education in one of the oldest and the most popular forms of musical
activity. Researchers recognize different benefits of singing. Studies have found that
singing enriches intonational which students (1) deepen their knowledge in music,
language, and culture; (2) develop vocal skills in both singing and speech; (3) boost their
social skills in a multicultural and global society while developing a strong sense of
self-identity and understanding of others; (4) enhance emotional expression (Beatriz,
Chen-Hafteck, Crawford, 2013). Singing not only helps to establish and maintain social
relations, but is also a manifest expression of lifestyle, values and beliefs. Singing requires
coordination of timing and pitch as well as synchronous breathing, therefore, singing is a
likely candidate as a social bonding mechanism (Dunbar, 2012). Feelings of connectivity
and inclusion with fellow singers are also important. Choirs and singing groups can create
an accepting environment in which interpersonal connections are developed (Joseph &
Southcott, 2014), cause a general improvement in mood in this social setting (Clift &
Hancox, 2001; Clift & Morrison, 2011; Kreutz, 2014; Bornstein & Erev, 1994; Tauer &
Harackiewicz, 2004). Singing requires behaviours that have been shown to increase
interpersonal closeness and motivate positive social behaviour (Cirelli, Einarson, &
Trainor, 2014; Kirschner & Tomasello, 2010).
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GLASBENOPEDAGOŠKI ZBORNIK, 24. zvezek
While evaluating singing the central focus is on the characteristics of performance. An
initial requirement to the singers is precision of performance and not its creativity. The
leaders of the vocal ensembles are under severe pressure to meet the existing traditions of
performance. Moreover, every musical group is expected to prepare as many musical
performances (in concerts, festivals, competitions) as possible. Singing activity which is
product oriented is based on systematic rehearsals aiming at completeness of
performance. Therefore, while singing a person has much less opportunities of expressing
oneself creatively in comparison with improvisation, composition, and arrangement
(Norris, 2010).
The peculiarities of creative expression in singing need to be analyzed separately from other
activities because creative expression has a distinctive consistent pattern. The urgency of the
research on creative expression in singing is especially important in junior school age
children’s education because: 1) Singing does not require any special preparation or
knowledge of creative activity, therefore, it is the most accessible type of music activity in
junior school age; 2) Voice is the first musical instrument which a child can control even
before starting the school. The issue of a creative child’s participation in singing is
especially relevant in Lithuania where music education revolves around rich vocal
traditions.
Investigators of singing as of a sphere of creative activity (Ware, 1998; Pilièiauskas, 1998)
agree that performance of a musical text is not in itself a creative act. Singing can be called
creative when a performer has a distinctive conception of the piece and consciously strives
to transmit that conception to the listeners.
When performing music, peculiar meaning falls on knowledge of what and how it should
be performed. A performer has to understand the intentions of a composer, style of a
composition, traditions and standards of performance, interpretations of previous
performers. A singer also creates for himself/herself a subjective conception of musical
symbols noted down by a composer, looks for appropriate ways of conveying it, foresees
the peculiarities of the development of a musical composition (Elliot, 1995; Ware, 1998;
Henry, 1996). Therefore, interpretation of music can be described as solution of problems.
Performance of a musical composition in scientific literature is compared with the stage of
illumination of creative process pointed out by G.Wallas (1945). During it one blends with
emotional contents of a composition, musical idea is given meaning by voice, face
expression, and body movements. The main means of musical expression, used to render
the artistic view of a composition, are artistically suggestive sound, characteristic of
precise intonation, rich timbre, correct articulation and breathing, expressive phrasing and
etc. The success of music interpretation depends on emotionality and artistry of a
performer as well. In this sense a performer’s face and body movements’ expression is
important as it reflects the concernment of a person performing music, tendentiousness of
position, artistic experiences (Ware, 1998; Balkin, 1991; Reimer, 2000).
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Rvta Girdzijauskifne, PRIMARY SCHOOL CHILDREN’S CREATIVE EXPRESSION IN SINGING
However, there is a difference between the facility of professional singers and young
children to perform music creatively. Unfortunately, there is not much research in the
aspect of creative music performance of children. Therefore, the aim of this study is to
reveal the peculiarities of primary school children’s creative expression in singing. The
object of the study is primary school children’s creative expression in singing. The
research methods are: analysis of educational documents, philosophical, psychological,
pedagogical, musicological literature; the inventory of creative expression in the singing
of junior school age children; adapted Dembo-Rubinstein test; analysis of video
recordings, statistical data analysis.
The methodology of the research
As previously mentioned, the researchers of creativity in music activity encounter many
problems: the variety of creativity conceptions, the specificity of children’s creativity, the
lack of the research on creative music activity, and other. Therefore, in the beginning of
the research we tried to determine the contents of creative expression in the singing of
junior school age children.
With this aim theoretical and empirical model of creative expression in the singing of
junior school age children was formed. The analysis of literature encouraged us to choose
the standpoint of creativity as a personality feature. Originality, fluency, flexibility,
sagacity of a child’s thinking and activity were chosen as the main qualities of a creative
personality. Referring to the main parameters of creativity, the empirical indicators of
junior school children’s creative expression in singing were excluded: pupils’ creativity
through singing activity is revealed by unconstraint of music performance (singing is light,
without tension, the mood of a musical composition is deeply felt, different moods are used
while singing, adaptation to the ensemble occurs), sensitivity (different moods are used in
singing, adaptation to the ensemble occurs), purposefulness (more important pieces of a song are
pointed out, peculiarities of vocals are applied), expressiveness ( the character of a song is
conveyed expressively, the ways of a song performance, which have been discussed, are added).
The research has been organized referring to the inventory based on theoretical and
empirical model of junior school children’s creative expression in singing. Four hundred
and ten 3rd- 4th grade pupils from five primary schools in Lithuanian towns took part in
the research. The children’s teachers (altogether 17 teachers of music of the subjects)
were involved in purposeful observation of their pupils’ singing and assessed how often
they successfully demonstrated creativity. The main criterion of evaluation was the
stability of excluded features of creative expression. Teachers evaluated how often pupils
succeeded in performing one or other act. Four levels of creative expression were
excluded: very high (when a pupil almost always succeeds in performing one or other act),
high (often succeeds), middle (just sometimes succeeds), low (almost never succeeds).
It should be noted that primary discussion with music pedagogues showed that teachers
encountered difficulties in identifying creative musical performance during the
assessment of children’s singing. Therefore, teachers were trained to evaluate pupils and
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received instructions regarding the criteria and the procedure of evaluation. Analysis of
video recordings was used for this purpose. Before the research 15 pupils of 3rd-4th
classes, each of whom performed two well known to them songs of different character,
were filmed. Video recordings were watched together with teachers, pupils’ singing was
analyzed, consultations on how children should be evaluated were held. Depending on the
character of singing, teachers and the expert of this research ascribed pupils to one of
four levels of creative expression in singing: very high, high, middle, low. Such
preparation of music teachers to take part in the research assisted in obtaining objective
research results. Comparison of expert and teachers’ evaluations has showed that there are
no statistically significant differences among these evaluations (p>0.5).
Information was also collected from the subjects of the study. Adapted
Dembo-Rubinstein test was used: pupils were presented with tasks, where a vertical line
was drawn next to each empirical indicator. It was explained to the children that the
upper point of the line meant that they succeeded in performing one or other act almost
always, the middle point –sometimes, and the lower point – that so far they had not been
successful, and etc. Children were asked to mark the place in the line, which would
reflect their opinion about how often they succeeded in performing a song creatively.
Children’s answers were evaluated in a ranking scale.
The results of the research
Perhaps the most exhaustive data was retrieved from the teachers who assessed the
stability of excluded features of creative expression in the singing of junior school age
children.
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Rvta Girdzijauskifne, PRIMARY SCHOOL CHILDREN’S CREATIVE EXPRESSION IN SINGING
Table 1. The Peculiarities of Creative Expression in the Singing of Junior School Age
Children (%)
Criteria of
creative
expression in
singing
Empiric
indications
The level of creative expression
low middle high
very
high
total
Unconstraint
(Fluency)
singing is light,
without tension 9,8 26,3 38,5 25,4 100,0
mood of a
musical
composition is
deeply felt
7,8 27,8 37,1 27,3 100,0
Sensitivity
(Flexibility)
different moods
are used in
singing
13,2 30,7 31,7 24,4 100,0
adaptation to
the ensemble
occurs
7,3 22,9 37,6 32,2 100,0
Purposefulness
(Sagacity)
more important
pieces of a song
are pointed out
14,6 31,7 38,1 15,6 100,0
peculiarities of
vocals are
applied
21,5 31,7 31,7 15,1 100,0
Expressiveness
(Originality)
character of a
song is
conveyed
expressively
7,8 27,3 38,5 26,3 99,9
the ways of a
song
performance,
which have
been discussed ,
are added
11,2 35,6 37,5 15,6 99,9
We noticed that pupils most often succeed in singing freely and sensitively. Two thirds of
pupils sing lightly, without tension, while performing music they feel the mood of a
composition, expressively convey the character of a song. This confirms the proposition
that the ability to experience the contents of a song being performed emotionally and to
express it externally (mimic, pantomime) is characteristic to pre-school and junior school
age children. According to the propositions of the scientists who investigated emotions
(Izard, 1980; Jakobson, 1978; Katinienf, 2000), pupils of this age are characteristic of
emotional sensitivity, ability to express their emotions distinctively externally (they are
more distinct than those of adults).
It was also ascertained that three fourths (37,6% almost always succeed, 32,2% often
succeed) of the respondents are successful at adapting to the ensemble while singing, and
it is not surprising. The activity analysis of music pedagogues showed that teachers pay a
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GLASBENOPEDAGOŠKI ZBORNIK, 24. zvezek
lot of attention to the choice of repertoire attractive to pupils and corresponding to the
peculiarities of their age. It is possible that such data was influenced by purposeful
attempts of children to perform the songs that they like creatively and take part actively in
new to them form of music performance (singing in an ensemble, a choir).
A little different situation turned out after the analysis of the data on purposefulness of
singing. It appears that almost a half (31,7% sometimes succeed, 14,6% never succeed) of
the subjects have experienced difficulties in revealing important moments of contents of a
song. Similar results were obtained after summarizing the data on the application of vocal
peculiarities while conveying artistic view of a song. We suppose that such data tells about
the lack of experience in singing, as well as in music interpretation of this age pupils. It
should be noted that many Lithuanian music pedagogues have got the qualification of a
choir leader. Thus, teachers’ competence in this sphere is high enough. Therefore, a
presumption can be made that music teachers were just more demanding to their pupils in
this aspect.
It has also been ascertained that pupils are the least successful at supplementing (with
movement, mimic) to the performance of a song (11,2% are mostly unsuccessful, 35,6% -
rarely successful). We think that these results are also partially predetermined by poor
pupils’ experience in creative activity. Moreover, after the analysis of methodic
recommendations to teachers, published in Lithuania, it has been noticed that many of
them are oriented to the development of vocal skills. Meanwhile, stimulation of pupils’
creativity in interpreting musical compositions is almost not being discussed about. It is
possible that the pedagogues who evaluated pupils have less experience in this sphere.
With the aim to reveal the peculiarities of creative expression in the singing of junior
school age children more exhaustively, information was gathered from the subjects
themselves. It was believed that a pupil’s point of view to himself/herself, to his/her
strength and abilities is a very important pledge of successful creative activity. After
comparison of the data obtained from teachers with the data retrieved from pupils, it has
been noticed that pupils evaluate themselves much more higher than the pedagogues who
teach them. For example, when comparing pupils in accordance with average level,
teachers point out that there are more than a third of such pupils. Meanwhile, there are only
7,3% of pupils who think the same. After comparison of the results of self-evaluation from
teachers and pupils by separate indicators, we can notice similar tendencies: in all cases
the majority of the subjects point out that they are successful at singing often. Only some
pupils point out that they are still not successful at this activity.
Incongruence of teachers’ and pupils’ evaluation is not surprising. Many pedagogues and
psychologists point out the inadequacy in this age pupils’ self-evaluation. In the opinion of
J. Piaget, while evaluating and describing himself/herself, a primary pupil uses a very
small amount of independent parameters. According to the assertions of the author, it is
related to the immaturity of a personality of this age child and undifferentiated sphere of
meaning evaluation. Lithuanian psychologist A. Petrulytf (2001) points out that the
majority of primary pupils evaluate themselves positively, and most often they evaluate
51
Rvta Girdzijauskifne, PRIMARY SCHOOL CHILDREN’S CREATIVE EXPRESSION IN SINGING
themselves by the efforts they put in and not by the results obtained. These propositions
are confirmed by the results of the research of the scientists who investigated adequacy of
junior pupils‘ self-evaluation. Authors indicate that 44% of pupils’ and teachers’
evaluations coincide. Twenty-seven percent of pupils overestimate their knowledge, 15%
- underestimate. On the other hand, it is possible that such data was influenced by poor
experience of children’s self-evaluation. Observation of teachers’ activity showed that
music pedagogues rarely ask pupils to describe their own singing as well as of their
classmates, pupils are almost never encouraged to analyze successful or unsuccessful
activity
After the analysis of the obtained research results on creative expression in the singing of
3rd-4th form pupils, the aim was to ascertain general distribution of the subjects according
to the levels of creative performance as well.
Chart 1. Distribution of Junior School Age Pupils According to Levels of Creative
Expression in Singing: Evaluation of Music Teachers and Expert (%)
As we can see, junior school age pupils are not very creative in singing. Almost a fourth of
the subjects are ascribed to the middle level and even a third of them – to the low level of
creative expression in singing. Just a sixth of the subjects can be described as creative in
music performance and a fourth – as very creative.
After the comparison of information obtained from video recordings with the results of
teacher observation, no greater difference was noticed among distribution of pupils
according to the levels of creative expression. We can affirm that after proper instructions
of teachers, they are capable of identifying creative expression in the singing of junior
school age pupils.
Conclusions
Evaluation of pupils’ creativity while singing is one of the most problematic spheres of
musical creative activity: while performing music it is necessary to follow the traditions of
performance of a particular genre, while singing with the others (in an ensemble, a choir,
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GLASBENOPEDAGOŠKI ZBORNIK, 24. zvezek
in a classroom) it is necessary to coordinate one’s singing with the others as well as with
the general interpretation of the composition, quality of the performance of music depends
on existing skills, on experience in performance of music, and on expressiveness and
suggestiveness of the performer. The research data has showed that the level of creative
expression in the singing of junior school age children is not very high. Almost one third
of the subjects were assigned to the low level of creative expression in singing, and only
one fourth – to very high level of creative expression in singing.
Pupils are the least successful at supplementing to the already discussed performance of a
song, there is lack of purposefulness and expressiveness of performance. They are the
most successful at performing music freely and sensitively, two thirds of the third and
fourth form pupils often sing lightly, without tension; the mood of a musical composition
is deeply felt, different moods are used while singing. The following confirms the
proposition of scientists that the ability to experience the contents of performed songs
emotionally and to express them externally (mimic, pantomime) is common to pre-school
and primary school children.
Pupils of this age evaluate their singing much higher than the pedagogues who teach them.
The majority of the subjects think that they succeed in performing a song. Meanwhile, in
the opinion of pedagogues, there are twice less of such children. Teachers encountered
difficulties in identifying creative musical performance during the assessment of
children’s singing. However, after the acquaintance of the pedagogues with the
parameters of creative music performance, after the discussion about children’s
evaluations in this aspect, teachers can be objective evaluators of creative expression in
the singing of junior school age children.
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