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Chapter 8

Arts Education

Introduction to the Subject AreaArts Education

The arts demand different forms of intelligence andenable us to confront, understand and interpret realityand transpose it into symbolic language. By opening adoor to sensitivity, subjectivity and creativity, the practiceof an art can lead us to confer new meaning on thingsand enable us to communicate these through artistic pro-ductions. Marked by the social and cultural values of dailylife, artistic languages and productions contribute to theevolution of these values and show us a reflection of his-tory, societies and, by extension, humanity. Culture is oneof the issues involved in today’s trend toward globaliza-tion, and the arts play an important role in expressingand preserving the cultural values of a society. Althoughcommercial interests have a stake in the arts worldwide,and thus foster the homogenization of cultures to a cer-tain extent, the arts still remain one of the most effec-tive methods of developing, affirming and safeguardingcultural identity.

Contribution of the Arts EducationSubject Area to the General Educationof the Student

The arts stimulate bodily awareness, nourish the imagi-nation and contribute to the development of self-esteem.In practising an art, students draw on all aspects of theself—body, voice, imagination, culture—in order toconvey their perception of reality and world-view. Theymake use of a symbolic language that opens up new per-spectives on themselves, others and their environment.Arts education, in helping to empower students, con-tributes to the construction of their identity and theenrichment of their world-view. It also helps narrow the

gap between academic learning and the working world.When pursued on a consistent basis throughout their sec-ondary studies, it can pave the way for studies leadingto a wide variety of professions and occupations relatedto the arts and culture.

In elementary school, students have begun to create,interpret and appreciate artistic works in two of the fourarts subjects. They have had hands-on experience work-ing in a creative dynamic and have become aware of theircreative potential through the use of artistic languages.They have had contact with works that provide them witha variety of models for expression and communication,enabling them to appreciate the richness of differentartistic languages, to explore their cultural environmentand to prepare the way for an ongoing discovery of cul-ture in general.

Arts education at the secondary level follows the guide-lines established at the elementary level. The SecondaryCycle One programs are intended to develop the samecompetencies. For drama, dance and music, these com-petencies involve creating, performing and appreciatingartistic works, while for visual arts, the competenciesinvolve creating personal images, creating media imagesand appreciating works of art and cultural objects fromthe world’s artistic heritage, personal images and mediaimages. Students therefore continue the learning theyhave begun in elementary school, but in a specific subject,which they must choose from among the arts subjectsoffered in their school. They deepen their understandingof this subject by acquiring in-depth knowledge of itsprinciples, language and basic techniques. Students are

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presented with a range of artistic experiences that speakto them personally and prompt them to communicatetheir mental images and express their world-view. Theseexperiences also encourage them to relate to others andto define the roles they may play in both individual andgroup creative activities.

Students create, perform or appreciate works by com-bining perceptions, intuitions, impressions and varioustypes of knowledge. They make use of reflections, com-munication and information from a number of differentsources. They participate in a dynamic dialogue, in con-stant renewal, between theory and practice, action andreflection, experience and cultural enrichment. Studentsare also encouraged to develop their critical and aestheticfaculties and broaden their cultural horizons throughexposure to works by artists of different periods and ori-gins. They also stand to benefit if their arts education isenhanced by visits to cultural sites, meetings with artistsand active participation in the artistic life of the school.Finally, arts education should include the opportunity tointegrate information and communications technologiesinto the learning process, considering their potential fornew modes of expression, inspiration and communication.

Making Connections: The Arts EducationSubject Area and the Other Dimensionsof the Québec Education Program

Arts education involves connections between subjects,thereby fostering the transfer of learning and the con-solidation of knowledge. The subject area of arts educa-tion cannot be considered in isolation. It must be seen inthe context of a broader system, within which connec-tions can be made between the broad areas of learning,cross-curricular competencies and other subject areas.

The creation, performance and appreciation of artistic pro-ductions are often accompanied by in-depth reflection on

major contemporary issues and thus meet the educationalaims of the broad areas of learning. The stimuli for cre-ation and the cultural references provide a useful intro-duction to the broad areas of learning. Planning andproducing artistic and interdisciplinary projects, workingin teams, performing works and expressing points of vieware all activities that meet, in a practical way, the educa-tional aims targeted by each of the broad areas of learning.

Arts education contributes to the development of each ofthe cross-curricular competencies. Due to the very natureof arts subjects, students are called upon to use creativ-ity throughout the creative process, in situations of per-formance as well as appreciation.They are also encouragedto use information, solve complex artistic problems, adopteffective work methods, exercise critical and aestheticjudgment, use information and communications tech-nologies appropriately, achieve their potential, cooperatewith others and communicate appropriately.

Arts education can help students form meaningful anddiverse connections with other subject areas. For exam-ple, students who practise an art acquire a symbolic lan-guage and develop it to construct meaning, just as theyuse linguistic codes to communicate orally or in writing.They use spoken and written language when forming crit-ical and aesthetic judgments on artistic productions orgiving an account of their experience of creation, perfor-mance or appreciation. For example, to appreciate artis-tic works or productions, students must put them in theirhistorical context, thereby drawing on concepts andstrategies related to the social sciences. Exposure to lit-erary works can also enrich their cultural knowledge andhelp them better appreciate other artistic works. The pos-sibility of working on the same problem from the pointof view of the arts and from that of mathematics, scienceand technology gives students the opportunity to expe-rience two ways of apprehending reality that are both


complementary and mutually enriching. The practice ofan art also contributes to the students’ personal devel-opment. It provides them with a special way of approach-ing and thinking about moral and ethical issues, socialproblems, beliefs and values, and helps them to adoptbalanced attitudes and habits.

Based on this brief description of the interdisciplinarypotential of arts education and the variety of connectionsit can serve to establish with other elements of theQuébec Education Program, it is clear that the study ofthe arts contributes to students’ cultural enrichment andto the achievement of the school’s mission.

Elements Common to the Subjectsin Arts Education

Each subject in the arts has its own particular language,rules and conventions, principles and tools. Through thespecific nature of its own language—whether gestural,visual, sound-related or corporal—each one also offers aunique way of knowing oneself, forming relationshipswith others and interacting with the environment.However, beyond their individual characteristics, the sub-jects in the arts foster the same basic learning, facilitat-ing the transition from one subject to another during thestudents’ art education. This applies whether it be duringthe same school year, during the transition from ele-mentary to secondary school, in the transition from onecycle to another, or when moving to a new school.

Basic Learning

– Communicates and gives concrete expression, bymeans of symbolic language, to ideas, mental images,impressions, sensations and emotions in various artis-tic productions or performances

– Appreciates facets of his/her own works and those ofother students, as well as works by men and women ofdifferent origins and periods, by referring to varied cri-teria and expressing himself/herself orally or in writing

Attitudes

– Receptivity to his/her sensations, impressions, emo-tions and feelings

– Openness to unexpected events, to an element of riskin his/her experiments and choices, to the stimuli forcreation, to works and their related historical context

– Constructive attitude toward teamwork, his/her artis-tic experiences and criticism

– Respect for artistic works, his/her own productionsand those of his/her classmates

The Creative Dynamic

From the initial inspiration to the moment when an artistdetaches him or herself from a work, he or she is engagedin a complex and dynamic line of development. Such aline of development, which may be characterized in var-ious ways, has been referred to as a creative dynamic.1

It can be broken down into a process and a procedure,which are closely related.

The Process

The process consists of three consecutive phases: an open-ing phase, a productive action phase and a separation

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1. We are referring here to the work of researcher Pierre Gosselin, whohas used this term to describe the creative process. We are borrowinghis concept of the creative dynamic, as well as the diagram that illus-trates it. See Pierre Gosselin et al., “Une représentation de la dynamiquede création pour le renouvellement des pratiques en éducation artistique,”Revue des sciences de l’éducation, vol. XXIV no. 3, (1998), p. 647-666.

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phase. During the opening phase, the creator is inspiredby an idea. During the productive action phase, the cre-ation is shaped. During the separation phase, the creatordetaches him or herself from his or her work.

In the opening phase, which is marked by the presenceof intuition and spontaneity, inspiration takes precedence.The students explore and develop emergent ideas thatbest reflect what they are feeling, rather than simply workwith the first idea they think of. They must retain ele-ments of some ideas, identify the most meaningful onesand develop a creative intention based on them. In theproductive action phase, which involves the shaping of acreation, development predominates. In this phase, stu-dents are actively aware of giving direction to their cre-ative work and solving complex problems using sensitivityand intelligence. In this context, they must combine,develop and organize elements they have selected and,in particular, give material form to their ideas. They eval-uate the degree of correspondence between their innerideas and the work taking shape. The separation phaserepresents a time to pause and reflect on their produc-tions and analyze them in order to determine whetherthey correspond to their initial inspiration. In displayingtheir productions, students become aware of the percep-tion and appreciation of others. The detachment that pre-vails during the separation phase enables them towithdraw from their productions and to view them assteps in their line of artistic development.

The Procedure

The procedure is mainly based on the interaction of threemovements: inspiration (injection of ideas); development(formulation and articulation of ideas); distancing (with-drawal of the creator from the result of his or her actions).These three movements, which are found in each phaseof the process, are interdependent and complementaryand they generate specific actions in each phase. However,it may happen that a student, like a creator, goes throughthe second phase of the process without encounteringany serious difficulties and therefore does not have to letgo of the creative work and stand back from it in orderto identify or solve a problem.

The Stimuli for Creation

The stimuli for creation are working guidelines that canserve as a catalyst, thread or framework for the creativedynamic. They are adapted to the ages and interests ofthe students and present problems that offer a great vari-ety of possible solutions and responses. Drawn from thereal world, the imaginary realm, artistic and media pro-ductions and encounters with professional artists, they areconnected to the educational aims of the broad areas oflearning and to cultural references. Students are encouragedto convey their vision of the stimulus for creation in theirproductions in a concrete, expressive, symbolic manner.

Whichever theoretical model is selected, it is importantto emphasize the creative process in learning activities inthe arts. Like the performance and appreciation of artis-tic works, creation is an essential element of any proce-dure for gaining experience of the artistic world. Thecreative process thus plays a vital role in the basic learn-ing transferable from one arts subject to another.



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THE CREATIVE DYNAMIC AS A PROCESS AND A PROCEDURE

DRAMA

DANCE

Integration of formsof intelligence

Diversified use ofsymbolic languages

Openness to sensitivity, subjectivity andcreativity

FEATURES OF ARTS EDUCATION AND ELEMENTS COMMON TO THE ARTS SUBJECTS

MUSIC

VISUALARTS

Use of intuitionand imagination

Receptivity to thesocial and culturalvalues of daily life

Contribution to thedevelopment of culturaland social values

Discovery andformulation ofthe symbolicvalue of things

Reflection of thehistory and evolutionof societies

Communicationthrough artisticproductions

Basic learning

Creativedynamic

Stimuli forcreation

AttitudesPerception and transposition

of reality and world-view


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Bibliography

Ardouin, Isabelle. L’éducation artistique à l’école. Paris: ESF, 1997.

Beaulieu, Denyse. L’enfant vers l’art: Une leçon de liberté, un chemin d’exigence. Paris:Autrement (Collection Mutations, no 139).

Borillo, Mario and Anne Sauvegeot. Les cinq sens de la création: Art, technologie et sen-sorialité. France: Champ Vallon, 1996.

Chaîné, Francine and Monik Bruneau. “La formation des formateurs en art.” Revue dessciences de l’éducation, vol. XXIV, no. 3 (1998): 475-695.

Gardner, Howard. Multiple Intelligences: The Theory in Practice. New York: Basic Books, 1993.

Gosselin, Pierre, et al. “Une représentation de la dynamique de création pour le renou-vellement des pratiques en éducation artistique.” Revue des sciences de l’éducation,vol. XXIV, no. 3 (1998): 647-666.

Gosselin, Pierre. Un modèle de la dynamique du cours optimal d’arts plastiques au secon-daire. Montréal: Les Éditions de la Faculté des sciences de l’éducation, Université deMontréal.

Jensen, Eric. Teaching With the Brain in Mind. Alexandria, Virginia: Association forSupervision and Curriculum Development, 1998.

Malrieu, Philippe. La construction de l’imaginaire. Bruxelles: Charles Dessart, 1967.

Pujas, Philippe and Jean Ungaro (Karelle Ménine, contributor). Une éducation artistiquepour tous? Cahors: Erès (Collection Policultures), 1999.

Schiller, Wendy (ed.). Issues in Expressive Art: Curriculum for Early Childhood. Amsterdam:Gordon and Breach Publishers, 1996.

Sousa, David A. How the Brain Learns. Thousand Oaks, California: Corwin Press, 2000.

Young Overby, Lynnette. Proceedings of the International Early Childhood, Los Angeles:Creative Arts Conference, December 1990.

Zakhartchouk, Jean-Michel. L’enseignant, un passeur culturel. Paris: ESF, 1999.

Music

Personal Develop

men

tMathematics, Science and Technology

Socia

l Scie

nces

Languages

Uses information

Solves problems

Exercises criticaljudgment

Uses creativity

Adopts effectivework methods

Uses informationand communications

technologies

Achieves his/herpotential

Cooperateswith others

Communicatesappropriately

INTELLECTUAL COMPETENCIES

METHODOLOGICAL COMPETENCIESPERSONAL AND SOCIAL COMPETENCIES

COMMUNICATION-RELATEDCOM

PETENCY

Health andWell-Being

Personal and CareerPlanning

Environmental Awarenessand Consumer Rights and

Responsibilities

MediaLiteracy

Citizenship andCommunity Life

STUDENTConstructionof world-view

Constructionof identity

Empowerment

AppreciatesmusicalworksCross-Curricular Competencies

Subject Areas

Aims of the QEP

Broad Areas of Learning

Subject-Specific Competencies in Music

Making Connections: Music and the Other Dimensionsof the Québec Education Program (QEP)

PerformsmusicalworksCreates

musicalworks

Arts Education

402


MusicArts Education

Music is the art of producing and combining sounds in acreative way. As the personal expression of the inner selfand the translation into sound of a sociocultural reality,it delivers a structured message using a system of codesthat allows expression of feelings and emotions. Strippedof its affective content and its expressive elements, musicceases to be an art and is reduced to a collection of mean-ingless sounds. Music has been associated with cere-monies, work and dances since the beginning of history.Such connections between musical genres and theirformer purposes have, however, become tenuous, result-ing in an art form that can either be practised indepen-dently or be combined with the human voice and bodymovements. Music plays an essential role in the arts, soci-ety and the economy in today’s culture. One aspect of itsimportance lies in its attraction for young people. It is thesource of special experiences that bring together sensa-tions, emotion and aesthetic judgment.

Music contributes to students’ overall development. Onthe psychomotor level, it requires flexibility and techni-cal agility, as well as visual and auditory discrimination.On the cognitive level, it solicits memory, creativity, obser-vation skills, analytical ability and the capacity for syn-thesizing, particularly with regard to the creation ofmusical works, in which ideas, notions, principles andrules are organized in a personal way. On the affectivelevel, it requires a serious commitment from students tocreate or perform a musical work. It allows students todevelop their sensitivity by exploring and expressing theiremotions, becoming aware of their values, beliefs andindividuality, and discovering their potential. On the sociallevel, group and individual work foster a sense of respon-

sibility. Creating, playing, understanding, appreciating andbeing sensitive to music represent a specific form of intel-ligence through which students acquire knowledge aboutthemselves and the world. Providing students with affec-tive, cognitive, psychomotor, social and aesthetic experi-ences gives them an opportunity to express their ideasand their world-view and to be sensitive to the ideas ofother students and composers.

Secondary music education builds on the learningacquired at the elementary level, regardless of the artis-tic disciplines introduced to the students. Music educa-tion at this level further develops and consolidates thebasic learning common to the arts subjects. Secondaryeducation encourages students to develop their creativepotential, artistic sensibility, performing and listeningskills, as well as the ability to express themselves andcommunicate through music. The secondary music pro-gram entails the development of three complementaryand interdependent competencies:– Creates musical works1

– Performs musical works– Appreciates musical works

These competencies are developed interactively, but theemphasis placed on the elaboration of each is dictatedby the particular nature of the subject. Learning whichfocuses on creating and performing musical worksrequires more time to acquire. Both of these competenciesinvolve a process of learning the language, rules, principles


Introduction to the Music Program

1. Throughout the music program, the word “work” is used in its broad-est sense; it refers both to the students’ productions and those of com-posers.

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and tools specific to music as well as developing com-plex psychomotor skills. This demands a considerableamount of time—roughly the same amount for eachcompetency. Building on rational and intuitive thinking atthe same time, the creation and performance of piecesof music gives students the opportunity to express anddevelop their artistic potential. The third competency,Appreciates musical works, is essential to the develop-ment of the students’ critical thinking and aesthetic sense.Closely connected with the two other competencies, itincreases in importance as students consolidate the learn-ing required for the creation and performance of musicalworks, in conjunction with their socioaffective and intel-lectual development.

To produce their own vocal and instrumental pieces usingvaried and meaningful stimuli for creation, students makeuse of the creative dynamic2 and the possibilities of soundsources and musical language. The creation of individualworks thus allows them to consolidate their musicallearning. In order to interpret a variety of musical selec-tions, students gradually make the transition from instru-mental performance to the interpretation of a work,thereby developing their musicality. Direct contact withvarious pieces of music enriches students’ culture. The pre-sentation of pieces in front of an audience3 allows thestudents to develop self-confidence and express who theyare. Finally, they learn to exercise their critical judgmentand develop their aesthetic sense by appreciating not onlytheir own productions and those of their classmates, butalso musical works from a variety of periods, cultures andartistic movements. They are also encouraged to use anddecode media messages conveyed by music and to iden-tify the values these messages transmit.

As was the case in elementary school, students inSecondary Cycle One are introduced to numerous refer-ences from their immediate cultural environment, refer-ences which relate to the works they are performing orappreciating. They acquire an openness to the world, dis-cover its particular features and diversity, and becomeaware of the distinct aspects of their own culture.Attending performances and meeting artists are culturalexperiences that give students an opportunity to carefullylisten to an entire work and better understand their cul-tural environment. This renewed and enriched perceptionof the world helps them construct their personal and cul-tural identity. This in turn contributes to their develop-ment as committed, sensitive and culturally active listenerswhose choices are based on their personal values.

2. The creative dynamic is described in the introduction to the ArtsEducation subject area.

3. In a school setting, the audience is generally limited; a performance canbe given for another student, a team, the class or other classes.Occasionally, it can be given in a larger auditorium, for the students ofthe school, their parents or the general public.

MusicArts EducationQuébec Education Program

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The Music program has a special relationship to the aimsof the Québec Education Program. If the students them-selves are in some sense the primary material of theirartistic endeavours, then music may serve as a tool foridentity construction and empowerment. They use theirbody, voice, instrument, imagination and culture to conveywho they are and their world-view when they create orperform a musical work. They also compare their world-view with those of their classmates, composers or othermusicians. By means of symbolic language, they learnmore about themselves, others and the environment inwhich they are evolving and interacting, all of which con-tributes to their empowerment.

The Music program should not be implemented in isola-tion, as it is part of the greater Québec EducationProgram. Using a systemic approach makes it possible toestablish links with all the other elements of the Program:the cross-curricular competencies, the broad areas oflearning and other subject areas.

Connections With the Broad Areas of Learning

The stimuli for creation provide a useful introduction tothe broad areas of learning. Planning and producing artis-tic and interdisciplinary projects, appreciating artistic pro-ductions, working in teams, performing works andexpressing points of view are all activities that meet, ina practical way, the educational aims targeted by eachbroad area of learning. The problems or topics encoun-tered in the works that are performed or created can alsoserve as strategic links with the focuses of developmentof the broad areas of learning. From this perspective, all

the areas are likely to be touched upon, while some, suchas Media Literacy, Citizenship and Community Life, Personaland Career Planning, may be more directly targeted.

Connections With the Cross-Curricular Competencies

To develop their competencies in music, students makeuse of all the cross-curricular competencies. In particular,they must use creative thinking, especially when devel-oping stimuli for creation and participating in an indi-vidual or group musical creation. To carry out such aproject, they also need to use information and acquireeffective work methods in order to imagine differenthypotheses, plan the stages of their project and completeit. When they appreciate musical works, they exercise crit-ical judgment and communicate appropriately to sharetheir interpretation and record the stages of their expe-riences of creation, performance and appreciation. Inaddition, performance in secondary school increasinglyengages students’ musicality in the context of ensembleplaying, and enables them to solve problems of instru-mental technique and to cooperate with other students.When appropriate, they use new technological tools toenhance their creative methods. They also use informa-tion and communications technologies to discover newperformance situations and to consult electronic docu-mentary resources in order to enhance their communica-tion. Finally, the personal commitment that the creationand performance of musical works demands, and thedecisions that students have to make to produce artisticprojects help them learn more about themselves, becomeaware of their abilities and develop greater self-confi-

dence. Such practices are essential to helping studentsachieve their potential.

Connections With the Other Subject Areas

Music possesses great potential for making connectionswith other subjects, primarily by virtue of the symbolicnature of its language. Links can be made, in particular,with the other arts subjects, because they share the samecreative dynamic and similar competencies. Interdisciplinarylinks can also be created with other elements of theQuébec Education Program. A few examples will serve toillustrate this here, but many will become apparent simplythrough experience.

Examining the musical content of a work, its structure,and rhythmic and melodic organization provides anopportunity to draw on certain mathematical conceptsinvolving fractions and operations. The identification anduse of physical properties of various sound sources requireknowledge of a scientific and technological nature.

When students create a work with their classmates, par-ticipate in research on musicians or artistic periods, com-municate their appreciation of a work of art or report ontheir creation, performance or appreciation experiences,they must draw on the resources of language, bothspoken and written, as well as music-specific vocabulary.They can also do so using a second language.

By analyzing musical works from various societies andperiods, students are able to put them in their historicalcontext, thereby fostering links with the social sciences.For example, since music from the classical and roman-tic periods is connected with important historical events,

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students who appreciate the works from these eras ben-efit from historical knowledge and the ability to interpretsocial realities using historical methods.

Reflection, questioning and dialogue—practices tradi-tionally associated with moral education or religiousinstruction, and aimed at improving self-knowledge andpersonal fulfillment—can help students connect withtheir inner self. Such connection is essential for develop-ing any artistic language. Moreover, when they appreci-ate sacred musical works, students can elicit theknowledge they gained in moral and religious instruction,thereby enhancing their experience of the works while at

the same time enriching their perception of the great tra-ditions of humanity associated with them.

These examples show the many possible connectionsamong the different key features of the Québec EducationProgram. They also illustrate the added value to students’basic education. All these connections foster the transferand consolidation of students’ learning, help themdevelop their world-view and enrich the cultural dimen-sion of their education.

The Music Classroom: A Dynamic Place

The music classroom is an environment that fostersexpression, performance, communication and autonomy.Students feel comfortable expressing themselves andmeeting artistic challenges related to musical creationand performance. Risk-taking, a desire for authenticityand a sense of thoroughness and striving are emphasized.In working together on group artistic projects, studentsdiscover the importance of such attitudes as openness,tolerance, sharing, listening to themselves and others.They also learn about the perseverance and commitmentthat all creation and performance requires.

The physical setting of the classroom is functional andsuitable for the requirements of musical creation.Students have access to quality artistic and culturalresources as well as different documentary materials,such as encyclopedias, compact discs and CD-ROMs.

Nevertheless, in-class activities must be extended beyondthe confines of the classroom, enabling students to inter-act with their cultural environment. Visiting concert hallsand participation, at school or elsewhere, in activitiesinvolving musicians and composers are examples ofopportunities that exist for students to enrich their culturalexperiences and become aware of career opportunities.

Complex and MeaningfulLearning Situations

The learning situations presented must allow students toexplore the largest possible range of sensory, experi-mental and symbolic experiences. These become increas-ingly complex throughout the cycle, but always emphasizeauthenticity, originality and expressiveness4 in musicalcreation, performance and interpretation. The stimuli forcreation presented must be varied and meaningfulenough to meet the students’ interests and to elicit a per-

sonal response from each of them. Stimuli may be famil-iar, fictional, realistic or invented, and are drawn from aspecific historical context, students’ areas of interest, cul-tural references or other subject areas.

A situation is also meaningful when it is rich and varied,namely, not confined to a simple mechanical repetitionof motor skills and not merely calling for an unequivocalresponse. A meaningful situation offers the possibility ofchoosing among a variety of possible approaches, fosterscreative work that offers a reasonable challenge to stu-dents and requires their commitment in a process of per-ception, selection and decision. It results in a greatnumber of meaningful activities where links are made

Pedagogical Context

4. In schools, the process is considered authentic, original and expressivewhen it demonstrates a personal effort and commitment on the part ofthe students, and when it presents new ideas, which are not clichés orstereotypes, conveying a personal emotion.

MusicArts Education

among the three competencies. For example, studentsmay be asked to play the role of a critic on a creativeteam. After students learn an excerpt from a musicalwork, they may be inspired to do research on an artist orperiod, and the knowledge they acquire will be subse-quently applied to a creative activity.

The Teacher: Guide, Expert, GroupLeader and Cultural Mediator

Music teachers play a critical role in encouraging youthto become involved in their music education in a personaland meaningful way, and in developing the attitudes nec-essary to exercise creative thinking. They act as a guidefor their students, introducing them to the richness ofmusic, adjusting to their level of skills and needs, andsupporting them throughout the learning and evaluationprocess. They help students become aware of their ownlearning style and way of doing things, adapt their expec-tations to students’ viewpoints, and offer them, if neces-sary, a customized learning path in order to help themmake progress in the development, consolidation andmastery of their competencies. As pedagogical expertsand having a thorough understanding of adolescentdevelopment, teachers can focus on knowledge that ismeaningful to the students and help them to establishlinks between their school experiences and their areas ofpersonal and social interest. Teachers sometimes take ona group leadership role by encouraging reflection andcommunication among students, and by teaching themto be more attentive to the interaction that group musicactivities require. Finally, teachers are cultural mediators,5

able to communicate their passion for art and make con-nections between the past, present and future. Theyencourage students to make links among various musi-cal works and compare them with representations of cul-tural diversity.

Students: Active Participants Responsiblefor Their Own Learning

Students are primarily responsible for their learning.Supported by the teacher, who encourages them to beindependent and helps them engage in a reflectiveprocess, students explore the creative dynamic by plac-ing particular emphasis on authenticity and a search fororiginality and expressiveness in their responses. Theydemonstrate openness and perseverance in their searchand choices. However, they do not hesitate to assess theirdecisions when it is time to step back and reflect on theprocess and product of their creative acts. They record thestages of their creation, performance and appreciationexperiences. In so doing, they become aware of the strate-gies and methods used and anticipate their transfer tosimilar situations or other contexts.

Evaluation as Support for Learning

Evaluation must be considered as a support for learning.Each learning situation involves a system of regulation,which allows for adjustments to be made to help developcompetencies. For this reason, it is more accurate to speakof learning and evaluation situations. Regulation can beaccomplished through direct observation or throughobservations recorded by way of verification, self-evalu-ation or co-evaluation checklists. The use of other obser-vation tools, such as the electronic portfolio, isrecommended for recording significant creations or per-formances. Teachers and students will consequently beable to see progress in the development of competenciesand, if necessary, make adjustments to the methods usedto achieve the level of development expected by the endof the cycle.


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5. This expression is adapted from the French passeur culturel, a term coinedby Jean-Michel Zakhartchouk in his book L’enseignant, un passeur culturel,Paris, ESF, 1999.

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Creating vocal or instrumental pieces involves using thelanguage, rules and tools specific to music in order togive concrete and deliberate expression to an idea, feel-ings or emotions. By creating varied vocal or instrumen-tal pieces that reflect their personalities, experiences,aspirations and world-views, students develop their cre-ativity and apply it in different contexts. They engage inthe creative dynamic, mobilize their personal and culturalresources and, at the same time, activate their creativeimagination and divergent and convergent thinking. Theygradually expand the way they use musical language(sound and its parameters), rules (composition proce-dures and musical forms) and tools (voice and musicalinstruments).

The creative contexts, which become increasingly com-plex over the cycle, encourage students to create musi-cal works in a personal and authentic way by using avariety of stimuli for creation, which reflect their interestsand occasionally take into account a target audience.Students may be encouraged to try various approaches.They will sometimes employ expressive creativity, wherethe process is more important than the skills, technicalcontrol or the quality of the product. They may also applyproductive creativity, which stresses the development oftechnique and the quality of the final product. Finally, theywill make use of inventive creativity, which involves tryingout new materials or ways of doing things.

Focus of the CompetencyStudents’ creations will be of various types: melodic orrhythmic improvisations that spontaneously organizesounds within a specified or unspecified framework;arrangements for small groups, with sounds reorganizedby adapting one or several musical elements; composi-tions featuring sounds organized according to rules, tech-niques and predetermined principles; inventions in whichsounds are organized in unconventional, innovative ways.

Students use a variety of sound sources for their creations:voice, body, sound objects, percussion instruments, vari-ous melodic instruments and instruments from informa-tion and communications technologies. If appropriate,they graphically represent elements of musical languageusing a notation code (personal, traditional or nontradi-tional). The emphasis is on authenticity and the searchfor originality and expressiveness. Students usually workin groups, but can also work individually. They record thestages of their experience that reflect the creative processand its result.

Performing their musical creations, sharing aspects oftheir experience with classmates and reporting on howthey proceeded enable students to better appropriatetheir learning and apply it to other creative endeavoursand to the performance and appreciation of works orexcerpts.

The key features of the competency describe its principaldimensions. They combine to form a dynamic movementthat manifests itself at various stages of the creativeprocess. Throughout the process, students are required touse ideas for creating sound media, and to use elementsof musical language and subject-specific techniques. Theyare also expected to organize their creation, and reflectand report on their experience.

COMPETENCY 1 Creates musical works



409Chapter 8

Key Features of Competency 1

Evaluation Criteria

End-of-Cycle Outcomes

– Coherent relationship between the stimulus for creation, the development of ideas, the development processand the result of his/her creation

– Varied use of elements of musical language– Effective use of sound sources– Original treatment of expressive elements– Coherent organization of musical elements– Integration of periods of reflection and review into the creative experience

By the end of Secondary Cycle One, the stu-dents make conscious use of the creativedynamic. Their productions convey their per-ception of reality, are authentic and reflect asearch for originality and expressiveness.During the creative process, students exploremusical ideas as well as elements of musi-cal language, element of techniques andsound sources in a personal and varied way,corresponding to their creative intentions.The production is the result of a coherentand complex organization of its components.Students make certain adjustments to refinetheir creations, which are usually producedby interacting and cooperating with otherstudents. Students describe and comment ontheir creative experience and identify whatthey have learned as well as the strategiesand methods they used. They anticipate thetransfer of learning to similar contexts orother subject-specific contexts.

Uses ideas to create a musical work

Is open to a stimulus for creation • Is receptive to images,emotions, sensations or impressions evoked by the stimulus • Keeps a record of his/her ideas • Explores various ways ofconveying creative ideas through sound • Chooses musicalideas that hold his/her interest and envisions his/her creativeproject

Uses sound sources, elements of

musical language and elements of

technique

Experiments with ways of making his/her ideaconcrete • Makes use of his/her auditory memoryand experiments with sound sources, elements ofmusical language and elements of technique• Chooses the most meaningful elements in relationto his/her creative intention and perfects methodsfor using these elements

Organizes his/her musical creation

Creates a series of sound sequences and experimentswith composition procedures • Organizes the contentof his/her experiments based on his/her creativeintention • Reviews his/her musical choices andmakes adjustments • Refines certain elements ofhis/her creation, if necessary

Shares his/her creative musical

experience

Analyzes his/her creative intention and progress• Identifies the important elements of his/herexperience and its characteristics • Identifieswhat he/she has learned and the methods used

Creates

musical works

410

A musical work needs a performer to reveal its meaning.To perform a work means to bring a creation to life byplaying it with the intention of expressing and commu-nicating ideas, feelings, emotions or sensations, whetherthey be those of the performer or of others. Consequently,the performance of the musical phrases that make up awork requires an understanding of musical expression, inaddition to various technical skills.

One of the important aspects of the competency lies inthe assimilation of a work’s characteristic features,namely the musical content and the expressive charac-ter, as well as the preferred techniques and strategies toconvey them. When students perform a musical work,they integrate their way of using the language (soundand its parameters), rules (composition procedures andmusical forms) and tools (the voice and instruments) spe-cific to a composer’s music, whether the composer beanother student or a professional musician. This ventureinto the creative universe of another person allows stu-dents to explore and experiment with alternate ways ofmusical expression and representation. Performanceenriches students’ technical, linguistic and cultural expe-riences, and enables them to discover a variety of musi-cal works from various cultures and periods.

Focus of the CompetencyThe performance situations presented must be varied andmeaningful enough to attract the students’ interest andto elicit a personal response from each of them. The per-formance context becomes increasingly complex over thecourse of the cycle and introduces students to a varietyof performance opportunities: students may participate ina large performing group directed by a conductor of anorchestra, or in small groups, where a few students playtogether, in close aural and visual collaboration. Finally,students may occasionally participate in a solo perfor-mance situation within a group.

The musical works that students perform are drawn froma large repertoire. They include their own creations andthose of their classmates. When they perform a piece ofmusic, students can use their voice, an instrument or othersound sources in a variety of acoustic contexts. The per-formance, which usually takes place in groups, may bepresented in front of an audience. Participating occa-sionally in the different segments of a publicly presentedmusic concert, in which they are also a performer, helpsthem discover the world of musical production and thefeatures associated with it.

Students record the stages of their performance experi-ence, thus charting the course they have followed and itsend result. By reporting on their performance experienceand on how they proceeded, the students are able tobetter synthesize their learning and apply it to the per-formance, creation or appreciation of other musical works.

The key features of the competency describe its principaldimensions. They combine to form a dynamic movementthat manifests itself at various stages of the performanceexperience.

COMPETENCY 2 Performs musical works



411Chapter 8


Evaluation Criteria


– Smooth succession of the piece’s musical phrases– Appropriate use of the elements of technique specific to the sound sources used– Connection between the performance and the expressive nature of the piece of music– Consistent application of the conventions for group ensemble work– Integration of periods of reflection and review into the performance experience

By the end of Secondary Cycle One,the students connect the musicalphrases throughout in order to re-create the musical content of thechosen piece. They play or sing withan appropriate tone while demons-trating control of the elements of tech-nique specific to the sound sourcesused. They adapt their technicalknowledge to meet the requirementsof the piece of music.Their vocal or instrumental perfor-mance conveys personal expressiveintentions and highlights the expres-sive nature of the piece. They adjusttheir individual performance to thegroup in keeping with the conventionsof group ensemble work. Performanceusually takes place while interactingand cooperating with other students.Students describe and comment ontheir performance experience andidentify what they have learned fromit as well as the strategies and meth-ods they used. They anticipate thetransfer of specific learning to similar contexts or other subject-specific contexts.

Becomes familiar with the musical content of the work

Immerses himself/herself in the piece of music and, where applicable,decodes the elements of musical language, the structure of the piece andthe graphic representation • Recognizes the meaning and, if applicable,the historical aspects that may affect the performance • Experiments with musical phrases in various ways while at the sametime taking into account sound sources • Uses decoding andmemorization strategies

Applies elements of vocal or instrumental

technique

Experiments with vocal or instrumental techniques basedon the piece being performed • Makes the most ofresources and sensory and kinesthetic experiences, takinginto account the voice or the instrument in question • Uses appropriate posture, form and tone • Specifies,where applicable, elements of technique in relation to thevoice, gestures and coordination of movements requiredto execute a passage and connect the musical phraseswhile respecting the structure of the piece

Becomes familiar with the

expressive nature of the piece of

music

Experiments with the expressive elementsconveyed by the piece • Adapts theseelements to the performance or to thecomposer’s intention, if applicable • Makesuse of expressive resources while taking intoaccount the nature of the piece and itscommunicative purpose

Respects group ensemble

performance conventions

Follows the leader’s indications and listensto others • Puts established conventionsinto practice • Adapts his/her voice orinstrumental equipment to those of others

Shares his/her musical

performance experience

Analyzes his/her communicative pur-pose • Identifies the elements ofhis/her performance experience and itscharacteristics • Identifies what he/shehas learned and the methods used

Performs

musical works

412

The appreciation of a musical work involves exploring itsdiverse meanings and examining it from a critical andaesthetic standpoint. It also entails a willingness to com-municate with the work and to be moved by it in orderto subsequently judge the impact it has on oneself andothers. Contact with various musical creations—be ittheir own, those of their classmates or works by com-posers from other historical periods or cultures—enablesstudents to develop their artistic awareness and their sen-sibility to the expressive, symbolic, technical and aestheticqualities of a piece of music. In so doing, they develop agreater understanding of music. They also develop theirself-knowledge, enrich their cultural identity and acquirean openness to other cultures. This enables them to cul-tivate an interest in listening to musical works and visit-ing cultural sites, and to develop personal appreciationcriteria that will guide their choices in order to becomesensitive and informed listeners.

When students approach the work to analyze it, they areasked to focus on their emotional and aesthetic reactions.They then identify the components of the work and itsstructure, taking into account the historical context of itscreation. They also identify expressive and symbolic ele-ments that they find meaningful and relate these to thefeelings elicited in them by the work. They draw on theirown experience, aesthetic sensibility and musical knowl-edge. They must also take into account the criteria deter-mined by the students or teacher beforehand, and usethese criteria to support their point of view. During theappreciation process, students are encouraged to showrespect for each other and for the works. By comparing

Focus of the Competencytheir perception of the work with that of others, studentsdevelop their understanding and refine their judgment.

When appreciating musical works, students refer to anage-appropriate cultural experience, to the content ofworks or excerpts they have listened to and to differentvisual, sound or electronic documentary sources. These cri-teria may relate to the development of the stimulus forcreation and to the use of elements of musical language,sound sources or elements of technique. The criteria mayalso relate to the emotions, feelings or impressions stu-dents have experienced, as well as to historical aspectsof the work. When they communicate their appreciationorally or in writing, they are encouraged to use subject-specific vocabulary. Students are asked to record the stepsof their appreciation experience, thus charting the coursethey have followed and its end result. Students explainwhat they have learned about themselves, the works andthe artists. In sharing their appreciation experience, stu-dents integrate their learning more effectively and learnto apply it in other situations of creation, performance orappreciation.

The key features of the competency describe its principaldimensions. They combine to form a dynamic movementthat manifests itself at various stages of the appreciationexperience.

COMPETENCY 3 Appreciates musical works



413Chapter 8


Evaluation Criteria


– Coherent relationship between components of the work or production, what he/she has felt and his/her appreciation

– Relevance of historical aspects identified

– Consideration of the appreciation criteria retained

– Effective use of subject-specific vocabulary to communicate his/her appreciation

– Appropriate use of spoken and written language to communicate his/her appreciation

By the end of Secondary Cycle One, studentsidentify components of a piece of music, aswell as the symbolic and expressive elementsthat solicit a personal aesthetic response.They make connections between these ele-ments, historical aspects and their emotivereactions to works. In this way, studentsdevelop their ability to appreciate a workand communicate their appreciation toothers. Their communication reflects theirpersonal interpretation of the work, based onpreviously defined criteria, a search forcomplementary additional information anddiscussions with their classmates andteacher. Their appreciation incorporatesaspects of the expressive and symbolic qual-ities of the piece, and takes into account thecontext in which it was conceived. Studentsdescribe and comment on their appreciationexperience and identify what they havelearned as well as the strategies and meth-ods they used. When they describe theirappreciation experience, they make ade-quate use of the English language andappropriate subject-specific vocabulary. Theyshow an interest in the comments of otherstudents and in the diversity of ethical, aes-thetic and critical opinions expressed.

Analyzes a work or production

Immerses himself/herself in the musical piece and identifies itscomponents • Identifies significant elements, based on a variety ofcriteria • Identifies historical aspects, if applicable, using availableinformation • Makes connections between these elements

Interprets the meaning of

the work or production

Identifies expressive and symbolicelements and establishes arelationship with what he/she felt • Makes connections betweenthese elements

Makes a critical and aesthetic judgment

Reviews his/her prior appreciation of the work inrelation to the historical context • Builds his/herarguments taking criteria into account andcommunicates his/her point of view

Shares his/her appreciation experience

Identifies the important elements of his/her experienceand its characteristics • Identifies what he/she haslearned and the methods used

Appreciates

musical works

CREATES

musical

works

PERFORMS

musical

works

LEARNING CONTENT RELATED TO COMPETENCIES AND TO ELEMENTS COMMON TO ALL ARTS SUBJECTS

MU

SIC

APPRECIATES

musical works

■ MUSICAL REPERTOIRE

SOUND SOURCES AND TECHNIQUES

■ CULTURAL REFERENCES

■ STRUCTURE ■ MUSICAL LANGUAGE

GRAPHIC NOTATION

■ STRATEGIES

COMPOSITIONALTECHNIQUES

MUSICAL ENSEMBLECONVENTIONS

■ VOCABULARY

BASICLEARNIN

G BASIC

LEARNIN

G

BASIC LEARNING

ATTITUDES

CREA

TIVE

DYNAMIC

STIMULI FOR

CREATION

■

■

■

■

414


MusicArts Education

The program content6 reflects all the resources that stu-dents assimilate in order to create, perform and appreci-ate musical works. By the end of the cycle, students canindependently use these elements in complete, complexand meaningful learning situations. In addition to the ele-ments listed below, the elements common to the subjectsin Arts Education must be taken into account.


415Chapter 8

Program Content

Voice

Strings

Winds

Percussion

Body percussion

Information and communicationstechnologies (sounds produced usinga sequencer or synthesizer)

Vocal techniqueBreathing, intonation,posture, energy,pronunciation

Inhaling, exhaling, soundproduction, attack, pro-jection, care of the voice

Instrumentaltechniques

Posture, form

Breathing(inhaling/exhaling),sound production,attack, articulation,intonation, other appro-priate techniques

Techniques

Sound sources7 Techniques

Strategies

– Use appropriate methods to decode musical scoresbased on the different musical notation codes (tra-ditional, nontraditional and individual)

– Use various techniques for memorizing rhythmsand melodies

– Use various techniques for auditory discrimination– Use varied means to become familiar with ele-

ments of vocal and instrumental technique– Use operating procedures specific to group work

(ensemble music)– Use relaxation techniques to manage stress

6. The elements of program content in italics represent new additions tosecondary school content. Elements in normal font serve as a reminderof the essential knowledge acquired in elementary school that can besubsequently applied in secondary school.

7. According to the instruments used in the class.

Conventions for group ensemble work

Compositional techniques

– Responding to the sound or visual cues indicatingthe beginning or ending of a piece, dynamics, thebeat and changes in tempo, phrasing, expressionand balance between the parts

– Continuously adjusting to the group (tuning,rhythmic playing, dynamics, etc.)

– Question/answer, contrast, reproduction of sound,repetition, collage, ostinato, mirror

– Augmentation, permutation, integration, manipu-lation of tone colours


416

Language of musicGraphic representation

(traditional code)Graphic representation(nontraditional code)

Intensity and dynamics

Forte, piano, crescendo, decrescendoPianissimo, fortissimo, mezzo piano, mezzo forte, subitopiano

Duration

Whole note, half note, quarter note, rest, two eighth notesEighth note, sixteenth note, whole rest, half rest, eighthrest

Dotted notes and rests, tie, fermata

Pitch

Register (high, medium, low)

Pitches from the diatonic scale


Forte, piano, crescendo, decrescendoPianissimo, fortissimo, mezzo piano, mezzo forte, subitopiano

Duration

Whole note, half note, quarter note, rest, two eighth notesEighth note, sixteenth note, whole rest, half rest, eighthrest

Dotted notes and rests, tie, fermata

Pitch


Loud Soft

Duration

Very short • Short LongVery longRest (expandable rectangle)

Pitch

High

Medium

Low

Ascending sounds

Descending sounds

Concepts


417Chapter 8

Musical language (cont.) Graphic representation (cont.)

(traditional code)Graphic representation (cont.)

(nontraditional code)

Pitch (cont.)

Notes on the staff and ledger lines in the clef that theinstrument uses

Accidental signs (sharp, flat, natural) and key signatures

Tone colour

Different musical instruments, according to the repertoireutilized

Voice (soprano, alto, tenor, bass) and families of instruments

Quality of sound

Articulation signs (staccato, legato, accent, sforzando, etc.)according to the instrument utilized

Pitch (cont.)

Notes on the staff and ledger lines in the clef that theinstrument uses

Accidental signs (sharp, flat, natural) and key signatures

Tone colour

Quality of sound

Crisp/resonant, coarse/smooth

Articulation signs (staccato, legato, accent, sforzando, etc.)according to the instrument utilized

Pitch (cont.)

Highest note or lowest note

E.g.:

Glissando orE.g.:

Linear notation E.g.:

Modification of the pitch

E.g.:

Tone colour

Quality of sound

Crisp Resonant

Course

Smooth

gliss.gliss.

418

StructureGraphic representation (cont.)

(traditional code)Graphic representation (cont.)

(nontraditional code)

Form

Personal, AB, ABA, canon in two voices, rondo

Canon, theme and variations

Repeats (repeat sign, Da Capo, first and second endings,Dal Segno, Coda, Al Fine)

Tempo

Lento, moderato, allegro, accelerando, rallentando

Change in tempo, ad libidum, a tempo, ritenuto

Rhythmic organization

Unmeasured or based on a definite number of beats

Simple rhythmic units, simple duple or triple metre

Melodic organization

Musical phrase, series of ascending and descendingsounds, conjunct/disjunct motion, series of sounds repeatedat a fixed pitch, glissando

Series of chromatic and diatonic pitches (ascending anddescending)

Harmonic organization

Tone cluster, major and minor chords

Form

Repeats (repeat sign, Da Capo, first and second endings,Dal Segno, Coda, Al Fine)

Tempo

Lento, moderato, allegro, accelerando, rallentando

Ad libidum, a tempo, ritenuto


Simple time signatures



Major and minor chords

Tempo

Accelerando

Rallentando



Single sound


Tone cluster

Cluster

E.g.:

Graphic representation (other codes)

Graphic representation invented by the student, if applicable

Repeat sign

First and secondendings

Coda

Da Capo

Dal Segno

al Fine

Theme andvariations


419Chapter 8

The knowledge of the subject-specific vocabulary is particularly useful for appreciating musical works andfor communicating this appreciation.

Intensityand dynamics

Duration Pitch Articulation

Pianissimo

Fortissimo

Mezzo Piano

Mezzo Forte

Subito Piano

Eighth note

Sixteenth note

Whole rest

Half rest

Eighth rest

Dotted notes and rests

Fermata

Tie

Sharp

Flat

Natural

Soprano

Alto

Tenor

Bass

Accent

Legato

Staccato

Sforzando

Form

Tempo Rhythmic organization Melodic organization Harmonic organization

Ad Lib

A tempo

Ritenuto

Time signatures Series of diatonic pitches

Series of chromatic pitches

Chord

Single sound

Clusters

Tone clusters

Voiceranges

Vocabulary

Sound sources

Names of the instruments used


420

Excerpts from works may be drawn from the fol-lowing artistic periods and styles: contemporarymusic (new, serial, electroacoustic, aleatoric, pop-ular, chansonnier, blues, jazz, country, rock, musi-cal comedy, movie music, etc. including musicused in the mass media), folk music, music of areligious nature from the present and past, musicfrom the Impressionist, Expressionist, Neoclassical,Romantic, Classical and Baroque periods, theRenaissance and the Middle Ages. These excerptsmay come from the musical repertoire of Québecand the repertoire of other cultures. The teachercan also refer to musical works presented at con-certs or shows that the students have attended.

Types of excerpts

– Students’ excerpts or productions related to thesubject-specific content

– Students’ excerpts or productions related to theeducational aims of the broad areas of learning

– A minimum of 15 excerpts of works from differentcultures and periods

Music appreciation repertoire

Music history: composers, sociocultural context, historical context, artistic periods, styles, genres, historical figures,celebrities, etc.

Cultural experiences: concerts presented at the school or in cultural venues, contact with professional composers ormusicians, exhibitions (music history, musicians, singer-songwriters, opera, musicals, etc.), conferences on music, par-ticipation in music festivals, visits to cultural sites (concert halls, recording studios, training schools, resource centres, etc.).

Careers related to music: author, composer, instrumentalist, singer, chorister, arranger, recording studio technician,critic, cultural activities organizer, columnist, music teacher, etc.

Media: musical scores, televised musical programs, documentaries or stories about music, sound or visual record-ings of concerts or musical shows, film scores, cultural programs, advertising media for a show (press releases andreviews, publicity, interviews, programs, posters, invitations), books or Web sites on composers and musicians, showsor venues, etc.

Cultural venues: Theatres, concert halls, recording studios, rehearsal rooms, music schools, heritage sites, etc.

Works from the musical repertoire: see the section Music appreciation repertoire.

Cultural references

Cultural references are important aspects of culture related to the subject. Their use in class enriches thestudents’ perception and understanding of the world around them. They enable students to make concreteconnections with the subject, to recognize its reflections and living presence in their environment, and tounderstand the dynamic influence of the arts in society. The selection of these resources must take intoaccount regional differences and the local community.

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Schafer, R. Murray. L’oreille pense. Toronto: Berendol Music, 1974.

———. Creative Music Education: A Handbook for the Modern Music Teacher. New York:Schirmer Books, 1976.

———. Le paysage sonore. Paris: Lattès, 1979.

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