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Rutherford

Rutherford explores Murray Schafer's theory of creative music education which emphasizes encouraging student creativity and developing listening skills. The article discusses two of Schafer's main points: stimulating creativity through improvisation and composition exercises, and using non-traditional teaching methods. However, the author argues that Schafer's approach strays too far from tradition and a balance is needed between traditional and modern styles, such as using traditional composition forms like sonata form while allowing creativity, for example by having students compose mini-movements using software. The best approaches integrate both tradition and creativity.

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78 views2 pages

Rutherford

Rutherford explores Murray Schafer's theory of creative music education which emphasizes encouraging student creativity and developing listening skills. The article discusses two of Schafer's main points: stimulating creativity through improvisation and composition exercises, and using non-traditional teaching methods. However, the author argues that Schafer's approach strays too far from tradition and a balance is needed between traditional and modern styles, such as using traditional composition forms like sonata form while allowing creativity, for example by having students compose mini-movements using software. The best approaches integrate both tradition and creativity.

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Brian Marshall

Kari Veblen
December 14, y

Annotated Bibliography
Rutherford, S. (2014). Is Murray S10%chafer's creative music education relevant in the 21st
century? Canadian Music Educator / Musicien Educateur Au Canada,, 55(3), 16-20. Retrieved
from http://search.proquest.com/docview/1549546339?accountid=15115
In Rutherfords article, Is Murray Schafer's Creative Music Education
Relevant in the 21st Century?,

Rutherford explores Murrays theory of

creative music and learning. One thing I liked about this article was Murrays
main points. The two main themes are predominately evident in this article.
Murrays descriptions of his music education philosophy are encouraging
student creativity and training heightened listening. Creativity is something
often people speak about and aim to incorporate on to the curriculum. One
of the ways that Schafer aims to stimulate
learners is

creativity in his students and

by urging his students and others to make their own original

music. He also conducted projects to help. These experimental projects


included creative music experiences in improvisation and composing,
utilizing non-traditional methods (Contemporary Music Project, p. 3). I am
always interested in integrating creativity in to music curriculum and my
favourite way is composition. One of the problem with Murrays article is that
it tries to stray to much from the from tradition and it could be understood
why it might not be excepted. There are ways to incorporate both without

ANNOTATED BIBLIOGRAPHY

neglecting one. For example traditional methods can be used while creating
a composition. In Secondary school my teacher was very effective at
promoting creativity and one of the ways he did it was through a mix of
traditional and new methods to create a composition. The lesson was on
Sonata Allegro Form and we had to make our composition follow that form.
We got to use software like finale to create the mini movement and after the
creation was complete we had to perform it on an instrument of our choice.
This was really effective because we learned the ins and outs of sonata form
through the use of creativity. The best part of this is that we got to use
technology, creativity while learning traditional methods of composition. This
is the type of balance that is needed in the school system. Nothing frustrates
me more than the argument over which one is better Tradition or modern
styles of learning. When in actuality, there both are needed to in todays
education system. If I could say one thing to the author is that its less about
relevancy and more about how we can obtain a balance between the two.

ANNOTATED BIBLIOGRAPHY

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