How to Encourage Children's Creativity Through Music

The premise of my paper is to discuss the impact of music within the classroom while enhancing their learning and creativity. Unfortunately, in our schools we have an emerging crisis arising that many people are ignoring. We have a shortage of music programs in the public schools which are beneficial to the development of our children and their creativity. The school district in which I live has recently slashed the music program by 75 percent. This is a serious problem in my opinion; as the school district has now replaced the music program which was offered 3 times a week, and limited it to only once a week. To add insult to injury they have replaced the music class with computer classes. I do understand the need to teach our children how to use computers, but the appreciation of music and the finer arts has begun to dissolve within the public school system. I am by no means ignoring the fact that computers are important in today's fast paced world, but I am concerned that by the time we realize there is a problem it will be too late to reintegrate music and the fine arts back into the school setting.

I think to understand the impact of creativity we must define what creativity is. There are of course numerous definitions which vary from individual to individual but there are two select definitions that I found which clarify in laymen's terms what creativity is. If you were to ask Howard Gardner, he would tell you that "creativity is the ability to solve problems, create products, or raise issues in a domain in a way that is initially novel but eventually accepted in one or more cultural settings" ( Gardner, 1999 p. 116). According to Best, "creativity is first of all a word about being human down where the uniqueness of individualization and imagination lie, not further up where the culture talk is, up where the statistics, the studies and the sociopolitical pressures are"(Best,1994, p.2). These are both excellent points of view that both claims to have the clear definition of what creativity is. I believe that they are both right in their own way. However, they both have one common denominator, that we should not overlook the amazing abilities of our children who are by far "inherently creative people and are naturals at diversity" (Best, 1994, p. 2). My concerns as previously stated, support the importance of music that we are denying to our children by removing the opportunity to enhance their creativity through music.

It is thought that "higher creative and learning functions" can be observed through the study of music (Eady, & Wilson, p.1). To support my argument, in Howard Gardner's book, Intelligence Reframed, he discusses the "musical intelligence". According to Gardner, music may actually help students learn more and in a more effective manner. Gardner also believes that the musical intelligence directly correlates with linguistic intelligence (Gardner, p. 42). Gardner also correlates mathematical intelligence with music. He feels that the reason for this connection is due to the "patterns" in both music and math. (Gardner, p. 103). It should also be noted that just because a mathematician has an interest in music does not mean that they will in fact play well or be a proficient critic of others. (Gardner, p.103). While there is no guarantee that those who are skilled in mathematics or any other intelligence will excel in music, it doesn't hurt them either. Music can be used for many things, a way to teach and touch the lives of students who may have been at risk or previously unreachable. It can also add a change of pace to the curriculum or just to provide a calm and relaxing environment to learn in.

In a study performed by Weiskoff, researchers examined different outcomes of learning creativity in the educational setting. (Eady & Wilson, p. 1). The study made comparisons "between alternate learning conditions" with the use of "music and no music" in the classroom setting. (Eady & Wilson, p.1). The question researchers sought to answer was in regards to the effect on children's task performance and if music was a motivator in the learning environment (Eady & Wilson, p. 1). According to the conclusions of the study, the results showed that the students who participated in the group in which music was played during academic learning appeared to score higher than those students who did not listen to music during learning. The students in the first group who listened to the music also showed higher levels of motivation than those students in the group without music. (Eady & Wilson, p. 1).

While the research did not measure the achievement factor it did clearly demonstrate that the participating children were motivated by the music. While there are still many questions regarding how imperative this technique may be to the learning enhancement and creativity catalyst, more research must be done. By playing classical musical softly in the classroom we may find that it would be soothing to the students enabling them to concentrate and appeal to their creative side as well. For those students who would find the music to be too distracting, it should be taken into account that there are some instances in which using music would not work or even be beneficial to their learning environment or enhancement of their creativity.

I wanted to find out first hand; how this technique would impact my daycare children. To test this theory, I performed an experiment on my own. I decided that I would try using the classical music in comparison with a rock station and a light rock station with a small group of four children ages 2 to 3 years of age. I did not tell the children what I was trying to accomplish, but I did provide them with several small child size instruments. I laid out a maraca, a tambourine and a toy with bells on it, along with a small piano. I played each station for 30 minutes on the same day.

While this was not a well controlled study, I wanted to see what would happen when children were exposed to different types of music. This was not a controlled study so there are many factors which may have impacted the results. The children may have been experiencing tiredness, hunger or boredom. There are so many variables that it is hard to say without performing multiple observations what the results would be each time.

Unfortunately due to lack of time, I was only able to perform this one day of sampling and observing. If I had wanted to see a wide arrangement of results or consistent results, I would have examined these children and the criteria on several different days. I started with the classical music. I kept the volume low, but loud enough for the children to hear. During the calming effects of the classical music the children were quieter, and did less yelling and running in the house. They were interested in what these new sounds were that they were not familiar with. When I switched to the rock station, I immediately saw a change in the children's behavior.

While listening to the rock station on, I found that the music actually energized them to run and become more wild, yelling and carrying on. With the light rock station, I found that the results were similar to the rock station, it was not as calming to them as the classical music and the children continued to run wild with the influence of the music. While the classical music was more calming, the rock music caused the children to use the instruments in the play area to have a marching band around the living room. They had a tambourine, a maraca, and a toy with bells on it. The piano was not used during this time, but they were clapping and singing on occasion as well. It was very interesting to me the way in which the music impacted the children and their creativity.

I found it to be quite fascinating the way in which the children had no reservations or concerns about appearances, but instead they allowed their creativity to shine through above all else. There is something quite remarkable about the naïveté of young children, how they can remind us that there is more to life than our everyday concerns and problems, but that we can be creative without much preparation or struggle.

In support of my original thoughts, research conducted by Eady and Wilson would assert that music does not "enhance achievement"(Eady & Wilson, p.2). While the use of music within the classroom setting, music may serve as a positive motivator, it should be acknowledged that is does not influence a student's achievement". (Eady & Wilson, p. 2). This research did however provide new insight into the motivation of students. In cases of students who were "almost always unmotivated" in regards to learning, the students actually became motivated due to the influence of music (Eady & Wilson, p. 2). I found this to be true, while there were some types of music that did not motivate the children as much, the faster beats and tempos motivated the children to get up and move.

According to Reifinger, one of the most fundamental skills in music is the ability to "perceive and perform a beat" (Reifinger, 2006, p. 23). However Reifinger's research concludes that the younger the children were involved in and exposed to music the easier it was for them to understand the use of rhythm and beats. It should also be noted that younger children prefer to listen to "faster tempos" in comparison with adults (Reifinger 2006, p.23). With this thought in mind, children should be exposed to a great deal of music with faster tempos to encourage participation and learning, and gradually move them towards a slower tempo selection of music. With these thoughts in mind, the children did not become over achievers, but instead embraced the music with the faster tempo with playing the instruments, clapping and singing a random tune.

The reasoning behind why we should use music is apparent; it has been proven to promote creativity in children among other wonderful traits such as motivation to learn. To reflect upon the positive impact music can have on children, I examine the results from my small study of the children in my daycare setting. The way the children began marching and singing without provocation, the music motivated them to move and take part and show their creative abilities.

While there are many critics who would argue that the use of music is not important I would strongly disagree with them. The way that I view music and its influence on children's creativity is substantial and should not be ignored. Music can be many things to many different people, it can serve as a catalyst or a provocation to enrich and nurture the creativity in a young mind. The one thing that is certain is that music has been prove to motivate those who cannot be reached and those young creative minds who are seeking to expand their creativity and knowledge.

Other research shows that using music when teaching reading skills to students can be highly beneficial the students. In a similar study conducted by Albert Tucker, he found that the use of musical influence when teaching reading can "enhance the motivation and the abilities of children". (Eady & Wilson, p. 2). Tucker emphasizes that the music should be "fused" with reading and music to involve both the left and right brain (Eady & Wilson, p. 2). According to research performed by Garfererick, "music has elements of both left and right brain functions" (Garfererick, P. 1). There are some critics who would insist that when we respond to a song or music in an emotional sense, this is a "right brain function" (Garfererick, p. 1). As for the left side function of the brain, this is the "structure of the music and rhythm is mathematical in its design" (Garfererick, p. 1).

In Lapidki's essay she shares an interview which she conducted with Boulez, and shares the insight provided by that interview regarding Boulez's opinion about intelligence and creativity. "Creativity mechanisms are nothing without imagination, but they are also nothing without the training that immeasurably strengthens then and perpetually enriches the means at their disposal. (Lapidaki, p. 97). Boulez continues on to say that "a great part is played by the imagination, which is the most irrational of our faculties. Why should our imaginations carry us at some given moment in one direction rather than another? This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable role" (Lapidaki, p. 97). With these thoughts in mind, we have a lot to learn from the innocence of children. They are not aware for the most part of their creativity, they are just having fun and being creative without the conscious realization that they are actually learning with the assistance of music.

Lapidaki would like the audience to understand that the "creative process is an elusive cultural activity with no recipes for making it happen". (Lapidaki, p. 106). We should not assume that we can make creativity out of nothing; there must be a premise from which it arises, an idea or an inspiration. It is my opinion that we can be as creative as we chose to be, or not to be. However, when we expect the creativity to come at a moment's notice or on a whim, we may then see that we cannot always control our creativity as we would a light switch. Creativity is not a fluid item; it is an inner ability which we derive our passion and desire for producing new ideas and problem solving from. We must also examine the fact that we are unique individuals and must expect that we may require different attention than our counterparts, as no two humans are exactly alike.

Lapidaki suggests the use "extra musical images" in teaching and contributing to musical creativity. (Lapidaki, p. 100) .Some of the types of images that have been used to enhance the musical creativity are images of mathematical configurations or astronomy. It is believed by some that these types of science have a direct correlation with musical intelligence. There are simple and very clear ideas of what can improve the creativity in our children with the influence of music as a guiding light. I cannot reiterate enough the importance of enhancing the creativity in children through the influence of music. While we may not have complete control over our creative abilities at all times, we may be able to enhance them with "extra musical images" as suggested by Lapidaki (p.100).

Lapidaki warns that while self observation is important to the "complementary roles of the conscious and unconscious aspects of musical creativity", that not all aspects are covered under this thin veil of research. There are of course many contradictory opinions and research to state otherwise. While some critics might argue that there may be moments of "instinct, intuition or insight "may have a significant importance in relation to creativity (Lapidaki, p. 97). While the counter point to that statement would suggest that creativity is "little more than building on an initial intuition or insight"(Lapidaki, P.97). The middle ground on this premise would assert to us that instead of "pulling in one direction regarding either of the opinions", that we should acknowledge that these things obviously occur but take each side into account for the potential insight that may be offered.

In a different study performed by Chan, he examined the use of music in the school system with gifted children. While that is the primary premise of his research, I feel that the information gained by the insight provided by Chan can benefit more than just the gifted students. Chan found that children who are musically creative tend to show the ability to retain a song without intention. They are also able to play it back, either with an instrument or by singing. In more specific terms, the study examined whether or not students work while or after listening to music could be measured or shows an indication of musical talent.

According to Chan, the country of Hong Kong has made significant changes to reform their educational system by integrating the use of music in learning for students. With the use of music in their educational curriculum, it promotes their intellect, emotional and creative growth. (Chan, p. 34). The change in curriculum is based upon well grounded and substantial research which shows " improvements in learning, spatial reasoning, and verbal memory" with the use of music in the curriculum (Chan, p. 34). Within this same research it has also been found that students who are allowed to participate in the learning experience with the use of music are more likely to behave in the class and have a better attitude. (Chan, p. 35).

In research performed by Garfererick the researchers examine the connection between affect and emotion and the role which they play in creativity (Garfererick, p. 1). Among a panel of experts most agreed that individuals who are considered to be "high creative's" under specific circumstances would be highly productive in their results. (Garfererick, p. 1). Those students who had utilized their creativity in their childhood were more likely to become productive and more creative throughout their adulthood.

One of the leading programs in the United States which is setting a standard for academic excellence with the use of music in the curriculum is the LTRTA program. The LTRTA or Learning to Read through the Arts program has been a successful counterpart to the curriculum in several schools throughout the United States. There are currently over 30 states that use this method. (Collett, p.4). The program was initially designed to teach reading, writing, thinking and communication arts to students who were considered at risk (Collett, p. 1). The program was created in New York and used to teach students who were unable to read through "traditional means" of learning. (Collett, p.1). This creative method of teaching conventional skills has proven its methodology by its track record of success. The students benefit greatly in their creative mindsets due to the outside of the box strategies used in the LTRTA program.

One of the ways that students learn through this program is based upon the "combination of arts and regular academics" (Collett, p. 2). When the students are exposed to music in the courses they take, with the emphasis of learning on the use of music and other forms of art. The primary teachers reinforce the curriculum and the use of music, while the music teacher provides an additional hour per week of music class to enhance what the students are learning.

The LTRTA has been a successful program in which the teachers use relative material in conjunction with music. The subjects that are taught with the arts are classes such as: "language arts, science, and social studies" (Collett, p.2). The methods in which the teachers use have been "proven to increase the student's musical skills and improve their reading and writing abilities" (Collett, p.2).

One of the reasons that this program works so well is the excitement that the children experience from being able to participate in this innovative program. The children learn through all of their senses, it is about critical thinking and creativity more than it is about the music. The music is critical for the program to work, but it's essential to teach the students a new way to perceive and learn the information, so that they can comprehend what they are learning. It has also been found that this method can produce higher levels of creativity among the children.

In the research performed by Stevens, the results entail the advantages of allowing the students to teach themselves. The way Stevens accomplished this was to allow the students to have structured music lessons with free time playing. By allowing the students the opportunity to create music that is appealing to them, offers them the chance to use their creative abilities (Stevens, p. 44). Previous research conducted by people such as Klugman and Piaget, found substantiating evidence that children learn best through play. "While playing children actually exhibit behaviors that are more advanced than their actual development level , which in essence stretched their learning abilities" (Stevens, p. 45). By providing this type of opportunity, of allowing children to play and learn unconsciously, they are able to "develop further" (Stevens, p. 44).

Stevens reports that with minimal guidance that students have used the "free-play activities to form a deeper understanding as they organize sounds into patterns, songs and dramatic expressions" (Stevens, p. 44). Stevens asserts that by taking less of an authoritarian role in the classroom can be beneficial to the students learning new tasks. This helps the students use the knowledge which they have acquired from the last lesson to apply it to their new set of learned skills. The best way to describe this is a dot to dot, in which as the skills build another dot is connected to another, and so forth. "Developing children's creativity is vital because it helps children to make connections between different areas of learning and helps to underpin the whole curriculum" (Knight 2000, p. 1).

Christine Brown examines the ways in which students will learn best in regards to music and enhancing their creativity. Brown asserts that "while some students prefer learning in a linear, rule oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works" (Brown, p.1). Brown also notes that "knowledge resulting from learning is not always what was intended or planned" (Brown, p.2). This reinforces the premise that children tend to learn best in settings which are comfortable and the curriculum is not forced upon them. Gardner would also assert that for children to be tested or observed in relation to creativity or intelligence, that they should be comfortable in their environment. Children music are playful by nature and tend to enjoy experimentation which only enhances their creativity, therefore produces knowledge on many levels without their conscious realization. However with these principles in mind, the skills should be age appropriate, and not be too loaded with overwhelming information that may discourage learning in children.

Reifinger discusses the positive influence in musical creativity in children who have been exposed to music since an early age. To gain better understanding from the knowledge of the children, the instructors asked each of the children to draw a picture to help them "remember" and better understand the rhythm of the music that they had listened to. The results concluded that the children were able to draw symbols that were representative of the sounds they had audibly observed. The use of this type of exercise is useful in helping students understand complex patterns in a simplified fashion. Reifinger asserts that there are three ways in which "individuals acquire and improve their rhythmic skills. These three methods are: 1). Maturation, 2). Acculturation; and 3). Active learning (Reifinger 2006, p. 25).

Maturation is of course the development of musical skills which begin to develop during childhood but need further "training" to be enhanced (Reifinger 2006, p.25).Acculturation is the exposure to music at an early age. Reifinger notes that some children of course grow up in environments which limit the desired exposure to musical influence. However, any form of music can be beneficial to young children. This especially speaks true about music with beats and fast tempos which appeal to children. The children must view the experience as a "musical event" rather than an "intellectual or motor exercise" (Reifinger 2006, p. 25). Active learning should be used to better inform researchers and teachers as to the benefits and implications of using music in the classroom setting. They should also utilize this information to help improve the "rhythmic skills in children" which will in turn provide a better understanding of the complexities of music which will increase their overall creativity (Reifinger 2006, p. 25).

"Musical artistic ability is known to be a multilevel system of complex organization determined by both natural and psychophysical factors, as well as a whole set of personality properties which develop throughout the whole of a human's life" (Dmitrieva 2003, p. 53). The research performed by Dmitrieva bases the premise upon the theory that those children with higher "emotionality" tend to be more musically talented and creative. Emotionality is also said to be "one of the most important characteristics of musicality" (Dmitrieva 2003, p. 54). This is why we must not ignore the behaviors and feelings of our children, in some cases we may be ignoring their inner creativity.

Throughout this essay, there have been many different assertions as to what makes creative children enhanced by musical influences. While there may be a great deal of speculation within this field, one thing is clear; music can be highly beneficial in the lives of children especially in regards to their creativity. Music and creativity should be fused to produce the most beneficial results within the learning environment.

While there are some schools within the United States utilizing programs such as the LTRTA not enough is being done to promote creativity within our children through the use of music. The process of incorporating music with general education curriculum is not a new concept, it is instead highly overlooked by many educators. Unfortunately this is why we are seeing a decrease in the finer arts such as music to be replaced by computer classes. The creativity of our children is no longer being valued but instead being ignored for technical skills.

There are many ways that we can enhance our children's creativity even within our own homes and learning environments. We can use different types of music to motivate our children into a learning frame of mind. Substantial evidence has been provided to demonstrate the importance of musical influence on our children's creativity. We can also offer comfortable learning environments and opportunities to express individual creativity.

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