الگوی کاربردی پرورش خلاقیّت کودکان از طریق موسیقی توسط معلّمان غیرمتخصّص در مدارس ابتدایی (با اتّکا به تجارب آموزشی و نوآوری های موسیقایی جان کیج )
محورهای موضوعی : خلاقیت و نوآوری از جنبه‏های روان‏شناختی، علوم شناختی، علوم تربیتی و آموزشی (خلاقیت شناسی روان‏شناختی، خلاقیت شناسی پرورشی)
1 - کارشناسی ارشد پژوهش هنر، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران
2 - دانشیار گروه پژوهش و تاریخ هنر، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران
کلید واژه: الگوی پرورش خلاقیّت, پرورش خلاقیّت از طریق آموزش موسیقی, پرورش خلاقیّت کودکان دبستانی, جان کیج,
چکیده مقاله :
زمینه: نظر به اهمیّت خلاقیّت در توسعه جهانی و تأکیدبر پرورش آن در سنین کودکی و نقش هنر در شکوفایی آن ازیک سو و ابراز نگرانی ها مبنی بر بحران خلاقیّت و فقدان درک آن در مدارس، ازدیگرسو، لزوم ارائۀ راهکارهایی نو و کاربردی را در عصر حاضر ایجاب کرده است. هدف: پژوهش حاضر درصدد طراحی الگوی موسیقایی کارآمد برای پرورش خلاقیّت دانش آموزان دبستانی با قابلیّت کاربست توسط معلّمان غیرمتخصّص ایرانی و اعتبارسنجی آن است. روش: این پژوهش از سه مطالعه پی درپی استفاده کرده است. مطالعات پیمایشی اول و دوم، در راستای طراحی الگوی مدنظر، شامل سنجش قابلیّت اجرایی شیوه آموزشی هنرمندان در پرورش خلاقیّت با مفاهیم موسیقایی و تجارب آموزشی جان کیج، موسیقی دان و معلّم برجسته قرن بیستم، در دو مرحله پرسش نامه محقق ساخته به روش دلفی، مورد ارزیابی متخصّصین سه حوزه آموزش و پرورش، هنر و موسیقی، بود. در مطالعه آزمایشی سوم با هدف اعتبارسنجی الگوی مزبور، اجرای آن توسط یک معلّم غیرمتخصّص، بر روی گروهی از دانش آموزان دختر اول ابتدایی، به همراه پیش و پس آزمون فرم الف آزمون تصویری خلاقیّت تورنس اجرا شد. یافته ها: یافته ها نشانگر پذیرش برخی از ابعاد الگوی آموزشی هنرمندان و راهبردهای آموزشی مبتنی بر تجارب جان کیج در قالب یک مجموعه راهبرد جهت اجرا در مدارس ایرانی بر اساس اجماع متخصّصان و همچنین نتایج مطالعه سوم نیز حاکی از وجود اختلاف معنادار میان گروه آزمایش دارای تجارب موسیقایی و کنترل در مؤلفه های خلاقیّت، سیالی، ابتکار، انعطاف و نمره کل خلاقیّت به جز نمره بسط بود. نتیجه گیری: تحلیل ها نشانگر کارآمدی الگوی مذکور بر پرورش خلاقیّت کودکان دبستانی و کاربستش توسط معلّمان غیرمتخصّص در محیط آموزشی ایران می باشد.
Background: Considering the significance of creativity in global development, the emphasis on its development at an early age, and the role of art in its flourishing on the one hand and the concern about “the Creativity Crisis” and lack of understanding concerning creativity in schools on the other hand, necessitate innovative and applied solutions in the present age. Objective: The present study aims to provide an applied pattern for promoting the creativity of elementary school students through music experiences with usability by Iranian non-specialized teachers and its validation. Method: This research has been conducted in three studies. In order to design the intended pattern with the applicability by non-specialized teachers in elementary schools, first and second surveys include assessing the implementation of the artists’ educational practices in the creativity development with musical concepts and Cage’s pedagogical experiences, the prominent musician, teacher of the 20th century, which were evaluated by two rounds of a self-made Delphi questionnaire with concepts and pedagogical practices used to fostering creativity, and determined by experts in three areas of education, art, and music. The third Experimental research, with the purpose of validating the discovered pattern, was conducted by a non-specialist teacher on a group of primary girl students, with a pre-post test of Torrance Creative Thinking Test (TTCT; figural version of form A). Results: The findings indicate acceptance of some dimensions of the artist's educational model and Cage’s pedagogical experiences as a set of strategies for implementing in Iranian schools, according to experts and the third study also showed the significant difference between experimental and control group on creativity dimensions, fluidity, originality, flexibility, and the overall creativity score except expandability. Conclusion: The analyzes indicate the effectiveness of the intended pattern on the creativity development of primary school children and its use by non-specialized teachers in the educational environment of Iran.
حسینی، افضلالسادات و محمدزاده، سیده زهره. (1395). اثربخشی برنامه آموزش خلاقیّت در قالب فعالیتهای هنری بر رشد خلاقیّت دانشآموزان. ابتکار و خلاقیّت در علوم انسانی، شماره 1، 109-130.
صابری، افسانه. (1396). تأثیر آموزش موسیقی بر خلاقیّت دانشآموزان. نامه هنرهای نمایشی و موسیقی، شماره 14، 103- 116.
عسگری، محمد و احمدی طهورسلطانی، محسن و یلفانی، ناهید. (1393). اثربخشی آموزش نمایش خلاق بر خلاقیّت دانشآموزان پیشدبستانی شهر همدان. ابتکار و خلاقیّت در علوم انسانی، شماره 4، 35-54.
قاسمتبار، نبیالله. (1395). طراحی و اعتبارسنجی الگوی برنامۀ درسی موسیقی دورۀ پیشدبستانی ایران. تهران: دانشگاه خوارزمی، دانشکده روانشناسی و علوم تربیتی، رساله دکتری.
لرکیان، مرجان و مهرمحمدی، محمود و ملکی، حسن و مفیدی، فرخنده. (1390). طراحی و اعتباربخشی الگوی مطلوب برنامه درسی هنر دوره ابتدایی ایران. مطالعات برنامه درسی ایران، شماره 21، 123- 163.
میرطالبی، بهناز و کریمی، عبدالعظیم و موسوی، سید یعقوب. (1394). بررسی تأثیر آموزش موسیقی بر رشد خلاقیّت کودکان. همایش ملی روانشناسی و مدیریت آسیبهای اجتماعی.
یارمحمدی واصل؛ مسیب و نوشادی، بهناز و مقامی، حمیدرضا و بهرامی، آرش. (1395). مطالعه تأثیر آموزش روش کاوشگری بر تفکّر انتقادی در درس علوم تجربی. ابتکار و خلاقیّت در علوم انسانی، شماره 2، 159- 174.
Adjerakor, G. J. (2016). The Role of Musical Arts in Early Childhood Education: A Study of some Selected Early Childhood Centres-in the Krachi East District. Winneba: University of Education.
Amoaku, W. K. (1982). Parallelisms in traditional African system of music education and Orff Schulwerk. African Music, 6(2), 116-119.
Bernstein, D. W. (2014). John Cage's Cartridge Music (1960):‘A Galaxy Reconfigured’. Contemporary Music Review, 33(5-6), 556-569.
Bronson, P. & Merryman, A. (2010). The Creativity Crisis. Newsweek [online]. Available from: http://www.newsweek.com/ creativity-crisis-74665 [Accessed on 10 August 2017].
Byun, YH. & Hyun, EJ. (2004). The effects of an arts education program using picture-books on young children’s creativity. Korean Journal of Early Childhood Education, 24(5), 311-336.
Cage, J. (1961). Silence: lectures and writings. Connecticut: Wesleyan University Press.
Cage, J., Kirby, M. & Schechner, R. (1965). An Interview with John Cage. The Tulane Drama Review, 10(2), 50-72.
Cage, J. (1967). A year From Monday. Connecticut: Wesleyan University Press.
Cage, J. (1970). Song books: solos for voice 3-92 (2 volume). New York: Henmar Press.
Campbell, I. (2015). Experimental practices of music and philosophy in John Cage and Gilles Deleuze. England: Kingston University.
Catterall, J. S. & Peppler, K. A. (2007). Learning in the visual arts and the worldviews of young children. Cambridge Journal of Education, 37(4), 543-560.
Confederation of British Industry. (2013). Schools Produce Exam Robots, Says CBI Chief [online]. Available from: https://www.thetimes.co.uk/article/schools-produce-exam-robots-says-cbi-chief-3jlv6j8t5zb [Accessed on 10 August 2017].
Cox, G. (1992). Towards the National Song Book: The History of an Idea. British Journal of Music Education, 9(3), 239-253.
Cox, C. & Warner, D. (Eds.). (2004). Audio culture: Readings in modern music. London: A&C Black.
Cronin, J. (2011). Excavating the Future: Taking an ‘Archaeological’approach to technology. Interdisciplinary Science Reviews, 36(1), 83-89.
DES. (1967). Primary Education in Wales. Report of the Central Advisory Council or Education (Wales). London: HMSO.
DiMartino, D. (2016). Music in the 20th Century (4 Vol Set). London: Routledge.
Dora To, L. W., Phoebe Chan, Y. L., Lam, Y. K. & Tsang, S. K. Y. (2011). Reflections on a primary school teacher professional development programme on learning English through process drama. Research in Drama Education: The Journal of Applied Theatre and Performance, 16(4), 517-539.
Dudek, S. Z. & Cote, R. (1994). Problem finding revisited. In M.A Runco (Ed.), Problem Finding, Problem Solving, and Creativity (pp. 130-150). Norwood, NJ: Ablex.
Fetterman, W. (1991). John Cage's theatre pieces: notations and performances, Doctoral dissertation. New York: New York University.
Free, M., Nalder, G. & Fullarton, L. (2009). Primary focus–A partnership model for artists in schools. Australian Art Education, 32, 1-14.
Gagné, N.V. (2011). Historical dictionary of modern and contemporary classical music. Lanham, Maryland: Scarecrow Press.
Gann, K. (2010). No such thing as silence: John Cage's 4'33. Connecticut: Yale University Press.
Glover, J. & Ward, S. (eds). (1998). Teaching Music in the Primary School 2/e. London: A&C Black.
Griffiths, M. & Woolf, F. (2009). The Nottingham apprenticeship model: Schools in partnership with artists and creative practitioners. British Educational Research Journal, 35(4), 557-574.
Guilford, J. P. (1967). Creativity: Yesterday, today and tomorrow. The Journal of Creative Behavior, 1, 3-14.
Hall, C. & Thomson, P. (2017). Creativity in teaching: what can teachers learn from artists?. Research Papers in Education, 32(1), 106-120.
Hallam, S., Cross, I. & Thaut, M. (Eds.). (2011). Oxford handbook of music psychology. United Kingdom: Oxford University Press.
Hallam, S. (2016). The Impact of Actively Making Music on The Intellectual, Social and Personal Development of Children and Young People: A Summary. Paper presented at the Voices: A World Forum for Music Therapy.
Hargreaves, D. H. (1998). Creative professionalism: The role of teachers in the knowledge society (Vol. 22). Demos.
Haskins, R. (2012). John Cage and Anarchism: Notes on Sources and Musical Evocations [online]. Terz 5, Available from: www.terz.cc/magazin.php?z=246&id=264 [Accessed on 20 August 2017].
Henriksen, D., Mishra, P. & Fisser, P. (2016). Infusing creativity and technology in 21st century education: a systemic view for change. Journal of Educational Technology & Society, 19(3), 27-37.
Holden, H. & Button, S. (2006). The teaching of music in the primary school by the non-music specialist. British Journal of Music Education, 23(1), 23-38.
Hui, A. & Lau, S. (2006). Drama education: A touch of the creative mind and communicative-expressive ability of elementary school children in Hong Kong. Thinking skills and creativity, 1(1), 34-40.
Hui, A., He, M. WJ. & Liu, E. S. Ch. (2013). Creativity and early talent development in the arts in young and schoolchildren Creativity, talent and excellence (pp. 75-87): Springer.
Hui, A., He, M. WJ. & Ye, Sh. S. (2015). Arts education and creativity enhancement in young children in Hong Kong. Educational Psychology, 35(3), 315-327.
Jaeger, P. (2013). John Cage and Buddhist Ecopoetics: John Cage and the Performance of Nature. London: A&C Black.
Joseph, B. W. (2009). Chance, indeterminacy, multiplicity. The anarchy of silence: John Cage and experimental art, 210-238.
Jusczyk, P.W. & Krumhansl, C.L. (1993). Pitch and rhythmic patterns affecting infants' sensitivity to musical phrase structure. Journal of experimental psychology: Human perception and performance, 19(3), 627-640.
Klintberg, B. A. (1991). Den Vandrande Njuren. The Traveling Kidney."] ExpressenMay, 26(4).
Kotz, L. (2001). Post-Cagean Aesthetics and the" Event" Score. October, 95, 55-89.
LaBelle, B. (2015). Background noise: perspectives on sound art. United States: Bloomsbury Publishing USA.
Leong, S. (2010). Creativity and assessment in Chinese arts education: Perspectives of Hong Kong students. Research Studies in Music Education, 32(1), 75-92.
Marter, J. M. (Ed.). (2011). The Grove encyclopedia of American art (Vol. 1). United States: Oxford University Press.
Mills, J. (2009). Music in the primary school. Cambridge: Cambridge University Press.
Moga, E., Burger, K., Hetland, L., & Winner, E. (2000). Does studying the arts engender creative thinking? Evidence for near but not far transfer. Journal of Aesthetic Education, 34(3/4), 91-104.
Nicholls, D. (2002). The Cambridge Companion to John Cage. United Kingdom: Cambridge University Press.
Oreck, B. (2000). Artistic Choices: How and Why Teachers Use the Arts in the Classroom. Paper presented at the American Educational Research Association Annual Meeting, New Orleans: LA.
Oreck, B. (2004). The artistic and professional development of teachers: A study of teachers’ attitudes toward and use of the arts in teaching. Journal of Teacher education, 55, 55-69.
Pagnutti, A. (2013). Receptive Combines, Compositions, and Crowds: The Radio-Works of Robert Rauschenberg and John Cage. New York: Sotheby's Institute of Art-New York.
Parnes, S. J. & Noller, R. B. (1972). Applied creativity: The creative studies project. The Journal of Creative Behavior, 6, 164-186.
Perloff, M. & Junkerman, C. (Eds.). (1994). John Cage: Composed in America. United States: University of Chicago Press.
Pitts, S. E. (2017). What is music education for? Understanding and fostering routes into lifelong musical engagement. Music Education Research, 19(2), 160-168.
Pritchett, J. (1996). The Music of John Cage (Vol. 5). United Kingdom: Cambridge University Press.
Prummel, J. (2006). Het deurenpaleis, over creativiteit en onderwijs [The Palace of Doors, about Creativity and Education]. Brussels: CANON Cultuurcel.
Renzulli, J. S. (1992). A General Theory for the Development of Creative Productivity through the Pursuit of Ideal Acts of Learning1. Gifted child quarterly, 36(4), 170-182.
Robinson, K. (2011). Out of our minds: Learning to be creative. New York: John Wiley & Sons.
Runco, M. A. (2004). Creativity. Annual Review of Psychology, 55(1), 657–687.
Sandford, M. (Ed.). (2003). Happenings and other acts. London: Routledge.
Seddon, F. & Biasutti, M. (2008). Non-music specialist trainee primary school teachers’ confidence in teaching music in the classroom. Music Education Research, 10(3), 403-421.
Shaw, W. (1952). Music in the Primary School. London: Denis Dobson.
Shaw‐Miller, S. (1996). ‘Concerts of everyday living’: Cage, Fluxus and Barthes, interdisciplinarity and intermedia events. Art History, 19(1), 1-25.
Shim, S. Y. & Moon, S. Y. (2015). Association between teachers' conceptions of art education and children's creative personality-mediating effects of teachers' role of creativity improvement. Korean Journal of Childcare and Education, 11, 109-125.
Stanford, C.V. (1908). Studies and memories. London: A. Constable and Company Limited.
Starko, A. J. (1995). Creativity in the classroom: Schools of Curious delight. New York: Longman.
Steers, J. (2009). Creativity: delusions, realities, opportunities and challenges. International Journal of Art & Design Education, 28(2), 126-138.
Sternberg, R. J. (1988). The nature of creativity: Contemporary psychological perspectives. Cambridge: CUP Archive.
Sternberg, R. J. & Lubart, T. I. (1991). Creating creative minds. The Phi Delta Kappan, 72, 608-614.
Sternberg, J. R. & Williams, M. V. (1996). How to develop student creativity, association for supervision and curriculum development. Virginia: Alexandria.
Sternberg, R. J. (1999). Handbook of creativity. United Kingdom: Cambridge University Press.
Timmerman, P. (2015). Uncaged: Buddhism, John cage and the freeing of the World. Canadian Journal of Buddhist Studies, (5).
Tinkle, A. (2015). Sound Pedagogy: Teaching listening since Cage. Organised Sound, 20(02), 222-230.
Torrance, E. & Myers, R. (1970). Creative teaching and learning. New York: Dodd Mead.
Torrance, E. (1972). Can we teach children to think creatively?. The Journal of Creative Behavior, 6, 114-143.
Van Ransbeeck, A. (1996). Muzische vorming. Bijlage bij de Gids voor het Basisonderwijs [Artistic Education. Appendix with the Guide for (Pre-) Primary Education]. Diegem: Kluwer Editoria.
Williams, F. E. (1969). Models for encouraging creativity in the classroom by integrating cognitive-affective behaviors. Educational Technology, 9, 7-13.
_||_
