Supplementary materials for PhD thesis “Musical composition in primary schools: learning with learners"

<p dir="ltr">This dataset comprises the files contained on a CD which was attached to the thesis when it was submitted in 2010. It was uploaded to ORDO in 2025 for preservation purposes. For more information, please refer to the thesis “<a href="https://oro.open.ac.uk/cgi/users/home?screen=EPrint::View&eprintid=63701" target="_blank">Musical composition in primary schools : learning with learners</a>” via ORO.</p><p><br></p><p dir="ltr">List of Audio Extracts</p><p dir="ltr">Track 1: Ideas for 'A Haunted Scene', composed by Katarina and Maya (1.42)</p><p dir="ltr">Track 2: Musical ideas inspired by a football match, composed by Simon and Alex (1.01)</p><p dir="ltr">Track 3: Representing musical ideas using colour and shape, composed by Anna (2.11)</p><p dir="ltr">Abstract</p><p dir="ltr">Surprisingly little is known about how young children compose, and about what affects their experiences of composing, despite the fact that composing has been a compulsory component of the National Curriculum for Music since 1993. As a result of the Music Manifesto (DfES, 2004), and the increase in government-funded initiatives aimed at promoting equal access to formal instrumental music tuition (FIMT), schools are being encouraged to focus their attention on developing pupils' performing skills. This study investigates the extent to which pupils' composing experiences are influenced by extra curricular music activities and FIMT. It seeks to increase our understanding about the process of composing, to investigate the range of skills that 10 and 11-year-old pupils employ and to explore ways in which pupils' self-perceptions as learners might be affected.</p><p><br></p><p dir="ltr">Central to the study is the notion of pupil voice for accessing participants' perspectives and for developing inclusive practice. Clark and Moss' (2008) mosaic approach is adapted to provide a conceptual framework for listening to and empowering pupil voice in an educational setting. Methodologies include innovative participatory techniques such as peer-conducted interviews and pupils' videos. Participants are also encouraged to take an active part in the analysis and interpretation of data.</p><p><br></p><p dir="ltr">Findings suggest that pupils' experiences of composing are influenced by their ability to perform since they regard performing their composition as part of the composing process rather than as a separate activity. Further evidence indicates that teachers and pupils use performance-related criteria to assess and evaluate compositions. Hence, some pupils feel under greater pressure to perform well,rather than to compose well, because they think a good performance will receive more immediate recognition and praise. The fact that composing experiences are also affected by social factors and task design reinforces the importance of group dynamics and structure when designing composing activities.</p>