Prediction of Musical Creativity in Composition Among Selected Variables for Upper Elementary Students

The primary purpose of the study was to examine the best predictors of musical creativity in composition among selected variables for upper elementary students. The selected variables were formal and informal musical experiences, musical self-esteem, musical aptitude, musical achievement, academic grades, IQ, and gender. Relationships between musical creativity in composition and the selected variables were also examined. Subjects were 67 fifth- and sixth-grade students enrolled in a public elementary school. Musical creativity of students was measured by a composition task. The individual students were asked to make up a song on an Orff alto-xylophone within 10 minutes. When they finished making up a song, they were asked to play the song and repeat it exactly the same. Three judges rated the compositions for five dimensions using 7-point rating scales. The composition dimensions were Craftsmanship, Musical Syntax, Musical Originality, Musical Sensitivity, and Repetition of Song. Students also completed the following measures: the Musical Experiences Questionnaire devised by the investigator, the Self-Esteem of Musical Ability by Schmitt (1979), the Musical Aptitude Profile by Gordon (1988), and the Music Achievement Test by Colwell (1968). The results were as follows: 1. Compositional creativity was significantly related to informal musical experience, musical aptitude-tonal, musical achievement-pitch, and academic grades. 2. The best predictors of compositional creativity were informal music experience, musical achievement-pitch, and academic grades, which together accounted for 25% of the variance in total composition ratings. In addition, musical aptitude-tonal was one of the best predictors when the individual composition dimensions were considered. 3. The strongest predictor of compositional creativity was informal musical experience, which alone accounted for 11% of the variance in total composition ratings. The findings on informal musical experience support Sherman's (1991a) notion that students' musical experience outside school is the main source of their creative involvement in music. Implications for teaching were that music teachers should (a) encourage students to enjoy creating music at home or outside school with friends and family members; and (b) emphasize the joy of music-making in class.