Clint Randles is Professor of Music Education at the University of South Florida School of Music and recipient of the 2015 Michael L. Mark Music Research Award for outstanding research by an early career scholar/researcher, issued by the University of Michigan. Randles teaches “Creative Performance Chamber Ensemble” at the undergraduate level, and “Philosophical and Historical Perspectives in Music Education” and “Qualitative Methods in Music Teaching and Learning” at the graduate level for students in the College of the Arts since 2010. He also teaches classes for students with disabilities in a community music outreach sponsored by Arts4All Florida.His research interests include reconceptualizing music teachers as music producers, and providing music teachers with ways of applying recording arts and songwriting to manifestations of multiple creativities in the music classroom. Randles has presented papers at state, national, and international conferences in the US, Canada, Brazil, Egypt, England, Ireland, Finland, China, Australia, and New Zealand. He has articles (24) published in many of the top journals in music education. Randles has published 14 book chapters in numerous handbooks for Oxford, Routledge, CMEA, GIA, R
The purpose of this study was to explore the reliability of measures of both individual and group... more The purpose of this study was to explore the reliability of measures of both individual and group creative work using the consensual assessment technique (CAT). CAT was used to measure individual and group creativity among a population of pre-service music teachers enrolled in a secondary general music class (n = 23) and was evaluated from multiple perspectives for reliability. Consistency was calculated using Cronbach's alpha. Judges were found to be highly consistent for individual creativity (α = .90), individual craftsmanship (α = .87), group creativity (α = .86) and group craftsmanship (α = 81). Judges were much less consistent with their ratings of aesthetic sensitivity for individual compositions (α = .67) or group performances (α = .69). Absolute agreement was calculated by using intraclass correlation coefficient (ICC). Judges were found to be highly in agreement for individual creativity (α = .79), individual craftsmanship (α = .83), group creativity (α = .87) and group craftsmanship (α = 83). Judges were much less in agreement with their ratings of aesthetic sensitivity for individual compositions (α = .57) or group performances (α = .71). Judges ratings for individual creativity were consistent over time, as evidenced by test–retest reliabilities of .89 (creativity), .83 (craftsmanship) and .79 (aesthetic sensibility). Results indicate, in agreement with prior research, that CAT is a reliable measure of creativity. The researchers introduce the idea that absolute agreement might be a worthwhile construct to explore in future work in the measurement of creativity in music education.
In this article, the author explores philosophically the possibility of a connection between musi... more In this article, the author explores philosophically the possibility of a connection between music teacher socialization and the work of Joseph Campbell in comparative mythology. Campbell’s “hero’s journey” provides a way of viewing the life of the apprentice music teacher. The process of ritual, following the general theme of separation–initiation–return, where the protagonist leaves the ordinary world to enter the special world where adventure happens, followed by a return to the ordinary world in an altered—changed—state, is proposed to be akin to the struggles of the apprentice teacher. Christopher Vogler’s 12 subcategories of the hero’s journey are used to frame the journey of the apprentice teacher.
Update: Applications of Research in Music Education, 2012
This article is a review of relevant literature on the use of phenomenology as a research methodo... more This article is a review of relevant literature on the use of phenomenology as a research methodology in education research, with a focus on music education research. The review is organized as follows: (a) general education, (b) music research, (c) music education research, (d) dissertations, (e) important figures, (f) themes, and (g) the future. The article concludes with a synthesis of the existing research that attempts to provide suggestions for applying the results to current research practice. The purpose of this literature review is to examine recent scholarship that uses phenomenology and to make recommendations for which areas of the teaching and learning of music might benefit most from this methodology in the future.
Composition pedagogy is explored from the perspective of a composer and a music teacher educator ... more Composition pedagogy is explored from the perspective of a composer and a music teacher educator in this article. The primary goal is to help practicing music teachers develop strategies that will encourage students to create original music. The authors provide reflection about the process of helping students compose on the basis of personal experience composing and teaching young composers, via the work of leading scholars in music education and by using narrative excerpts and musical examples. Key strategies are identified that contribute to the successful teaching of composition, particularly at the beginning, middle, and the end of musical compositions. Contributing most notably to this discussion is the use of terminology in teacher feedback.
This article considers the personal reflections of an undergraduate music education major on both... more This article considers the personal reflections of an undergraduate music education major on both the significance of his experience as a participant in the Seventh International Symposium on the Sociology of Music Education, held at Michigan State University, in the United States, in June 2011, and on his place as a pre-service music teacher poised to enter the profession. The first author’s reflections regarding what the conference meant to him as a future music educator has implications for individuals who help prepare the next generation of music teachers, and scholars in all fields who desire for their work to reach a particular audience that could benefit from their work. The article takes the form of a personal narrative reflection, not generalizable to all populations of undergraduate music education majors, but certainly transferable to similar situations where undergraduates are considering waves of change in degree requirements and curricular expansion.
ABSTRACT The purpose of this study was to examine and compare the creative musical identities of ... more ABSTRACT The purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the US and Australia. This work builds on prior work that has employed similar procedures with pre-service music teachers (PSMTs) in England and Finland. As in prior research, the creative identity in music (CIM) measure was utilised with both the US and Australian PSMT populations (N = 298). Items of CIM relate to music-making activities often associated with creativity in music education in the literature, including composition, improvisation, and popular music performance. Results suggest that the CIM is a valid tool for measuring creative identity as defined by the researchers. Furthermore, while both populations of pre-service teachers are similarly willing to allow for creativity in the classroom, as measured by CIM Sub-Scale #3, research findings suggest that Australian PSMTs indicate a stronger degree of creative music-making self-efficacy (p < .0001), value the areas of creative identity as measured by CIM to a significantly greater extent (p < .0001), and value the use of popular music listening/performing within the learning environment to a significantly greater extent (p < .0001) than US PSMTs.
The purpose of this study was to validate a measure of creative identity with a population of pre... more The purpose of this study was to validate a measure of creative identity with a population of pre-service teachers in the USA, to further validate the measure with a Finnish population, and to compare both populations regarding their perceptions of themselves as creative musicians. The researcher developed a tool, the Creative Identity Measure (CIM), based on the work of Isbell (2007) to examine this area. The specific research questions were as follows: 1. What factors can explain creative identity in music? 2. What is the internal consistency within the factors that explain creative identity in music? 3. Do differences exist between the two populations with regard to each sub-scale? Results of factor analysis reveal that the CIM can be meaningfully divided into four sub-scales with a US population (n = 159) and a combined US and Finland population (n = 277). Significant differences were discovered for sub-scales one (Creative Music Making Self-Efficacy), two (Value of Creative Mus...
The purpose of this study was to compare the creative musical identities of pre-service music edu... more The purpose of this study was to compare the creative musical identities of pre-service music education students in the United States and England. A 20-item survey was created based on previous work in the area of music teacher identity (Isbell, 2008). Survey items related to music making activities typically associated with creativity in music education, including composition, improvisation, popular music, and ‘new music’ ensemble participation, were completed by students ( n = 159) from nine different universities in the United States and nine universities in England. Findings suggest that pre-service music education students in the US feel less confident about their abilities to compose music, less comfortable teaching composition, and are less likely to plan on ‘teaching students to compose/improvise their own original music when [they] get a job as a music teacher’ than their English colleagues. Differences in primary and secondary socialization are proposed to account for the ...
In this article I attempt to redefine the role of a music teacher as being more than a director, ... more In this article I attempt to redefine the role of a music teacher as being more than a director, the more traditional term ascribed to this position. I do this by using descriptions of the role of writer and producer of student lives barrowed from music education philosophy, screenwriting, and professional music producers. This vision is centered on the principle that instilling a creative identity in the lives of music students should be the top priority of the music education profession. By thinking of themselves as the writers and producers of student lives, music teachers will adopt a creative identity themselves that can in turn be shared with students. By adopting these unique roles, the music teacher might experience a sense of meaning and purpose in their teaching that is akin to the composer. In essence, teachers who live out these roles in their teaching create purposeful and meaningful professional lives for themselves, something that can be passed on to students.
The authors sought to test the fit of a new model of spirituality in music education by examining... more The authors sought to test the fit of a new model of spirituality in music education by examining one jamming session through a hermeneutic phenomenological lens. In accordance with the work of Van der Merwe and Habron, the authors employ four lifeworld existentials as categories by which to organize the experience of the five musicians involved in a particular jam session. Participant researcher narratives are analyzed for fit with the model, and an analysis is reported. These narratives seem to support the existence of the guideposts inherent to the model. Furthermore, the researchers present a model as a way for situating the spirituality model in the context of an understanding of person, product, process, press, and position to inform the literature in creativity.
... The student composers offered a variety of reasons for why they thought their audience enjoye... more ... The student composers offered a variety of reasons for why they thought their audience enjoyed their music ... I could be putting this as simply as, “because I write music that sounds good.” But I believe that ... I have a true passion for composing music, and that rubs off on the listener. ...
Http Dx Doi Org 10 1080 14613808 2013 813926, Oct 2, 2013
ABSTRACT The purpose of this conceptual work was to provide a theory of curricular change in musi... more ABSTRACT The purpose of this conceptual work was to provide a theory of curricular change in music education. The author introduced a Model of Psychological Dimensions, and suggested how it might help the profession conceptualise the nexus between the individual and society. Identity as a manifestation of cultural psychology, and the role and characteristics of both perceptual and cultural worlds were presented. The idea of the selfhood of individuals was used as an analogy to the selfhood of music education. A metaphor of a rainstorm was used to help explain how the components of self, an understanding of ‘place’ and ‘space’, and knowledge of cultural creativity might guide theorisation in the area of curricular change. The author concluded the article by presenting a Conceptual Model of Change in Music Education, based on a model proposed by the author in previous work.
The purpose of this study was to explore the reliability of measures of both individual and group... more The purpose of this study was to explore the reliability of measures of both individual and group creative work using the consensual assessment technique (CAT). CAT was used to measure individual and group creativity among a population of pre-service music teachers enrolled in a secondary general music class (n = 23) and was evaluated from multiple perspectives for reliability. Consistency was calculated using Cronbach's alpha. Judges were found to be highly consistent for individual creativity (α = .90), individual craftsmanship (α = .87), group creativity (α = .86) and group craftsmanship (α = 81). Judges were much less consistent with their ratings of aesthetic sensitivity for individual compositions (α = .67) or group performances (α = .69). Absolute agreement was calculated by using intraclass correlation coefficient (ICC). Judges were found to be highly in agreement for individual creativity (α = .79), individual craftsmanship (α = .83), group creativity (α = .87) and group craftsmanship (α = 83). Judges were much less in agreement with their ratings of aesthetic sensitivity for individual compositions (α = .57) or group performances (α = .71). Judges ratings for individual creativity were consistent over time, as evidenced by test–retest reliabilities of .89 (creativity), .83 (craftsmanship) and .79 (aesthetic sensibility). Results indicate, in agreement with prior research, that CAT is a reliable measure of creativity. The researchers introduce the idea that absolute agreement might be a worthwhile construct to explore in future work in the measurement of creativity in music education.
In this article, the author explores philosophically the possibility of a connection between musi... more In this article, the author explores philosophically the possibility of a connection between music teacher socialization and the work of Joseph Campbell in comparative mythology. Campbell’s “hero’s journey” provides a way of viewing the life of the apprentice music teacher. The process of ritual, following the general theme of separation–initiation–return, where the protagonist leaves the ordinary world to enter the special world where adventure happens, followed by a return to the ordinary world in an altered—changed—state, is proposed to be akin to the struggles of the apprentice teacher. Christopher Vogler’s 12 subcategories of the hero’s journey are used to frame the journey of the apprentice teacher.
Update: Applications of Research in Music Education, 2012
This article is a review of relevant literature on the use of phenomenology as a research methodo... more This article is a review of relevant literature on the use of phenomenology as a research methodology in education research, with a focus on music education research. The review is organized as follows: (a) general education, (b) music research, (c) music education research, (d) dissertations, (e) important figures, (f) themes, and (g) the future. The article concludes with a synthesis of the existing research that attempts to provide suggestions for applying the results to current research practice. The purpose of this literature review is to examine recent scholarship that uses phenomenology and to make recommendations for which areas of the teaching and learning of music might benefit most from this methodology in the future.
Composition pedagogy is explored from the perspective of a composer and a music teacher educator ... more Composition pedagogy is explored from the perspective of a composer and a music teacher educator in this article. The primary goal is to help practicing music teachers develop strategies that will encourage students to create original music. The authors provide reflection about the process of helping students compose on the basis of personal experience composing and teaching young composers, via the work of leading scholars in music education and by using narrative excerpts and musical examples. Key strategies are identified that contribute to the successful teaching of composition, particularly at the beginning, middle, and the end of musical compositions. Contributing most notably to this discussion is the use of terminology in teacher feedback.
This article considers the personal reflections of an undergraduate music education major on both... more This article considers the personal reflections of an undergraduate music education major on both the significance of his experience as a participant in the Seventh International Symposium on the Sociology of Music Education, held at Michigan State University, in the United States, in June 2011, and on his place as a pre-service music teacher poised to enter the profession. The first author’s reflections regarding what the conference meant to him as a future music educator has implications for individuals who help prepare the next generation of music teachers, and scholars in all fields who desire for their work to reach a particular audience that could benefit from their work. The article takes the form of a personal narrative reflection, not generalizable to all populations of undergraduate music education majors, but certainly transferable to similar situations where undergraduates are considering waves of change in degree requirements and curricular expansion.
ABSTRACT The purpose of this study was to examine and compare the creative musical identities of ... more ABSTRACT The purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the US and Australia. This work builds on prior work that has employed similar procedures with pre-service music teachers (PSMTs) in England and Finland. As in prior research, the creative identity in music (CIM) measure was utilised with both the US and Australian PSMT populations (N = 298). Items of CIM relate to music-making activities often associated with creativity in music education in the literature, including composition, improvisation, and popular music performance. Results suggest that the CIM is a valid tool for measuring creative identity as defined by the researchers. Furthermore, while both populations of pre-service teachers are similarly willing to allow for creativity in the classroom, as measured by CIM Sub-Scale #3, research findings suggest that Australian PSMTs indicate a stronger degree of creative music-making self-efficacy (p < .0001), value the areas of creative identity as measured by CIM to a significantly greater extent (p < .0001), and value the use of popular music listening/performing within the learning environment to a significantly greater extent (p < .0001) than US PSMTs.
The purpose of this study was to validate a measure of creative identity with a population of pre... more The purpose of this study was to validate a measure of creative identity with a population of pre-service teachers in the USA, to further validate the measure with a Finnish population, and to compare both populations regarding their perceptions of themselves as creative musicians. The researcher developed a tool, the Creative Identity Measure (CIM), based on the work of Isbell (2007) to examine this area. The specific research questions were as follows: 1. What factors can explain creative identity in music? 2. What is the internal consistency within the factors that explain creative identity in music? 3. Do differences exist between the two populations with regard to each sub-scale? Results of factor analysis reveal that the CIM can be meaningfully divided into four sub-scales with a US population (n = 159) and a combined US and Finland population (n = 277). Significant differences were discovered for sub-scales one (Creative Music Making Self-Efficacy), two (Value of Creative Mus...
The purpose of this study was to compare the creative musical identities of pre-service music edu... more The purpose of this study was to compare the creative musical identities of pre-service music education students in the United States and England. A 20-item survey was created based on previous work in the area of music teacher identity (Isbell, 2008). Survey items related to music making activities typically associated with creativity in music education, including composition, improvisation, popular music, and ‘new music’ ensemble participation, were completed by students ( n = 159) from nine different universities in the United States and nine universities in England. Findings suggest that pre-service music education students in the US feel less confident about their abilities to compose music, less comfortable teaching composition, and are less likely to plan on ‘teaching students to compose/improvise their own original music when [they] get a job as a music teacher’ than their English colleagues. Differences in primary and secondary socialization are proposed to account for the ...
In this article I attempt to redefine the role of a music teacher as being more than a director, ... more In this article I attempt to redefine the role of a music teacher as being more than a director, the more traditional term ascribed to this position. I do this by using descriptions of the role of writer and producer of student lives barrowed from music education philosophy, screenwriting, and professional music producers. This vision is centered on the principle that instilling a creative identity in the lives of music students should be the top priority of the music education profession. By thinking of themselves as the writers and producers of student lives, music teachers will adopt a creative identity themselves that can in turn be shared with students. By adopting these unique roles, the music teacher might experience a sense of meaning and purpose in their teaching that is akin to the composer. In essence, teachers who live out these roles in their teaching create purposeful and meaningful professional lives for themselves, something that can be passed on to students.
The authors sought to test the fit of a new model of spirituality in music education by examining... more The authors sought to test the fit of a new model of spirituality in music education by examining one jamming session through a hermeneutic phenomenological lens. In accordance with the work of Van der Merwe and Habron, the authors employ four lifeworld existentials as categories by which to organize the experience of the five musicians involved in a particular jam session. Participant researcher narratives are analyzed for fit with the model, and an analysis is reported. These narratives seem to support the existence of the guideposts inherent to the model. Furthermore, the researchers present a model as a way for situating the spirituality model in the context of an understanding of person, product, process, press, and position to inform the literature in creativity.
... The student composers offered a variety of reasons for why they thought their audience enjoye... more ... The student composers offered a variety of reasons for why they thought their audience enjoyed their music ... I could be putting this as simply as, “because I write music that sounds good.” But I believe that ... I have a true passion for composing music, and that rubs off on the listener. ...
Http Dx Doi Org 10 1080 14613808 2013 813926, Oct 2, 2013
ABSTRACT The purpose of this conceptual work was to provide a theory of curricular change in musi... more ABSTRACT The purpose of this conceptual work was to provide a theory of curricular change in music education. The author introduced a Model of Psychological Dimensions, and suggested how it might help the profession conceptualise the nexus between the individual and society. Identity as a manifestation of cultural psychology, and the role and characteristics of both perceptual and cultural worlds were presented. The idea of the selfhood of individuals was used as an analogy to the selfhood of music education. A metaphor of a rainstorm was used to help explain how the components of self, an understanding of ‘place’ and ‘space’, and knowledge of cultural creativity might guide theorisation in the area of curricular change. The author concluded the article by presenting a Conceptual Model of Change in Music Education, based on a model proposed by the author in previous work.
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