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NCEA Music for Gifted and Talented Students

by Chris Archer, Secondary Music Adviser, School of Professional Development, Christchurch College of Education (2003)


What are the characteristics of gifted and talented students?
How can we cater for them in the mainstream music classroom?

Traits of gifted students
The cognitive traits of gifted students include the following:

  • heightened level of curiosity – offer opportunities for students to investigate and gain knowledge about music from a range of styles and genres. Develop a wide listening programme for them.
  • desire to research and acquire new knowledge – these students often play more than one instrument, and they may have an eclectic taste in music. Alternatively, they may focus their attention on one instrument and/or style, and excel in this.
  • ability to concentrate and stay focused on a task for a long period of time – this has implications for the length of lessons (both classroom and instrumental). Whereas having several activities planned for a junior class might suit most students, this may irritate gifted students, because they prefer deeper learning. Long-term projects should be offered, for example, in-depth research, reflective journals to accompany performance and composition work.
  • sound reasoning powers and the ability to handle abstract ideas with some ease – such students may want detailed feedback from teachers on performance and composition work, requiring descriptive comments backed up by sound reasoning. Students may enjoy multi-disciplinary work involving higher levels of problem solving.
  • ability to 'think outside the square' and consider problems from a variety of viewpoints – such students are alert and often posses a subtle sense of humour. This should be kept in mind when choosing music works, repertoire for performance and developing concepts for composition work (Clark, 1983; Baska, 1989; Gross, 1994).
  • ability to use advanced linguistic structures and vocabulary – gifted students enjoy words, reading, absorbing books, learning and recalling details, concepts and principles (Hollingworth, 1926; Tannenbaum, 1983; Clark, 1983). Consider this when analyzing word settings and giving creative word-setting tasks.
  • looking beyond the obvious – gifted students may enjoy presenting dilemmas and 'hairy' problems to the teacher! This can often be perceived as challenging behaviour, but the gifted student relishes the dialogue and the complex nature of problems presented – they enjoy co-constructing the learning together with teachers and peers.
  • creative ability and imaginative expression in music and other art forms – gifted students often show finesse with rhythm, movement and co-ordination. Allowing students to create and solve a problem, and develop and 'go with' a concept, is important. Since they are independent workers, they will respond well to setting their own limits.
  • desire to be reflective learners – when giving feedback and feed-forward to gifted students on performance, composition or music works, allow them to be self-critical in evaluating and moving forward with their own work. These students are excited by intellectual challenge and are passionate about learning.

Social-emotional characteristics, which many gifted students have (and which may be less obvious) include:

  • perceptiveness – the ability to 'read between the lines' ;
  • empathy – a heightened ability to understand how others feel;
  • sensitivity – criticism may often be taken to heart;
  • entelechy – very highly motivated.
    (Torrance, 1965; Lovecky, 1986; Silverman, 1993)

Not all gifted students will display such cognitive and social-emotional characteristics. Some will display them at various stages of their development, and the characteristics may only reveal themselves when they engage in an area of interest and aptitude, such as music (van Tassel-Baska, 1996, p180).

When planning learning experiences for these students, consider that the three fundamental differences of gifted and talented students from other students is that they:

  • learn at faster rates;
  • find, solve and act on problems more readily;
  • manipulate abstract ideas and make connections.
    (van Tassel-Baska, 1988)

Therefore, programmes of learning for this group of students need to be adapted to allow time for:

  • in-depth exploration;
  • manipulation of ideas;
  • questions requiring higher order and lateral thinking.

Different, not more
Gifted and talented students don't just need more of the same, they require differentiated tasks that extend their abilities. Therefore they need to be provided with teaching and learning programmes that are appropriate for them (Passow, 1988).

Learning experiences for gifted and talented students need to be qualitatively different from what is offered generally (Maker, 1982). Consideration needs to be given to:

  • content,
  • process,
  • product,
  • learning environment.

These may be provided for in different ways – in breadth and/or depth, in tempo/pace, and in nature or in kind. Gifted students need:

  • a learning climate where they can take risks and make mistakes;
  • to work from their strengths;
  • an element of choice;
  • challenging activities;
  • opportunities for creativity and self-initiated tasks;
  • to be encouraged to achieve excellence.

When designing learning experiences for gifted students, consider the three criteria by Passow (1988) that best describe how to evaluate the suitability of a programme for gifted learners:

  • would all students want to be involved in such learning experiences?
  • could all students participate in such learning experiences?
  • should all students be expected to succeed in such learning experiences?

If the answer to these questions is "yes", then the teaching and learning programme is not differentiated for the gifted. It is important to clearly provide what is appropriate for gifted students only.

Ideas and activities

The rest of this paper provides ideas and activities for differentiating the learning for gifted and talented students in music. The ideas and activities are grouped under key aspects of music learning, and are related to NCEA (National Certificate of Educational Achievement) levels 1–4 Achievement Standards. The music strands in The Arts in the New Zealand Curriculum also relate to these key aspects, as follows:

  1. listening and responding, including reading and recording – Strands PK (Developing Practical Knowledge in music), UC (Understanding music in Context), DI (Developing Ideas in music), and CI (Communicating and Interpreting in music);
  2. playing music – Strands CI, PK, UC;
  3. composing music, including reading and recording – Strands DI, PK, CI, UC;
  4. responding to, analysing and appreciating music works – Strands UC, CI.
Incorporate and balance
analytical,
emotional,
physical,
and spiritual
approaches and responses to music
when planning learning outcomes and experiences
for gifted and talented students.

1. Listening to, responding to, and reading music
Curriculum links for the ideas and activities in this section are:

  • The Arts in the New Zealand Curriculum levels 6-8: Strands PK, CI, DI, UC;
  • NCEA Achievement Standards: 1.4, 1.5, 2.5, 2.6, PM (Practical Music) 3.4, PM 3.5, MS (Music Studies) 3.1; level 4 Music Studies Scholarship.

Provide opportunities for students to:

  • hear and analytically respond to a wider variety of music styles and genres – students could show in-depth understanding of musical styles and genres by writing music 'in the style' of one style/genre.
    For example, they could analyse what is characteristic about the classical style by considering:
    • metricality of phrase lengths (which are balanced),
    • the strong pull of tonic and dominant,
    • grace and balance of melody,
    • transparency of texture,
    • type of instrumental/vocal writing.
  • lead/conduct group rehearsals, so that they can practically apply their understanding of scores to achieve desired aural/musical results;
  • apply their knowledge, skills and understanding by responding to performances of unseen scores and/or unprepared music contexts;
  • demonstrate understanding of the music elements, structural characteristics, social, historical, cultural and stylistic background of music through in-depth score/aural analysis;
  • transcribe challenging music examples for which several solutions are possible – offering challenging jazz, rock and pop examples should provide a stimulus for lively discussion;
  • take home recorded music to transcribe.

Encourage students to:

  • keep a listening diary to help them think about the way that they listen and respond to music. They can use the diary to record analytical, emotional, physical and/or spiritual responses. For example, questions for students to answer could include:
    • How has the music been constructed?
    • What impression do I get from the music and why?
    • What is the effect of music – does it want to make me move or relax?
  • move away from stating techniques discovered from analysis of music, to linking analysed techniques with music effects or impacts;
  • analyse their own original music;
  • become equally proficient at the full range of aural skills – such as transcribing melodies and bass parts, identifying and notating chords, developing descriptive analyses of music;
  • create their own aural transcription exercises to share with others.

Ensure that students are thoroughly familiar with advanced vocabulary of music, and that they can aurally describe a wide range of music.

2. Playing music
Curriculum links for the ideas and activities in this section are:

  • The Arts in the New Zealand Curriculum levels 6-8: Strands PK, CI, UC;
  • NCEA Achievement Standards: 1.1, 1.2, 2.1, 2.2, PM 3.1, PM 3.3, level 4 Practical Music Scholarship.

Challenge students to develop a broad repertoire that encompasses a wide range of styles and genres.

Consider combining NCEA performance assessments with performance competitions, such as Rockquest, the Chamber Music New Zealand competitions. Some students may wish to present performances on a second instrument. Consider offering a Unit Standard (US) developed for this, such as US 16549 (NCEA Level 1, 8 credits). Consider creating a wider performance programme for students, consisting of a mixture of Achievement and Unit Standards.

Provide students with a number of performance opportunities, and allow them to choose their best performance for the overall assessment for any of the performance Achievement Standards at any level. To help them answer the question 'What was my best performance and why?', guide them to consider:

  • motivation,
  • preparedness,
  • emotional/intellectual connection with the music,
  • technique,
  • fluency,
  • musicianship,
  • ensemble-playing skills,
  • communication of the intent of the music to the audience.

Encourage students to research and present information on the repertoire they are studying. Guidance questions could include:

  • Who wrote the music and why?
  • What stylistic characteristics can be identified in the music?
  • How will I play the piece stylistically?
  • What makes the music idiomatic?

Encourage students to research social, historical, cultural, geographical and technological perspectives associated with the music they are preparing for performance. Guidance questions could include:

  • What was the social/cultural/political climate in which the work was written and first performed?
  • How does this impact on the interpretation of the piece now?
  • What music styles might have influenced the composer?
  • What is the cultural significance of the music?
  • Does this music have the same meaning when performed in a different context?
  • What aspects of instrument technology have been considered?

Challenge students to be reflective performers. For example, have them consider:

  • their reasons for repertoire choices;
  • what characteristics of the music they considered while preparing for performance;
  • how they addressed stylistic features of the music while preparing for performance (for example, use of distortion and other effects when playing the music of Jimi Hendrix);
  • how they addressed technical issues while preparing for performance (for example, bowing, fingering, breathing, posture);
  • ensemble issues in group performance.

Ask students to compare and contrast different score editions, recordings or performances of the music they are preparing. Guidance questions could include:

  • What is 'authentic' about the edition I am playing from? How do I know this?
  • What is an 'ur-text' edition?
  • What markings are extraneous and why?
  • What interpretive additions would I make and why?
  • Is the recording/interpretation of the music 'outdated'? Why?

Encourage students to:

  • compare and contrast performance works with other related pieces;
  • evaluate their own and others' performances;
  • perform often in the wider community.

3. Composing Music, including reading and recording
Curriculum links for the ideas and activities in this section are:

  • The Arts in the New Zealand Curriculum levels 6–8: Strands DI, PK, CI, UC;
  • NCEA Achievement Standards: 1.3, 2.3, 2.4, PM 3.2, PM 3.3, level 4 Practical Music Scholarship.

Encourage students to:

  • respond creatively by devising their own tasks;
  • keep a journal of critical reflection on their musical activities;
  • create music in a variety of forms and using a variety of media;
  • record their creative process in their journal – what are the problems they encounter along the creative journey and how do they solve these?
  • attend concerts of music that challenges their listening palette;
  • critique and evaluate the compositional merits of their own and other students' music using negotiated criteria;
  • perform or direct performances of their compositions in public forums;
  • work with others in related aspects of the Arts, such as writing a soundtrack for a media studies student's video.

Encourage and challenge students in their listening. Then encourage them to discuss what they have listened to by asking the following questions:

  • What are the features of the music?
  • How do you know this?
  • What is the mood/concept of the music?
  • How has this been realised?
  • How can listening impact on creating music?

Encourage students to delve deeply when choosing the concept for their original work, and to think of creative strategies that will allow them to realise it. Have them reflect on what the effects of the music will be, and how these effects will be created.

Discuss the notion of 'meta-perception'.
Meta-perception means knowing about, and understanding, the effects of music on the listener. There are known and understood rhetorical figures in music that composers have used to add imagery, 'meaning' and context into their works. For example, most musical listeners understand a major chord to be 'happy', a minor chord to be 'sad', and a diminished chord to be 'suspenseful'.

When students are forming a concept for composition, have them consider:

  • choice of media,
  • instrumentation,
  • text selection,
  • style,
  • musical effects.

Encourage students to discuss their own creative process. Guidance questions could include:

  • How do I create, develop and structure musical ideas?
  • How did I 'learn' this?
  • Who has influenced me?
  • What pieces of music have had an impact on my music learning?

Have students analyse a range of pieces to discover how composers have created music for different purposes, and various musical effects. Guidance questions could include:

  • What device has the composer used? Why?
  • What effect does it create?
  • Was this done consciously? If so, why?
  • What techniques/devices could I use in my compositions, and for what reasons?
  • Does using a variety of techniques/devices ensure 'good' music?
  • What is 'good' music?

Encourage students to use a variety of notation methods when representing their music. Related discussion questions could include:

  • What is the purpose of music notation?
  • How else can music be represented?
  • What are the advantages of using graphic/invented notation over traditional notation?
  • When is traditional notation limiting?
  • How is cultural bias connected with music notation?

Have students consider the 'fingerprints' of their own style, by asking:

  • What elements of music do you like using and why?
  • How is this evident in your work?

Encourage students to consider what their philosophy of composition is, by asking the following questions:

  • Why do you write music?
  • Who is it for?
  • Who has influenced you? Why/how?
  • How does music make you feel?

4. Responding to, analysing and appreciating music
Curriculum links for the ideas and activities in this section are:

  • The Arts in the New Zealand Curriculum levels 6-8: Strands UC, CI;
  • NCEA Achievement Standards: 1.6, 2.7, MS 3.2, MS3.3, MS 3.4, level 4 Practical Music Scholarship.

Share your passion for music with the students and have them respond with passion to music that they love. Consider the depth and breadth of work presented by students.

Provide opportunities for students to:

  • apply knowledge, skills and understanding to a variety of unprepared music contexts;
  • demonstrate in-depth understanding of the music elements, structural characteristics, and social, historical, cultural and stylistic background of music works that they select from a range offered/chosen;
  • critically review music works.

Encourage students to:

  • experience a wide variety of musical styles, both through formal study and by being active in the musical community;
  • present detailed, in-depth analyses of music works through score annotation/aural analysis;
  • respond both emotionally and objectively to music, and to consider both responses when evaluating music works;
  • bring along and share 'new' music and/or music that they have discovered, and allow them to articulate why/how they relate to the music.

Encourage students to challenge commonly accepted ideas about the analyses of music works. Guidance questions could include:

  • Why do musicologists differ over interpretations/analyses of music works?
  • How would I analyse this work?
  • Why do I prefer one musicologist's analysis to another's?
  • How does musical analysis lead to a better appreciation of a piece of music?

Provide opportunities for students to choose music works for study and research, and present their understandings in a variety of formats. For example, a year 13 student doing MS 3.3 could complete a related research project and fulfill the outcomes for MS 3.4, and/or could consider the work from a context perspective and fulfill the outcomes for MS 3.2.

Provide students with copies of reviews and critiques from newspapers, magazines and journals, and encourage discussion from the students' perspectives. Guidance questions could include:

  • What types of musical evidence are required to give credence to music reviews?
  • What makes a 'good' review of a concert?
  • Should a reviewer be neutral or biased? Why/why not?

Provide opportunities for students to develop the following skills:

  • explaining – for example, say 'explain how the structure of this rock song varies from the standard song format';
  • analysing – for example, ask 'what chords are being used in this section of the song - how do these relate to the overall key?';
  • defining – for example, ask 'how would you differentiate between musical motif and musical figure?';
  • critiquing – for example, ask 'what is your impression of the authentic performance of Handel's Messiah. How did this differ from other performances you have heard?'
  • comparing and contrasting – for example, 'What are the similarities and the differences between the first chorus and the last?'
  • evaluating – for example, ask 'what musical numbers were the most successful in the school show and why? How might you use this information when planning for the next one?'

References

Baska, L. (1989). 'Characteristics and needs of the gifted'. In J.F. Feldhusen, J. van Tassel-Baska and K. Seeley (Eds.), Excellence in educating the gifted (pp15–27). Denver: Love, 1989.

Clark, B. (1983). Growing up gifted. Columbus, OH: Charles E. Merrill.

Gross, M.U.M. (1994). 'The highly gifted: Their nature and needs'. In J.B. Hansen and S.M. Hoover (Eds.) Talent development: Theories and practice (pp45–68). Dubuque, Iowa: Kendall/Hunt Publishing Company, 1994.

Gross, M.U.M; Pretorius, M; and Sleap, B. (1999). Gifted Students in Secondary Schools – Differentiating the Curriculum. Gerric Publication, University of New South Wales, Sydney.

Hollingworth, L.S. (1926). Gifted children: Their nature and nurture. New York: Macmillan.

Lovecky, D.V. (1986). 'Can you hear the flowers singing? Issues for gifted adults'. Journal of Counseling and Development, 64, 590–592.

Maker, C.J. (1982). Curriculum development for the gifted. Austin, Texas: PRO-ED.

Passow, A.H. (1988). 'The educating and schooling of the community artisans in science'. In P.F. Bradwein and A.H. Passow (Eds.) Gifted young in science: Potential through performance (pp27–38). Washington, DC: National Teachers' Association

Silverman, L.K. (1993). Counseling the gifted and talented. Denver, Colorado: Love Publishing.

Stevens, S. (2003). 'Creative Experiences in Free Play'. Music Educators' Journal, Vol 89, Issue 5, (p44).

Tannenbaum, A.J. (1983). Gifted children: Psychological and educational perspectives. New York: Macmillan.

Torrance, E.P. (1965). Rewarding creative behavior. Englewood Cliffs, New Jersey: Prentice-Hall, Inc.

van Tassel-Baska, J. (1996). 'The process of talent development'. In J. van Tassel-Baska, D.T. Johnson and L.N. Boyce (Eds.), Developing verbal talent (pp3–22). Boston. Massachusetts: Allyn and Bacon.

van Tassel–Baska, J. (1988). 'Curriculum for the gifted: Theory, research and practice'. In J. van Tassel–Baska, J. Feldhusen, K. Seeley, G. Wheatley, L. Silverman and W. Foster (Eds.), Comprehensive curriculum for gifted learners (pp1–19). Boston, Massachusetts: Allyn and Bacon.