Mokinių muzikinės kompozicijos vertinimas konkursų vertinimo komisijos narių patirties aspektu

LTStraipsnyje analizuojami mokinių muzikinių kompozicijų vertinimo kriterijai ir procedūros. Pateikiama kriterinio kūrybos darbų vertinimo apžvalga, aptariamos muzikinės kūrybos produkto vertinimo metodikos ir jų taikymo sąlygos. Keliamas klausimas, ar muzikinės kompozicijos vertinimo kriterijai taikomi realiomis sąlygomis, t. y. konkursuose vertinant mokinių kompozicijas? Siekiant atsakyti į šį klausimą, atliktas tyrimas, kuriuo siekta atskleisti vertinimo komisijos narių patirtį vertinant mokinių muzikines kompozicijas. Tikslui įgyvendinti atliktas giluminis interviu su 5 kompozitoriais, vertinusiais mokinių muzikines kompozicijas nacionaliniuose ir tarptautiniuose konkursuose. Pristatant tyrimo rezultatus dėmesys sutelkiamas ties muzikinių kompozicijų vertinimo kriterijais, vertinimui įtaką darančiais veiksniais ir vertinimo procesu. [Iš leidinio]Reikšminiai žodžiai: Kūrybos produktas; Muzikinė kompozicija; Vertinimas; Creative product; Musical composition; Assessment.

ENThe article aims to analyse the criteria and procedures of assessment of pupils’ musical compositions. The review of the criterion-referenced evaluation of creative works is presented. It could be stated, that the evaluation of creative products is neither new nor original in terms of a research problem. [...] Over the years, studies on assessing pupils’ compositions have discussed various aspects of assessment. It is acknowledged that assessing pupil composition is a particular topic of composition assessment, since it requires addressing pupils’ experiences and the educational context: with what creative tools and means are the students familiar; what creative tasks had they been assigned; what music creativity criteria were applied in specific instances [...]. Discussions regarding criteria-based assessment are among the most frequent in academic inquiry on assessing pupil compositions. Researchers are convinced that isolating criteria and using them as the basis of assessment is important in guaranteeing assessment validity. In literature that analyses the assessment of composition we find a considerable amount of information about assessment criteria and procedures. However, these are researcher views of composition assessment. But are they sustained in real-life situations, that is, during the competition as the assessment takes place? To answer to this question we did an in-depth interview with 5 composers (3 from Lithuania and 2 from international context). They were chosen on the basis of these criteria: they had completed music studies in institutions of higher education; they had at least ten years of experience working with children, and had been jurors at pupil composition competitions at least twice.In summarising the results three themes are generated: assessment criteria, factors that influence the assessment of compositions, process of the assessment. Juries for pupil compositions are made up of competent members, whom organisers recognise as able to suitably evaluate pupils’ creative work. Only rarely are assessors provided with assessment criteria, and even then they are not required to evaluate each composition according to each attribute. There is an a priori acknowledgment of assessor professionalism, and their opinion is trusted when making decisions regarding composition quality. This type of assessment is akin to the CAT proposed by Amabile by which a product is creative if appropriate observers independently agree it is creative. [...] In summarising the results the limitations and delimitation of the study should be noted. Firstly, the jury members who participated in the research were involved in competitions that were oriented towards the composition of classical, tonal music. There were solitary cases of electronic, pop, or jazz compositions. It is unclear whether the named criteria would be appropriate for assessing contemporary works and who should be the assessors. Secondly, compositions were assessed without regard for the individual musical context of each composition and in the context of each student’s unique profile as a musician and creator.Jury members were hardly informed about the composition process, what place it takes in the context of other compositions, or in the context of the composer’s works; what was the “history” of the composition process? Research by Girdzijauskienė, Rimkutė-Jankuvienė (2014) showed that such information is very important when analysing pupil compositions. Thirdly, assessors did not have the opportunity to become acquainted with the compositions ahead of time or to hear them repeatedly. It remains unclear how much influence the music performance had upon the assessment of the compositions. Hopefully, a deeper acquaintance with pupils’ creative work will provide more appropriate evaluations. It should be noted that the assessment of compositions that is presented in this chapter is very specific, providing information on the practice of composition assessment, but it does not provide a great deal of useful information to young composers. Several authors (Odena, 2012b; Girdzijauskienė, Rimkutė-Jankuvienė, 2014; Menard, 2015) stress that guaranteeing comprehensive feedback is much more important than assigning a grade (or awarding a place ranking in the case of competitions). This provides pupils with information about the strengths and weaknesses of their works; which creative and musical abilities should be developed; and what compositional techniques and means should be mastered for musical ideas to be fully realised. This study has shown that meetings with pupils to discuss their compositions occur only in informal settings and the time and place for such encounters are not scheduled. The formalisation of discussions after competitions may well be one of the most important suggestions for improving practice in this area of musical activity. [From the publication]

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