THEORETICAL FRAMEWORK
The theoretical framework of this study is structured around two key concepts: ownership and creativity. Through a theoretical analysis of ownership, the research aims to examine the factors that can facilitate its development within educational practices. Simultaneously, the study explores the creative processes which are activated when students engage in creative activities, identifying the cognitive and behavioral connections between these two concepts. The objective is to understand how creativity can support the cultivation of a sense of ownership among students while also establishing a solid foundation for the initial research hypothesis.
The beginning of this investigation has been primarily inspired by the claims presented in Engaging Student Ownership of Musical Ideas by Fiske (2012), which discusses student participation in music lessons across educational contexts. It begins by exploring the limitations of traditional teaching models in music pedagogy, followed by the consequent need for ownership in musical learning.
A new perspective in music education
Western models of music education have long prioritized the development of observable behaviors such as performance techniques, sight-reading, and theoretical knowledge. This orientation assumes that musical understanding is best demonstrated through measurable engagements: playing the correct notes, following directions, and conforming to stylistic norms. While these components remain an essential part of musicianship, this approach has been criticized for limiting music-making and confining musical understanding within these forms (Fiske, 2012, p. 308).
According to the article, musical understanding goes beyond technical proficiency, and such a language involves a socially acquired process shaped by human perception and experience. Therefore, to overcome the limitations of traditional pedagogy, Fiske (2012) explains that music education should provide students with authentic musical moments that “nurture and reinforce musical ownership” (p.326). This consciousness level of engagement reflects students’ ideas and perceptions of listening, creating, and performing skills.
Moreover, the author states that musical ownership cannot emerge passively as music teaching seems to be more effective “when it is centered on involvement in music rather than simply providing information about music” (p. 324). This aligns with Scott’s (2009) claim that for truly empowering students, "we need a fundamental shift away from the concept of education as a service that adults provide for students to the concept of education belonging to students” (p. 38).
This perspective mandates that teachers tailor their instructional approach toward a student-centered learning model as a framework for cultivating the concept of ownership. Here, students and music represent the primary purpose of music education.