WEEK 11 (YEAR 1 Semester 2) -- Music as Non-Discursive Knowledge and the Teacher as Facilitator

 Week 11's core principle – 

‘music is multidimensional and the teacher is the facilitator for exploration’

– connects with John Paynter's philosophy. Paynter argued that creative music education centers on personal expression, with teachers initiating thought processes rather than controlling outcomes. His emphasis on non-discursive knowledge challenges us: you cannot get the same understanding from talking about music as from making it. This directly supports our approach: music first, then analyse it.

The canon composition assignment exemplified this approach. By providing students with a chord progression and asking them to create stacked melodies through exploration of passing notes, we engage them in the compositional process Paynter championed -- selection, rejection, evaluation, and confirmation. This isn't box-ticking; it's genuine musical thinking.

The Middle Years Learner guide illuminates why thematic units centered on social justice work so effectively. Young adolescents (9-14 years) possess growing moral awareness, strong advocacy for social issues, and a deep desire for curriculum relevance. The strategy behind using songs like "Build a House" by Rhiannon Giddens, which examines African American resilience through music, allows us to meet middle years learners where they are developmentally -- intellectually curious, socially conscious, and seeking meaning.

Murphy's assessment framework provides practical tools for evaluating creative work authentically. Rather than reducing music to tests, the creative process is honoured through use of formative assessment through portfolios, rubrics, and dialogic feedback. Self-assessment becomes essential – not a luxury – allowing students to develop metacognitive strategies and take ownership of their learning.

The Protest in Popular Song unit exemplifies pluralist integration: composing, improvising, listening, and performing converge around culturally responsive content. As teachers, we facilitate safe spaces for discussing difficult issues – slavery, climate change, racism – using music as the powerful medium for storytelling. We don't impose our views; we create balanced dialogues where students develop critical thinking and their own authentic voice.

This approach demands sophisticated pedagogical improvisation. Like Paynter's small-group workshops, we must respond sensitively to what students offer, asking generative questions: "How will it end?" "How do you develop those first sounds?" We become co-explorers rather than instructors, trusting the process of musical discovery.