Questions of judging children’s compositions

Problems and possible aspects of the evaluation of children’s music works:

  1. How independent is the work?
  2. The quality of the recording or the instrument?
  3. Musical style?
  4. Is it easier for someone e.g. are you studying on the piano?
  5. Interpretation? Musical performance? (e.g. articulating and sensitizing pieces made in musescore is a difficult task)
  6. Improvisation or composition?
  7. Accepted melodies, harmony processes?
  8. Formal unity, division?

Personality development is also the main goal of music creation. His main area is to develop and bring to the surface the musical imagination in such a way that the imaginary musical material reflects the vision in a fixed form. In Hungarian, striving to ensure that the completed compositions reflect the real, really own musical imagination, while developing our skills in composing music.
It’s a little suspicious to me if the musical form is too perfect. In my experience, it is rare for the composed pieces to be able to create the form perfectly in all respects. Appropriate design appears more in the case of improvised works.
After all, it’s okay for a student to accept a teacher’s opinion. I don’t think it’s right for the teacher to specifically speak into the piece or give a specific tune.
The quality of the recording and the instrument
Nowadays, you can make excellent sound recordings with a medium-sized mobile phone. These recordings are usually made automatically so that the signal level of the sound is not distorted. In fact, there are recordings whose volume level the automation tries to bring to the same level, yet the dynamics can be inferred from the tones. The problem with several recordings was that they might have been put on the piano, and that puts a lot of distorted sounds into the recording.
We are inevitably influenced by the quality of the sound, its acoustic environment, so the critics should listen to the pieces with great imagination as if they were sounding perfectly.
I think the use of technical tools is more of an advantage in the 21st century. century. I’m thinking of using a good computer program here.
A common flaw in computer programs is the use of poor tones (e.g., the lowest quality tones are strings, especially the violin). On several occasions, the escort was written too deeply. It would also help the recordings to at least pan out the vocals.
Music style
We did not specify a style, so folk music, jazz, classical, pop and electroacoustic music could be included. I feel this is right. You also need to know that e.g. in the case of computer-made pieces, the programs are made specifically for this style, so there are millions of canned motifs and melodies available, professionally made.
The comparison is therefore difficult, perhaps “don’t mix the horse-drawn carriage with Form 1”.
Is it easier for someone e.g. are you studying on the piano?
Yes! In my experience, the musical imagination of those playing chord instruments develops earlier. For other instrumentalists, solfeggio and computer music programs can help with polyphonic works.
Like the quality of the sound, the performance of the piece influences the jury. A musically performed composition, even if simple, is more effective. There are many things that can be done with pieces made with sheet music graphics. The pace fluctuates harder. The evolution of tones during play is not.
The tones in the programs are good or bad depending on the price.
Regardless, if the piece is performed by the author with excellent musicality, it should be appreciated!
The correctness of the interpretation depends on the style!
Improvisation or composition
Several pieces sounded as if they had just improvised. Can we go to the announcement of what it means to be a composer? As we know, the hardest level is when we are just describing or performing a piece that sounds in our head. It is especially common for children to make their pieces with an improvisational history. Improvisation becomes a composition through several attempts. A slightly similar process happens with computer programs. You can also try the idea there.
Inherited melodies, harmony processes
Have a composer on your feet who can come up with a new tune that makes it look like nothing. Humanity also builds on each other’s knowledge, so I don’t consider the adopted motives to be bad, which are then put together in a new interpretation. We don’t necessarily have to look for the new, but the “witty”.
Formal unity, division
In many works, the lack of formal unity and articulation is a defect. Children still perceive their work “up close”, so it is difficult to see the whole work from a distance. I think this problem should be attributed to age. You have to expect less from the little ones and less from the bigger ones.

  • Length of pieces
    We are involuntarily touched by the longer creation. Due to the articulation, the rabbit-tailed piece is acceptable for the little ones, and the one is more than a minute and a half older than the bigger ones.

I recommend the following for consideration!

The main contributors to the development of musical imagination:
• music played and heard,
• improvisation,
• music writing,
• Music theory and format.

I divide the musical fantasy into three parts.
One: the musical elements that are still obscure. Here the child is not yet able to accurately articulate, play, sing the music that vaguely appears in his imagination.
The second: when you can already play, sing these, but you don’t know e.g. identify in rhythm, place in a meter, describe.
The third, highest level is when the imagined music already appears in the imagination almost sheet music.
The music you play and sing the most affects the second level. Physical memory, movements and feelings are extremely important for the child.
The music you hear usually affects the first level. Usually these exceed the child’s technical, music theory level. Unfortunately, it already starts here, and the approx. Strong contemporary influence for 13-18 year olds. That’s why it’s important for parents to take their child to as many high-quality musical events as possible. What is at home is also very important.
Improvisation complexly reflects mental and physical musical imagination, as the child is technically unable to play something he or she has not learned before. For very young people, especially those who have not yet tried improvisation, the mental and physical musical imagination often needs to be aroused.
Writing music helps to make music that is still obscure more concrete, both on the melody and on the meter and rhythm lines. This is true even if I’m not helping to lure my own music, I’m giving a task.
Music theory and format do the same. He puts his head in order.

Practical knowledge (instrumental, singer) in the initial period is decisive in the development of musical fantasy. The learned piece will only be perfect if it becomes “internal”. It becomes internal so that there is no physical or mental tension and no error in the learning process.
Theoretical knowledge, as I mentioned earlier, helps to make musical imagination concrete. Bridges motivational gaps.
Every child is different than we know. And in terms of musical fantasy in particular, and to be honest, instrumental knowledge isn’t decisive either. Perhaps the musical experience you hear is crucial.
Music composition is a very complex task in which composition emerges as a conscious use of learned rules, improvisation as an instinctive way to compose music – learned playing skills and inherited musical taste as an influencing factor.
The joint application of the two brings about a harmonious development that also results in the approximation of imagined music (musical fantasy) and recorded work.
It is very important that there is room for experimentation, error and interesting discovery while working.
I take improvisation as communication.
Almost every music teacher has a student who composes or improvises. These are not “symphonies,” but tiny signs of musical creativity. These small pieces, in the form of sound recordings, ideas are written on sheet music, nowadays in a sheet music program, are often recorded inaccurately. The importance of using a computer is to play the recorded music correctly, even with mechanical precision and sound.