The Effect of Three Compositional Structures on the Compositional and Instructional Self-efficacy of Pre-service Music Teachers Page: 13

                                
but also the interpretations and value judgments of creative products tend to be highly
subjective (Hickey, 2001). Furthermore, there has been criticism of using adult
adjudicators who operate from different paradigms to critique children's creative output
(Hickey, 2001; Priest, 2006). Critical evaluation of students' work might also encumber
their self-expressive ability and intrinsic motivation for the task (Kohn, 1993). When
students know their creative output will be subjected to assessment, this has the potential
to inhibit their creativity (Nachmanovitch, 1990). Furthermore, arts educators who know
these assessments will be used to "determine their effectiveness" as a teacher might alter
their instruction so that it would be more academic in nature rather than creative
(National Endowment of the Arts, 1988, p. 36). To this end, researchers have cautioned
the focus of arts-based assessment should never be at the expense of creativity (Hickey,
1991; Loane, 1984; Rohwer, 1997).
An additional challenge to incorporating creative activities within the arts
classroom is a lack of instructional time. Educators have cited time constraints, not only
in the visual arts (Stokrocki, 1990), but also in music (Byo, 1999; Morin, 2002; Orman,
2002; Strand, 2006). Arts teachers might see their students only once a week for an hour
or less which leaves little room for instructional modeling and student projects
(Stokrocki, 1990; Strand & Newberry, 2007). Time for student creativity can be impeded
through various interruptions throughout the school year such as school assemblies, snow
days, and block scheduling (Stokrocki, 1990).
Lack of funding and materials have also been cited as a common complaint of arts
educators (Stokrocki, 1990; Strand & Newyberry, 2007). Stokrocki (1990) found that

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