The Routledge Companion to Teaching Music Composition in Schools

International Perspectives

Kirsty Devaney, Martin Fautley, Joana Grow, Annette Ziegenmeyer, Kirsty Devaney, Martin Fautley, Joana Grow, Annette Ziegenmeyer

• Publisher: Routledge
• Year: 2023
• Print ISBN: 9781032026268
• eBook ISBN: 9781000925746
• Topic: Bildung
• Subtopic: Grundschulbildung

The Routledge Companion to Teaching Music Composition in Schools: International Perspectives offers a comprehensive overview of teaching composing from a wide range of countries around the world. Addressing the current state of composition pedagogy from primary to secondary school levels and beyond, the volume explores issues, including different curricular and extracurricular settings, cultural aspects of composing, aesthetics, musical creativity, the role of technology, and assessment.

With contributors from over 30 countries, this volume encompasses theoretical, historical, empirical, and practical approaches and enables comparisons across different countries and regions. Chapters by experienced educators, composers, and researchers describe in depth the practices taking place in different international locations. Interspersed with these chapters, interludes by the volume editors contextualize and problematize the teaching and learning of composing music. The volume covers a range of contexts, including formal and informal, those where a national curriculum is mandated or where composing is a matter of choice, and a range of types, styles, and genres of musical learning and music-making.

Providing a wide-ranging and detailed review of international approaches to incorporating music composition in teaching and learning, this volume will be a useful resource for teachers, music education researchers, graduate and undergraduate students, and all those working with children and young people in composing music.

Table of contents

• Cover Page
• Half-Title Page
• Series Page
• Title Page
• Copyright Page
• Contents
• List of figures
• List of tables
• List of boxes
• List of contributors
• Acknowledgements
• Introduction
• 1 Battle dances and 808s: Teaching music creation in Australia
• 2 From composing project to university course: Formal and informal pathways of learning to compose in music classrooms in Austria
• 3 Expanding analytical eyes and ears on compositional processes: Alternative musical pedagogies on Brazilian education
• INTERLUDE I What is composing?
• 4 Teaching composing in Canadian music classrooms
• 5 Assessing composition/improvisation in school music education in the global age of China
• 6 The challenges, models, and outcomes of composing in Croatian compulsory schools
• INTERLUDE II Creativity and composing in education
• 7 Composing in the classroom: The case of the Czech Republic
• 8 Mapping the field of composing pedagogy in Finland: From musical inventions to cultural participation
• 9 As for us in France: Why do we call it creation?
• INTERLUDE III Starting points of composing
• 10 Composition pedagogy in Germany in its fledgling stages: Between extracurricular projects and school music classes
• 11 Attending to creative music making and composing in Greek school music curricula: Preliminary findings from a document analysis
• 12 Composition and creativity in music education in Iceland
• INTERLUDE IV Ways to teach composing
• 13 Composition pedagogy in Italian schools: A model for teaching music composition through processes
• 14 A sheet of paper considered an instrument: Examining the separation of form and content in creative music education
• 15 Did you write that song?: Learning composition in the Kenyan secondary school
• INTERLUDE V Considering gender, equality, diversity, and inclusion in teaching composing
• 16 Policies and practices in teaching music composition in Mexican schools
• 17 Music composition as playful activity: Perspectives on teaching composing from the Netherlands
• 18 Home-grown progressivism: Composing in Aotearoa New Zealand primary and secondary schools
• INTERLUDE VI Hegemony and axiology in composing pedagogies
• 19 Teaching music composition in Nigerian classrooms: Current practice, training, and creative developments (with particular reference to institutions in southern Nigeria)
• 20 Composition in the classroom in Norwegian elementary school
• 21 Creativity in the Polish music classroom: Historical perspectives and recent actions
• INTERLUDE VII The role of digital technology in classroom composing
• 22 Making a difference in the music classroom: The role of music composition in reframing pupils’ attitudes toward music education in a Portuguese classroom context
• 23 Creativity and composition in South African school curricula
• 24 Music composition in Spanish schools: Towards student-centred pedagogics
• INTERLUDE VIII Why compose in music education?: Arguments between curricular and extracurricular settings
• 25 Composition and creative music making in Swedish public schools and other educational settings
• 26 Composing in schools: A perspective on the multilingual context of Switzerland
• 27 The teaching of music composition in Trinidad and Tobago
• INTERLUDE IX Notation – its place and role in composing pedagogies
• 28 Composition-oriented creative activities in music lessons of Turkish general schools
• 29 Teaching and assessing composing in english secondary schools: An investigation into music teacher confidence
• 30 Assessment of composing in the lower secondary school in England
• INTERLUDE X The place of assessment in teaching and learning composing
• 31 The place and value of composition in the music curriculum in Scotland
• 32 Pedagogical models of teaching and learning music composition in higher education: Practices and perspectives from Uganda
• 33 When creative stars align: Music composition in K–12 schools in the US
• 34 Situating composition in music education in the United States
• Conclusion
• Index