This edited volume explores how selected researchers, students and academics name and frame creative teaching and learning as constructed through the rationalities, practices, relationships, events, objects and systems that are brought to educational sites and developed by learning communities. The concept of creative learning questions the starting-points and opens up the outcomes of curriculum, and this frames creative teaching not only as a process of learning but as an agent of change. Within the book, the various creativities that are valued by different stakeholders teaching and studying in the higher music sector are delineated, and processes and understandings of creative teaching are articulated, both generally in higher music education and specifically through their application within the design of individual modules. This focus makes the text relevant to scholars, researchers and practitioners across many fields of music, including those working in musicology, composition, performance, music education, and music psychology. The book contributes new perspectives on our understanding of the role of creative teaching and learning and processes in creative teaching across the domain of music learning in higher music education sectors.
Introduction Elizabeth Haddon
Part 1: Articulating Experience in Secondary and Higher Music Education
1. Pre-higher Education Creativity: Composition in the Classroom Steven Berryman
2. A Student Perspective on Creativity in Higher Music Education Natalie Edwards, James Whittle and Alice Wright
3. Creativity in Higher Music Education: Views of University Music Lecturers Elizabeth Haddon
4. Considering Creative Teaching in Relation to Creative Learning: Developing a Knowing–Doing Orientation for Change in Higher Music Education Pamela Burnard
Part 2: Developing the Creative Lecturer and Teacher
5. Thinking, Making, Doing: Perspectives on Practice-Based, Research-Led Teaching in Higher Music Education Louise Harris
6. Practice-as-Research: A Method for Articulating Creativity for Practitioner-Researchers Martin Blain
7. Perspectives on Research-Led Teaching John Robert Ferguson
8. Teaching the Supreme Art: Pre-service Teacher Perceptions of Creative Opportunities in the Higher Education Music Class Kari Veblen, H. Elisha Jo and Stephen J. Messenger
9. Pre-service Teachers Converting Motherhood into Creative Capital through Composing with Sound Clare Hall
10. Deconstructing and Re-imagining Repertoire in Music Teacher Training Tim Palmer
Part 3: Philosophies, Practices and Pedagogies: Teaching for Creative Learning
11. Imagined Structures: Creative Approaches for Musical Analysis Mark Hutchinson and Tim Howell
12. Curiosity, Apathy, Creativity and Deference in the Musical Subject–Object Relationship Nicky Losseff
13. Recontextualised Learning through Embedded Creativity: Developing a Module that Applies Historically Informed Performance Practice to Baroque Music Christina Guillaumier, Ruth Slater and Peter Argondizza
14. There and Now: Creativity across Cultures Neil Sorrell
15. Dalcroze Eurhythmics: Bridging the Gap between the Academic and the Practical through Creative Teaching and Learning Karin Greenhead, John Habron and Louise Mathieu
16. Creativity and Community in an Entrepreneurial Undergraduate Music Module Fay Hield and Stephanie Pitts
17. Fostering Effective Group Creativity Ambrose Field.
The theme for the series is the psychology of music, broadly defined. Topics include (i) musical development at different ages, (ii) exceptional musical development in the context of special educational needs, (iii) musical cognition and context, (iv) culture, mind and music, (v) micro to macro perspectives on the impact of music on the individual (from neurological studies through to social psychology), (vi) the development of advanced performance skills and (vii) affective perspectives on musical learning. The series presents the implications of research findings for a wide readership, including user-groups (music teachers, policy makers, parents) as well as the international academic and research communities. This expansive embrace, in terms of both subject matter and intended audience (drawing on basic and applied research from across the globe), is the distinguishing feature of the series, and it serves SEMPRE’s distinctive mission, which is to promote and ensure coherent and symbiotic links between education, music and psychology research.