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.
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.
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 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 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 as 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
Towards Music Education in a Portuguese Classroom Context
23. Creativity and
Composition in South African School Curricula
24. Music Composition in
Spanish Schools 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
Kirsty Devaney is a composer and music education researcher based in Birmingham, UK. As a composition tutor at Royal Birmingham Conservatoire, and founder of the Young Composers Project, Kirsty specialises in composing music with, and for, non-professional and youth groups. Her music has been aired on BBC Radio 3 and shortlisted for a British Composer Award.
Martin Fautley is a Professor of Education at Birmingham City University, UK. He researches and writes about various aspects of teaching and learning in music, specializing in creativity and assessment. He is the author of 10 books, as well as over 60 journal articles, book chapters, and academic research papers.
Joana Grow is a Professor of Music Education at Hanover University of Music, Drama and Media, Germany. Her areas of teaching and research are music composition, gender and music education, professionalization of student teachers, language-sensitive music education, and teaching music history.
Annette Ziegenmeyer is a Professor of Music Education at the University of Luebeck, Germany. Her areas of teaching and research cover a broad range of topics such as music composition in schools and beyond, community music/music in social work, and music education in prisons.
