1st Edition
The Routledge Companion to Teaching Music Composition in Schools International Perspectives
Introduction
Kirsty Devaney, Martin Fautley, Joana Grow and Annette Ziegenmeyer
1. Battle Dances and 808s: Teaching Music Creation in Australia
James Henry Byrne Humberstone
2. From Composing Project to University Course: Formal and Informal Pathways of Learning to Compose in Music Classrooms in Austria
Helmut Schmidinger
3. Expanding Analytical Eyes and Ears on Compositional Processes: Alternative Musical Pedagogies on Brazilian Education
Heloísa Feichas, Euridiana Silva Souza and Kristoff Silva
Interlude I: What is Composing?
4. Teaching Composing in Canadian Music Classrooms
Benjamin Bolden
5. Assessing Composition/Improvisation in School Music Education in the Global Age of China
Wai-Chung Ho
6. The Challenges, Models and Outcomes of Composing in Croatian Compulsory Schools
Sabina Vidulin
Interlude II: Creativity and Composing in Education?
7. Composing in the Classroom: The Case of Czech Republic
Vit Zouhar
8. Mapping the Field of Composing Pedagogy in Finland: From Musical Inventions to Cultural Participation
Heidi Partti
9. As For Us in France – Why Do We Call It Creation?
Margarete Stumpfögger
Interlude III: Starting Points of Composing?
10. Composition in Germany in its Fledgling Stages Between Extracurricular Projects and School Music Classes
Joana Grow and Annette Ziegenmeyer
11. Attending to Creative Music Making and Composing in Greek School Music Curricula: Preliminary Findings from a Document Analysis
Smaragda Chrysostomou and Angeliki Triantafyllaki
12. Composition and Creativity in Music Education in Iceland
Helga Rut Gudmundsdottir
Interlude IV: Ways to Teach Composing
13. Composition Pedagogy in Italian Schools: A Model for Teaching Music Composition Through Processes
Michele Biasutti and Eleonora Concina
14. A Sheet of Paper Considered as an Instrument: Examining the Separation of Form and Content in Creative Music Education
Tadahiko Imada
15. Did You Write That Song? Learning Composition in the Kenyan Secondary School
Emily Akuno
Interlude V: Considering Gender, Equality, Diversity and Inclusion in Teaching Composing
16. Policies and Practices in Teaching Music Composition in Mexican Schools
Patricia A. González-Moreno and Rubén Carrillo
17. Music Composition as Playful Activity Perspectives on Teaching Composing from the Netherlands
Michel Hogenes, Bert van Oers and Rene F.W. Diekstra
18. Home-grown Progressivism: Composing in Aotearoa New Zealand Primary and Secondary Schools
Vicki Thorpe, Priya Gain and Stuart Wise
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)
Christian Onyeji
20. Composition in the Classroom in Norwegian Elementary School
Roy Waade and Jan Erik Reknes
21. Creativity in the Polish Music Classroom: Historical Perspectives and Recent Actions
Adam Switala and Gabriela Karin Konkol
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
Ana Luísa Veloso
23. Creativity and Composition in South African School Curricula
Alethea de Villiers
24. Music Composition in Spanish Schools
Gabriel Rusinek and Amalia Casas-Mas
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
Peter Falthin
26. Composing in Schools: A Perspective on the Multilingual Context of Switzerland
Sabine Chatelain
27. The Teaching of Music Composition in Trinidad and Tobago
Adam Walters and Renaldo Ramai
Interlude IX: Notation – its Place and Role in Composing Pedagogies
28. Composition-Oriented Creative Activities in Music Lessons of Turkish General Schools
Sezen Özeke and Nesrin Kalyoncu
29. Teaching and Assessing Composing in English Secondary Schools: An Investigation into Music Teacher Confidence
Kirsty Devaney
30. Assessment of Composing in the Lower Secondary School in England
Martin Fautley
Interlude X: The Place of Assessment in Teaching and Learning Composing
31. The Place and Value of Composition in the Music Curriculum in Scotland
Angela Jaap
32. Pedagogical Models of Teaching and Learning Music Composition in Higher Education: Practices and Perspectives from Uganda
Lawrence Branco Sekalegga
33. When Creative Stars Align: Music Composition in K-12 Schools in the US
Maud Hickey and Gary Wendt
34. Situating Composition in Music Education in the United States
Michele Kaschub and Janice Smith
Conclusion
Kirsty Devaney, Martin Fautley, Joana Grow and Annette Ziegenmeyer
Biography
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.
