1st Edition

The Routledge Companion to Teaching Music Composition in Schools International Perspectives

    560 Pages 17 B/W Illustrations
    by Routledge

    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.


    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


    Kirsty Devaney, Martin Fautley, Joana Grow and Annette Ziegenmeyer


    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.