The Routledge Companion to Teaching Music Composition in Schools

International Perspectives
Herausgeber: Devaney, Kirsty; Grow, Joana; Fautley, Martin

• Broschiertes Buch

Produktbeschreibung

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.

Produktdetails

• Routledge Music Companions
• Verlag: Taylor & Francis Ltd
• Seitenzahl: 540
• Erscheinungstermin: 5. Mai 2025
• Englisch
• Abmessung: 253mm x 183mm x 32mm
• Gewicht: 1006g
• ISBN-13: 9781032026299
• ISBN-10: 1032026294
• Artikelnr.: 73729481

Autorenporträt

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.

Inhaltsangabe

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