The Routledge Companion to Teaching Music Composition in Schools : International Perspectives (Paperback)

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