How is creativity understood and facilitated across music education settings? What is the power of creativity in enhancing individual and group learning? How is musical creativity used as a tool for cross-community integration? How can we research the interactions of those engaged in musical activities aimed at creative development? These are just some of the questions addressed in this fascinating new monograph. Musical Creativity Revisited is an authoritative volume of insights from theory, practice-based research and methodological analyses. Its chapters celebrate the diversity of the many different ways in which young and adult learners develop musical creativity. Following on from Musical Creativity: Insights from Music Education Research (Ashgate, 2012) Odena offers novel examples from practice and precise suggestions on how to research it. This book will be an essential point of reference for students, researchers, practitioners and practitioner-researchers interested in music education and creativity across the arts and social sciences. The chapters have been organized into three sections – Foundations, Practices and Research – including examples from in-depth studies focussed on a secondary school in England, higher music education in Spain and out-of-school settings in Northern Ireland. This is a book that will fascinate readers, inspiring them to think deeply about the many different ways in which musical creativity can be developed, its purposes and how to research it.

Brazilian Research on Creativity Development in Musical Interaction focuses on creativity that involves interactive musical activities, with different groups, such as professional musicians, students, and student teachers. It seeks to present research with a theoretical foundation on musical creativity and interaction, within psychology and music pedagogy. A collection of ten contributed essays present studies that promote understanding of the possibilities of creative development from the interactive process. All are undertaken within the context of teaching and learning, whether one-on-one or group lessons, ranging from elementary school music class, instrument study, choral singing, composition and teaching an autistic student.

How do we develop musical creativity? How is musical creativity nurtured in collaborative improvisation? How is it used as a communicative tool in music therapy? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology and music therapy. The book celebrates the rich diversity of ways in which learners of all ages develop and use musical creativity. Contributions focus broadly on the composition/improvisation process, considering its conceptualization and practices in a number of contexts. The authors examine how musical creativity can be fostered in formal settings, drawing examples from primary and secondary schools, studio, conservatoire and university settings, as well as specialist music schools and music therapy sessions. These essays will inspire readers to think deeply about musical creativity and its development. The book will be of crucial interest to music educators, policy makers, researchers and students, as it draws on applied research from across the globe, promoting coherent and symbiotic links between education, music and psychology research.

A provocative new way to think about why we live as we do today-and where we might be headed. Initially published in 2002, The Rise of the Creative Class quickly achieved classic status for its identification of forces then only beginning to reshape our economy, geography, and workplace. Weaving story-telling with original research, Richard Florida identified a fundamental shift linking a host of seemingly unrelated changes in American society: the growing importance of creativity in people's work lives and the emergence of a class of people unified by their engagement in creative work. Millions of us were beginning to work and live much as creative types like artists and scientists always had, Florida observed, and this Creative Class was determining how the workplace was organized, what companies would prosper or go bankrupt, and even which cities would thrive. In The Rise of the Creative Class Revisited, Florida further refines his occupational, demographic, psychological, and economic profile of the Creative Class, incorporates a decade of research, and adds five new chapters covering the global effects of the Creative Class and exploring the factors that shape "quality of place" in our changing cities and suburbs.

This book summarizes the latest research on the origins of language, with a focus on the process of evolution and differentiation of language. It provides an update on the earlier successful book, “The Origins of Language” edited by Nobuo Masataka and published in 2008, with new content on emerging topics. Drawing on the empirical evidence in each respective chapter, the editor presents a coherent account of how language evolved, how music differentiated from language, and how humans finally became neurodivergent as a species. Chapters on nonhuman primate communication reveal that the evolution of language required the neural rewiring of circuits that controlled vocalization. Language contributed not only to the differentiation of our conceptual ability but also to the differentiation of psychic functions of concepts, emotion, and behavior. It is noteworthy that a rudimentary form of syntax (regularity of call sequences) has emerged in nonhuman primates. The following chapters explain how music differentiated from language, whereas the pre-linguistic system, or the “prosodic protolanguage,” in nonhuman primates provided a precursor for both language and music. Readers will gain a new understanding of music as a rudimentary form of language that has been discarded in the course of evolution and its role in restoring the primordial synthesis in the human psyche. The discussion leads to an inspiring insight into autism and neurodiversity in humans. This thought-provoking and carefully presented book will appeal to a wide range of readers in linguistics, psychology, phonology, biology, anthropology and music.

Viewing the plurality of creativity in music as being of paramount importance to the field of music education, The Routledge Companion to Creativities in Music Education provides a wide-ranging survey of practice and research perspectives. Bringing together philosophical and applied foundations, this volume draws together an array of international contributors, including leading and emerging scholars, to illuminate the multiple forms creativity can take in the music classroom, and how new insights from research can inform pedagogical approaches. In over 50 chapters, it addresses theory, practice, research, change initiatives, community, and broadening perspectives. A vital resource for music education researchers, practitioners, and students, this volume helps advance the discourse on creativities in music education.

Certificate for Music Educators Guidebook is focused on the learning outcomes of the Certificate for Music Educators in the UK, accredited by the Office of Qualifications and Examinations Regulation (Ofqual), and validated by Trinity College London (TCL) and the Associated Board of the Royal Schools of Music (ABRSM). Through reflective questions, readers become acquainted with research findings relevant to teaching children and explore ways for enacting best teaching practice in day-to-day teaching. It offers strong foundations in teaching music in contemporary diverse settings, in both instrumental and vocal teaching; early years, primary and secondary schools and community-based contexts. This book is directly aligned with the CME Level 4 course modules, units and areas of study and its desired learning outcomes. It is a key companion for students enrolled in a validated centre, as well as the teachers and mentors involved in the design and delivery of the CME.

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.

How do we develop social inclusion through musical activities? What is the power of music in enhancing individual inclusion, group cohesion, and cross-community work in post-conflict environments? How can we investigate social music programmes and interventions? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology, ethnomusicology, and community music. The book celebrates the rich diversity of ways in which learners of all ages participate in social music projects in complex settings. Contributions focus broadly on musical and social processes, considering its conceptualisation and practices in a number of contexts. The authors examine how social music projects can be fostered in complex settings, drawing examples from schools and community settings. These critical chapters will inspire readers to think deeply about social music interventions and their development. The book will be of crucial interest to educators, policymakers, researchers, and students, as it draws on applied research from across 14 countries, of which ten are in the Global South.

On interpreting musical phenomena in terms of mental function