Pamela Burnard

The complexity of the various forms of knowledge and practices that are encountered by teachers, university lecturers, teacher trainers, student teachers, policy makers and researchers, demands careful thought and reflection. Professional Knowledge in Music Teacher Education focuses on how knowledge is understood, what theories are held and the related assumptions that are made about teachers and learners, as well as how theory and practice can be understood, with useful and imaginative connections made between the two in music teacher education. Internationally renowned contributors address a number of fundamental questions designed to take the reader to the heart of current debates around knowledge, practice, professionalism, and learning and teaching in music as well as considering how all these elements are influenced by economic, cultural and social forces. The book demonstrates how research can inform pedagogical approaches in music teacher education; methods, courses and field experiences, and prepare teachers for diverse learners from a range of educational settings. The book will appeal to those interested in the development of appropriate professional knowledge and pedagogic practices in music teacher education.

Professional Knowledge in Music Teacher Education

Sarah Hennessy

This book explores reflective practice as a source and resource for teaching, learning and research in Art and Design, Dance, Drama and Music. Many of the authors are both arts educators and researchers who reflect current trends in arts education, and consider the relationships between teachers, artists and learners across disciplines. The book offers a resource for individual and collective professional development which, by its nature, involves reflecting on practice.

Reflective Practices in Arts Education

Elizabeth Mackinlay

Kimberly Powell

For artists, scholars, researchers, educators and students of arts theory interested in culture and the arts, a proper understanding of the questions surrounding ‘interculturality’ and the arts requires a full understanding of the creative, methodological and interconnected possibilities of theory, practice and research. The International Handbook of Intercultural Arts Research provides concise and comprehensive reviews and overviews of the convergences and divergences of intercultural arts practice and theory, offering a consolidation of the breadth of scholarship, practices and the contemporary research methodologies, methods and multi-disciplinary analyses that are emerging within this new field.

The Routledge International Handbook of Intercultural Arts Research

Susan Davis

Leon R. de Bruin

In Creativities in Arts Education, Research and Practice: International Perspectives for the Future of Learning and Teaching, Leon de Bruin, Pamela Burnard and Susan Davis highlight innovative arts practices and practices of enquiry that activate diverse creativities and transform learning and teaching across a variety of places, spaces and settings.

International Perspectives for the Future of Learning and Teaching

fCreativities in Arts Education, Research and Practice

Laura Colucci-Gray

Why Science and Arts Creativities Matter is a ground-breaking text which significantly extends current understandings of STEAM and debates about individuation of disciplines vis- -vis transdisciplinary theory. Drawing upon posthumanism, new materialism and enactivism, this collection of chapters aims to dwell further into the ways in which we come to know in relationship with the world. The text draws together a wide set of approaches and points of views to stimulate dialogue and awareness of the different ways in which we can extend the repertoire of human faculties for thinking and experiencing the world. A unique invitation is shared with readers to develop greater understanding of the contribution of education across the arts and sciences and to re-imagine our collective futures. This book is a unique and timely volume that opens up several new lines of enquiry and arguments on STEAM education. It rebalances and readdresses the current emphasis in the literature around STEAM as another, newer opportunity to teach content. Instead, it brings a more specific focus on an entwining of contemporary theorists - putting theory to work - to extend the means for understanding and cultivating science and arts creativities, and make explicit key connections with the materiality of practices. This new go-to text offers a demonstration of how the latest research and theoretically engaged thinking (thinking through theory) on STEAM education can be put to work in practice. Contributors are: Ramsey Affifi, Sofie Areljung, Chris Brownell, Pamela Burnard, Kerry Chappell, Laura Colucci-Gray, Carolyn Cooke, Krist f Fenyvesi, Erik Fooladi, Cathy Francis, Lindsay Hetherington, Anna Hickey-Moody, Christine Horn, Tim Ingold, Riikka Kosola, Zsolt Lavicza, Elsa Lee, Saara Lehto, Danielle Lloyd, James Macallister, Caroline Maloney, Tessa Mcgavock, Karin Murris, Lena Nasiakou, Edvin stergaard, Anne Pirrie, Hermione Ruck Keene, Ruth Sapsed, Diana Scherer, Pallawi Sinha, Margaret Somerville, Keiren Stephenson, Carine Steyn, Jan Van Boeckel, Nicola Walshe, Olivier Werner, Marissa Willcox, and Heather Wren.

Re-Configuring STEAM for Future-Making Education

Why Science and Art Creativities Matter

Elizabeth Haddon

Activating Diverse Musical Creativities analyses the ways in which music programmes in higher education can activate and foster diverse musical creativities. It also demonstrates the relationship between musical creativities and entrepreneurship in higher education teaching and learning. These issues are of vital significance to contemporary educational practice and training in both university and conservatoire contexts, particularly when considered alongside the growing importance of entrepreneurship, defined here as a type of creativity, for successful musicians working in the 21st century creative and cultural industries. International contributors address a broad spectrum of musical creativities in higher education, such as improvisational creativity, empathic creativity and leadership creativity, demonstrating the transformative possibilities of embedding these within higher music education teaching and learning. The chapters explore the active practice of musical creativities in teaching and learning and recognize their mutual dependency. The contributors consider philosophical and practical concerns in their work on teaching for creativity in higher music education and focus on practices using imaginative approaches in order to make learning more interesting, effective and relevant.

Teaching and Learning in Higher Music Education

Activating Diverse Musical Creativities

Musical Creativities in Practice explores the social and the cultural contexts in which creativity in music occurs. It begins by considering what constitutes creativity - taking a cross cultural view of music, while investigating creative processes far beyond just the classical music genre - including electronic media, popular music, and improvised music. In addition it looks at creativity in both writing and performing. The field of musical education is a key focus - examining why creativity is important within the educational environment, and looking at how schools might sometimes stifle creativity in their music teaching, rather than encourage it. The book is packed with case studies and real-life examples taken from studies across the world, providing a powerful corrective to myths and outmoded conceptions which privilege the creative practice of individual artists. Musical Creativity in Practice argues the need for conceptual expansion of musical creativities in line with vital contemporary real world practices. It explores how different types of musical creativities are recognised and communicated in the real world practices of a diversity of professional musicians. The book covers creative practice issues underlying composing, improvising, singer songwriting, originals bands, DJ cultures, live coding and interactive sound designing and the implications of creativity research for music education and for the assessment of creativities in industry and education. Musical Creativities in Practice will be valuable for those in fields of music psychology and music education, from advanced undergraduate level upwards.

Musical Creativities in Practice

Ylva Hofvander Trulsson

Pierre Bourdieu has been an extraordinarily influential figure in the sociology of music. For over four decades, his concepts have helped to generate both empirical and theoretical interventions in the field of musical study. His impact on the sociology of music taste, in particular, has been profound, his ideas directly informing our understandings of how musical preferences reflect and reproduce inequalities between social classes, ethnic groups, and men and women. Bourdieu and the Sociology of Music Education draws together a group of international researchers, academics and artist-practitioners who offer a critical introduction and exploration of Pierre Bourdieu’s rich generative conceptual tools for advancing sociological views of music education. By employing perspectives from Bourdieu’s work on distinction and judgement and his conceptualisation of fields, habitus and capitals in relation to music education, contributing authors explore the ways in which Bourdieu’s work can be applied to music education as a means of linking school (institutional habitus) and learning, and curriculum and family (class habitus). The volume includes research perspectives and studies of how Bourdieu’s tools have been applied in industry and educational contexts, including the primary, secondary and higher music education sectors. The volume begins with an introduction to Bourdieu’s contribution to theory and methodology and then goes on to deal in detail with illustrative substantive studies. The concluding chapter is an extended essay that reflects on, and critiques, the application of Bourdieu’s work and examines the ways in which the studies contained in the volume advance understanding. The book contributes new perspectives to our understanding of Bourdieu’s tools across diverse settings and practices of music education.

Pamela Burnard

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