The Changing Role for the Composer in Society: A Study of the Historical Background and Current Methodologies of Creative Music-Making. By Jolyon Laycock. pp. 440. (Peter Lang, Berne, 2005,  43. ISBN 3-03910-227-X.)

2006 ◽  
Vol 87 (4) ◽  
pp. 666-667
Author(s):  
N. Bannan
Keyword(s):  
Historical Background ◽  
Music Making ◽  
Creative Music ◽  
Changing Role ◽  
Creative Music Making

Creative Music Education in Japan during the 1920's: The Case of the Elementary School Attached to Nara Women's Higher Teachers College

1994 ◽  
Vol 11 (2) ◽  
pp. 157-162 ◽  
Author(s):  
Kyoko Koizumi
Keyword(s):  
Elementary School ◽  
Great Britain ◽  
Music Education ◽  
Music Teachers ◽  
The United States ◽  
Historical Background ◽  
Teachers College ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

‘Creative music-making’, as developed in recent years in Great Britain and other countries, has also become popular in Japanese music education; for many music teachers have come to think seriously about the significance of child-centred music education instead of teacher-centred music education. Such a trend seems to be new. However, as in the United States and Great Britain, child-centred music education has been implemented previously – during the 1920's, in Japan's case. This development began in the Elementary School Attached to Nara Women's Higher Teachers College. The author describes the ideas and practices of creative music education in this school, and its historical background, comparing them with creative music-making today.

scholarly journals Re-imagining Creative Music-making

2021 ◽  
Vol 14 (1) ◽  
Author(s):  
Parmela Attariwala
Keyword(s):  
Music Making ◽  
Creative Music ◽  
Artistic Director ◽  
Creative Music Making

Within days of Vancouver locking down in March 2020, NOW Society’s artistic director, Dr. Lisa Cay Miller, crafted an imaginative means of engaging local and international improvisers in an online series, Creative Music Series #8 (CMS#8). The series showcased not only the musicians’ improvisatory skills, but their compositional abilities. Drawing upon conversations with musicians who took part in CMS#8, Parmela Attariwala reflects upon how the series shaped the early days of the COVID-19 pandemic for her and fellow improvisors involved in the series. She also considers the artistic potency enabled by the mode of creation developed for CMS#8.

Pedagogy of Fundamentals and Diatonic Harmony

2020 ◽  
pp. 125-160
Author(s):  
Jennifer Snodgrass
Keyword(s):  
Harmonic Function ◽  
Music Theory ◽  
Voice Leading ◽  
Music Making ◽  
Creative Methods ◽  
Creative Music ◽  
New Material ◽  
Music Experience ◽  
Methods Of Learning ◽  
Creative Music Making

The earliest levels of the undergraduate music theory core might be some of the more challenging courses to teach. Because students enter the undergraduate theory core with a variety of backgrounds, experiences, and knowledge, instructors face the challenge of inspiring some students with new material while keeping the more experienced students involved. How can educators make this material both relevant and engaging for all students? Teaching the lower levels of written theory is more than just memorization of patterns and rules; it is an opportunity to engage students in creative music making from the very first day with an introduction that helps them understand why a certain element of music works. By participating in engaging and creative methods of learning scales, key signatures, intervals, triads, harmonic function, and voice leading, students are immersed in a music experience that is more than just printed notes on the page.

scholarly journals Teaching creative music in El Sistema and after-school music contexts

2021 ◽  
pp. 025576142199082
Author(s):  
Sean Corcoran
Keyword(s):  
Music Education ◽  
Sense Of Belonging ◽  
After School ◽  
Learning Context ◽  
Music Making ◽  
Creative Music ◽  
School Music ◽  
El Sistema ◽  
Teachers Perspectives ◽  
Creative Music Making

El Sistema music programmes have blossomed over the past decade, with the aim of fostering social development through intensive orchestral music instruction. Many scholars agree that creative music making can facilitate student agency development, increase a sense of belonging and promote creative expression by allowing students to bring their perspectives to the learning context. With these benefits apparent, it seems rational that El Sistema should incorporate creative music making into its curriculum. To build understanding of how creative music approaches function in some programmes, I used a multiple qualitative case study to examine eight teachers’ perspectives of creative music making within El Sistema and after-school music programmes in Canada and the United Kingdom. Findings revealed that teachers conceptualized creative music making as activities that develop agency through collaborative music creation, that have the benefit of creating a sense of belonging and that give students the opportunity to contribute to their community. Successful nurturing of creative music making seems to rely on connecting students to their wider community, which is achieved in part through incorporating students’ own musical tastes. Teachers’ experiences with creative music making in their own music education played a crucial role in preparing them to teach creative music.

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