The Routledge Companion to Creativities in Music Education

The concept of creativity gives rise to many important questions in the context of music education, such as: Is creativity an innate ability, or a skill which can be developed? and How do educators balance teaching creatively with teaching students to be creative? Across its extensive array of chapters (48 in total), this edited collection addresses these specific questions and other complex issues which concern music teachers, learners, performers, composers and consumers. The book is ambitious in its scope, dealing with music teaching and learning in formal, informal and non-formal settings across diverse geographic and social environments. The volume is divided into seven parts according to contexts but there is, unsurprisingly, considerable overlap across these sections. A useful alternative schema of chapters based on creativities as ‘seeds of change’ is offered in the final chapter (583) – change being a recurrent and vital touchstone throughout the edition.

As with any volume of this size, different readers will be inspired and challenged by different chapters herein. One of the central aims of the book, as outlined by its editors, is to invite members of the music education community to enact transformational, long-lasting change, thereby expanding access to meaningful music experiences for learners of all ages, backgrounds and abilities. In order to explore how this can be achieved, Randles and Burnard draw together a rich array of perspective from scholars, educators and musicians working across the globe. The concept of multiple creativities (as opposed to a fixed concept of creativity) is a key tenet of this volume, building on Burnard’s work (2012). A range of methodologies are presented, from empirical studies to philosophical discussions and quite personal essays. For example, Gareth Dylan Smith’s chapter reflects on his experiences of creativity and spirituality as a rock drummer. Léon de Bruin’s chapter is one of several which fulfil Burnard and Randles’ objective of ‘unlocking’ research (581) to develop theory and practice in the field, outlining a new framework which places the relationship between teacher and student at the centre of the learning process. Fautley and Kinsella’s chapter, while providing valuable insights into the UK music education context, drives at the heart of fundamental questions which concern all individuals involved in the teaching and learning of music: What is the purpose of music education, and whom does it serve?

This edited collection as a whole emerged from discussions at the Suncoast Music Education Research Symposium XIII, which was held online in 2021 during the COVID-19 pandemic. The theme of post-pandemic living pervades much of the volume’s content. Several scholars point to the massive disruption brought about by lockdowns across the globe as proof of educators’ capacity to innovate and facilitate high-quality music education experiences despite significant and unprecedented challenge. Eddy Chong’s chapter reflects on struggles and opportunities around becoming ‘future-ready’ musicians in fast-changing, post-pandemic times. The numerous co-authors of Chapter 22 advocate for the use of technology in contemporary education settings, problematising narratives of ‘mastery’ in music education. One of Chapter 22’s authors, Jim Reiss, makes the pertinent point that, in spite of their initial accessibility, Digital Audio Workstations require the same level of dedication and offer the same potential for musical and extra-musical skill development as traditional instruments do. However, earlier in the volume, in Chapter 11, Malachi Apudo-Achola issues a caution: while educators and musicians should embrace the creative possibilities offered by digital technology in their practice, we must reflect critically on our use of these tools and how they relate to human creativity. Contrasting viewpoints offer thought-provoking discussion of digital creativities in this book.

The relationship between tradition and innovation in music education is another stimulating issue presented in this edited collection. Tan and Lu’s chapter draws on Confucianism to analyse this apparent dichotomy, putting forward a vision of dynamic, process-based creative education. This idea is sure to resonate with music educators who may want to explore and develop innovative pedagogical methods but are unable to do so, due to, perhaps, a fear of failure, or a lack of support from their leadership teams. These issues of creative education are linked to the field of music teacher training, which is rightly given much consideration across this volume. Several authors argue that music teachers’ training is often not conducive to creativity/ies in music education, as it tends to perpetuate hegemonic ideals of performance and appreciation of ‘great’ works of art, with limited engagement in creative practices of composition and improvisation. Many of the chapters include case studies of reflexive, student-centred music education initiatives, offering inspiration and incentives for music educators and leaders, as well as important considerations for future research. As primary school marks the beginning of music education for so many people across the world, this book could have benefitted from additional content on primary-level music education in addition to the fruitful discussions of primary teacher music education which were included. Salvador and Knapp explore important aspects of planning and praxis in early childhood and elementary school settings (ages 3–8), while Makris et al. offer insightful analysis of creativity in Greek-Cypriot primary music education. The introduction to Part 2 of the book, which is subtitled Foundational Creativities, refers to research authored by Cali and Barbot about the creativity of school-age children and adolescents, but a chapter expanding on this research does not feature within the edited collection.

This volume does advance empirical and conceptual study of creativities in music education, and points to connected political, social and pedagogical issues ripe for further discussion in scholarly, professional and public discourse. Issues of social justice are brought to the fore in several chapters, such as Judy Lewis’s fascinating and compassionate account of a hip-hop project undertaken with schoolchildren in Harlem. The topic of decolonisation in music education, which has been the focus of much recent discourse in the professional and academic fields of music education (e.g., Anderson, 2022; Philpott, 2022) is implicit in many chapters, but might have been more robustly explored across the volume as a whole. In the final chapter, Burnard and Randles set out the task for the future of music education research: ‘if the work of music educators is to creatively apply the latest and shifting educational research and thinking, transcending paralysing policy that creates doubt and uncertainty, then how can we reformulate change agendas in music education?’ (585) [emphasis in original]. This point about ‘paralysing policy’ is tremendously important, raising questions around accountability, evaluation and quality assurance in music education programmes, especially those in receipt of state funding. The call-to-action ultimately issued is one that concerns not just music educators, but policy-makers, community leaders and the general public. This volume combines academic rigour with a refreshing humanity, presenting ideas to stimulate readers with a variety of interests and experiences.