- The Oxford Handbook of Music Education
- Oxford Handbook of Music Education Introduction to Volume 2
- Commentary: Special Abilities, Special Needs
- Mapping Musical Development in Learners with the Most Complex Needs: The Sounds of Intent Project
- Exceptional Musical Abilities: Musical Prodigies
- A Fresh Look at Music Therapy in Special Education
- Inclusive Music Classrooms and Programs
- Preparing for the Future: Music Students with Special Education Needs in School and Community Life
- Commentary: Music in the Community
- The Community within Community Music
- Community Music and Social Capital
- Community Music Therapy
- Community Music and Social Justice: Reclaiming Love
- Sonic Hospitality: Migration, Community, and Music
- At-Risk Youth: Music-Making as a Means to Promote Positive Relationships
- Fast Forward: Emerging Trends in Community Music
- Commentary: Adult Learning in a Lifespan Context
- Elders and Music: Empowering Learning, Valuing Life Experience, and Considering the Needs of Aging Adult Learners
- Adult Music Learning in Formal, Nonformal, and Informal Contexts
- Music Teacher Education: Crossing Generational Borders
- The Role of Higher Education in Fostering Musically Engaged Adults
- Lifelong Learning for Professional Musicians
- An International Perspective on Music Education for Adults
- Commentary: Musical Creativity as Practice
- Empathy and Creativity in Group Musical Practices: Towards a Concept of Empathic Creativity
- Intercultural Tensions and Creativity in Music
- Communal Creativity as Sociomusical Practice
- Assessing Creativity in Music: International Perspectives and Practices
- Creativity in Partnership Practices
- Commentary: Music Learning and Teaching through Technology
- The Misunderstanding of Music-Technology-Education: A Meta Perspective
- Technology and the Educator
- The Student Prince: Music-Making with Technology
- Driving Forward Technology's Imprint on Music Education
- Commentary: Media, Music, and Education
- Music Education in the Postperformance World
- Let's Play! Learning Music through Video Games and Virtual Worlds
- Collaborative Digital Media Performance with Generative Music Systems
- Music Learning and New Media in Virtual and Online Environments
- Commentary Critical Reflections and Future Action
- Politics, Policy, and Music Education
- Instrumental Teachers and Their Students: Who's in the Driver's Seat?
- University Professors and the Entrepreneurial Spirit
- Pride and Professionalism in Music Education
- Pondering the Grand Experiment in Public Music Education
- Music Education and Some of Its Subfields: Thoughts about Future Priorities
- Music Education: An Unanswered Question
- Improving Primary Teaching: Minding the Gap
- International Music Education: Setting up a Global Information System
- The Responsibility of Research in Defining the Profession of Music Education
- Constructing Communities of Scholarship in Music Education
- Internationalizing Music Education
- Emotion in Music Education
- Music Education from a Slightly Outside Perspective
- Research Issues in Personal Music Identification
- Preparation, Perseverance, and Performance in Music: Views from a Program of Educational Psychology Research
- Music Therapy in Schools: An Expansion of Traditional Practice
- Embracing New Digital Technologies: Now and into the Future
- Challenges for Research and Practices of Music Education
- All Theoried Up and Nowhere to Go
- Make Research, Not War: Methodologies and Music Education Research
- The Preparation of Music Teacher Educators: A Critical Link
- Music and the Arts: As Ubiquitous and Fundamental as the Air We Breathe
- There is Nothing Complex about a Correlation Coefficient
- Dewey's Bastards: Music, Meaning, and Politics
Abstract and Keywords
This article presents six case studies from England, Australia, and Hong Kong, which illustrate the different ways creativity in music is defined and assessed by teachers and learners in various educational contexts. It considers the influence of educational policies on the assessment of musical creativity. It also examines the key features of music creativity assessment in order to draw parallels between various contexts. The article concludes with a discussion of the implications for classroom practice.
Samuel Leong (Ph. D) is Associate Dean (Quality Assurance and Enhancement) of the Faculty of Arts and Sciences, and professor and head of the Cultural and Creative Arts Department at the Hong Kong Institute of Education. He is also Director of the UNESCO Observatory for Research in Local Cultures & Creativity in Education. He was Director of Music Education at the University of Western Australia and codirected the Australian National Review for School Music Education (2004–5) prior to moving to Hong Kong. He has been awarded competitive research grants from the Australian Research Council, Hong Kong Research Grants Council and Arts Development Council of Hong Kong. Leong is Director of Research of the International Drama and Theatre Education Association and serves on the boards of nine refereed journals. His professional and research interests are in the areas of creativity and arts assessment, performance wellness, metacognition, cultural policy, and cross-cultural learning.
Pamela Burnard is a professor of Arts, Creativities, and Education at the University of Cambridge, Faculty of Education. She holds degrees in Music Performance, Music Education, Education, and Philosophy. Her primary research interests include the study of diverse and variegated creativities, the nexus of education, cultural and creative industries, and digital learning cultures and innovative practices, for which she is internationally recognized. She is convenor of the Creativities in Intercultural Arts Network (CIAN), the British Education Research Association Creativities in Education SIG, and Building Interdisciplinary Bridges Across Cultures (BIBAC) International Biennial Conference (http://www.bibac.org). Her recent books include Musical Creativities in Practice (OUP), Teaching Music Creatively (Routledge), Creative Teaching for Creative Learning in Higher Music Education (Ashgate), Activating Diverse Creativities in Higher Music Education (Bloomsbury), and Bourdieu and the Sociology of Music Education (Ashgate).
Neryl Jeanneret studied undergraduate music at the University of Sydney followed by a diploma of education, a master of education and a doctor of philosophy. She is the head of music education at the Melbourne Graduate School of Education and has served as national president of the Australian Society of Music Education, the chair of the International Society for Music Education's policy commission, and chief examiner of music for the Board of Studies, NSW. Her current research focuses on the impact of arts partnerships in schools and other settings, effective teaching models for the preparation of preservice primary generalists and Musical Futures in an Australian context. She has been involved in curriculum writing and assessment K-12 as well as development of teacher support materials for organizations such as the Department of Education and Early Childhood Development (Victoria), Opera Australia, the Department of Education (NSW), Musica Viva, and the Sydney Symphony Orchestra.
Bo Wah Leung received his Ph.D. from the University of New South Wales, Australia. He is associate professor in the Cultural and Creative Arts Department at the Hong Kong Institute of Education. His areas of research interests include creativity in music teaching and learning, motivation in composing and learning ethnic music, and teaching Cantonese opera in partnership. His areas of research interests include creativity in music teaching and learning, motivation in composing and learning ethnic music, and teaching Cantonese opera in partnership. He was the founding president of the Hong Kong Association for Music Educators. Currently he is a founding co-editor of the Asia-Pacific Journal for Arts Education and on the editorial board of three international refereed journals. He is an elected board member of the International Society for Music Education (ISME), a commissioner of the Research Commission of ISME, a Subject Consultant (Education and Performing Arts) of the Hong Kong Council for Academic Accreditation and Vocational Qualifications, and an adjunct professor of the School of Music at the Northeast Normal University, China.
Carole Waugh is currently completing her doctorate study at the Faculty of Education, University of Cambridge. Her research focuses on how teachers see student consultation strategies to inform the development of their classroom assessment practices. Prior to this she completed an MPhil in Educational Research. Her research interests lie in exploring students’ and teachers’ use of classroom assessment, with particular emphasis on their use of assessment of learning strategies when preparing for high stakes summative testing in the 14–19 sector. She is also involved in finding innovative ways of assessing new qualifications in Critical Thinking and Thinking Skills. She has worked as a classroom teacher for seventeen years and was a Chief Examiner for a leading UK Awarding Body for seven years.
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