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Education Sciences
Special Issues
Cultivating Creativity and Innovation in Music Education
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Cultivating Creativity and Innovation in Music Education

A special issue of Education Sciences (ISSN 2227-7102).

Deadline for manuscript submissions: closed (15 January 2024) | Viewed by 4906

Special Issue Editors

Dr. Luc Nijs

E-Mail Website
Guest Editor
Department of Education and Social Work, University of Luxembourg, Luxembourg
Interests: creativity; embodied music pedagogy; music educational technology; well-being
Dr. Melissa Bremmer

E-Mail Website
Guest Editor
Arts Education Research Group, Amsterdam University of the Arts, Amsterdam, The Netherlands
Interests: creativity; embodied music pedagogy; inclusive education

Special Issue Information

Dear Colleagues,

We kindly invite you to consider submitting a manuscript to our Special Issue, entitled “Cultivating Creativity and Innovation in Teaching and Learning in Music Education".

Creativity and innovation are fundamental to imaginative and inspiring music making and are important drivers of learning, contributing to musicians’ personal and artistic growth. Similarly, they play an important role in teaching, whether it concerns the professional growth of the individual teacher or the development of music education. As Burnard (2012) states, teachers should transform education by “developing new understandings, new practices, new pedagogies, and access to new forms of purposeful activity inspired by contemporary fields of music”.

This Special Issue aims to explore the multifaceted dimensions of creativity and innovation within the context of music education. It aspires to bring together such “new understandings, practices and pedagogies” that not only cultivate the creative development of learners and teachers, but also transform and innovate music education by evoking significant and impactful changes to the way music is taught, learned, and experienced.

We welcome a broad array of topics addressing creative and innovative aspects of music education, including, for example, the teaching methods, curriculum design, technology integration, interdisciplinarity of the arts, accessibility, inclusivity, and the overall learning environment.

We particularly welcome contributions that connect new insights in, for example, musicology (e.g., 4E music cognition), the educational sciences (e.g., non-linearity, multimodality, universal design for learning), philosophy (e.g., posthumanism) and psychology (e.g., positive psychology, well-being, positive technology, dynamic system theory) to creativity and innovation.

Dr. Luc Nijs
Dr. Melissa Bremmer
Guest Editors

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Education Sciences is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1800 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • music education
  • teaching creatively
  • teaching for creativity
  • innovation

Published Papers (3 papers)

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Research

12 pages, 461 KiB  
Article
Reframing Creative Teaching in Secondary Music Teacher Education
by Sabine Chatelain, Karine Barman, Carlos Lage-Gómez and Marcelle Moor
Educ. Sci. 2024, 14(3), 324; https://doi.org/10.3390/educsci14030324 - 18 Mar 2024
Viewed by 734
Abstract
According to research about creativity in education, creativity can be considered an ability that can be fostered through specific teaching strategies. Consequently, future secondary music teachers should be equipped with the knowledge to develop students’ musical creativity. A challenge for teacher training lies [...] Read more.
According to research about creativity in education, creativity can be considered an ability that can be fostered through specific teaching strategies. Consequently, future secondary music teachers should be equipped with the knowledge to develop students’ musical creativity. A challenge for teacher training lies in providing concepts and strategies to develop this professional knowledge. With the aim of improving a music didactics course, the purpose of this study was to understand how student teachers’ conceptions of creative music teaching evolved over one semester. In reference to the concept of creative teaching developed by Beghetto and research about the role of the teacher’s body in music education, a specific framework to identify aspects of creative pedagogical knowledge was conceived. A thematic analysis of two semi-structured interviews with five future secondary music teachers provided a detailed picture of the evolution of their conceptions about creative music teaching. Interestingly, student teachers’ knowledge of theoretical concepts presented in the course, as well as knowledge about the role of the body in creative music teaching, remained mainly implicit. Knowledge about their professional identities as creative musicians and pedagogues appeared to be relevant for enhancing awareness of how to teach with creativity. In order to describe this dimension more precisely, we develop the concept of creative stance knowledge as an emerging category from the data. Its potential for teacher training will be discussed, including a more embodied vision of creative pedagogical knowledge for music teacher training. Full article
(This article belongs to the Special Issue Cultivating Creativity and Innovation in Music Education)
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15 pages, 252 KiB  
Article
Courage to Create: A New Music Education Degree in Instrumental and Vocal Teaching
by Ernest H. C. Lim, Rebecca Y. P. Kan and Nellie S.-R. Seng
Educ. Sci. 2024, 14(3), 315; https://doi.org/10.3390/educsci14030315 - 16 Mar 2024
Cited by 1 | Viewed by 760
Abstract
As a special partnership that offers a unique way to strengthen the arts and cultural developments in Singapore, a new curriculum was offered to prepare students for instrumental and vocal teaching careers, with a focus on pedagogical instruction and educational theory. The purpose [...] Read more.
As a special partnership that offers a unique way to strengthen the arts and cultural developments in Singapore, a new curriculum was offered to prepare students for instrumental and vocal teaching careers, with a focus on pedagogical instruction and educational theory. The purpose of this study is to explore the experiences of music-student teachers engaged in this new programme within a conservatoire context. This paper outlines the framework of a new BEd (Honours) course in Instrumental and Vocal Teaching that addresses the current problem of conservatoire students being inadequately prepared for a profession in (studio) music teaching. Data were captured through focus group interviews with the first two cohorts of this programme in 2023. Three principal themes emerged from the thematic analysis, relating to how students valued contextualization, criticality and conversations within this new curriculum. The results highlight the impact of a specialist education that allows musicians to shape their profession in instrumental and vocal teaching, debunking the notion that conservatoire education is exclusive to talented performers. Full article
(This article belongs to the Special Issue Cultivating Creativity and Innovation in Music Education)
28 pages, 1535 KiB  
Article
Technology-Mediated Hindustani Dhrupad Music Education: An Ethnographic Contribution to the 4E Cognition Perspective
by Stella Paschalidou
Educ. Sci. 2024, 14(2), 203; https://doi.org/10.3390/educsci14020203 - 17 Feb 2024
Viewed by 780
Abstract
Embodiment lies at the core of music cognition, prompting recent pedagogical shifts towards a multi-sensory, whole-body approach. However, the education of oral music genres that rely exclusively on direct teacher–disciple transmission through live demonstration and imitation is now undergoing a transformation by rapidly [...] Read more.
Embodiment lies at the core of music cognition, prompting recent pedagogical shifts towards a multi-sensory, whole-body approach. However, the education of oral music genres that rely exclusively on direct teacher–disciple transmission through live demonstration and imitation is now undergoing a transformation by rapidly adapting to technology-mediated platforms. This paper examines challenges in embodied facets of video-mediated synchronous distance Hindustani music pedagogy. For this, it takes an ethnomusicological stance and showcases a thematic analysis of interviews featuring Dhrupad music practitioners. The analysis is driven and organized by the 4E Cognition principles, which stress the intimate relationship between body, mind, and environment. Findings indicate that while this adaptation aims to make music content more widely accessible, it comes at the cost of reducing opportunities for multi-modal engagement and interaction among participants. Results reveal limitations in transmitting non-verbal, embodied, multi-sensory cues, along with visual and acoustic disruptions of a sense of shared spatial and physical context, that hinder effective interaction and a sense of immersion, elements that are deemed vital in music education. They prompt concerns about the suitability of conventional videoconferencing platforms and offer key insights for the development of alternative technologies that can better assist embodied demands of the pedagogical practices involved. Full article
(This article belongs to the Special Issue Cultivating Creativity and Innovation in Music Education)
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