This book creates a platform for music educators to share their experience and expertise in creative music teaching and learning with the international community. It presents research studies and practices that are original and representative of music education in the Japanese, Asian and international communities. It also collects substantial literature on music education research in Japan and other Asian societies, enabling English-speaking readers to access excellent research and practical experiences in non-English societies.

This edited volume explores how selected researchers, students and academics name and frame creative teaching and learning as constructed through the rationalities, practices, relationships, events, objects and systems that are brought to educational sites and developed by learning communities. The concept of creative learning questions the starting-points and opens up the outcomes of curriculum, and this frames creative teaching not only as a process of learning but as an agent of change. Within the book, the various creativities that are valued by different stakeholders teaching and studying in the higher music sector are delineated, and processes and understandings of creative teaching are articulated, both generally in higher music education and specifically through their application within the design of individual modules. This focus makes the text relevant to scholars, researchers and practitioners across many fields of music, including those working in musicology, composition, performance, music education, and music psychology. The book contributes new perspectives on our understanding of the role of creative teaching and learning and processes in creative teaching across the domain of music learning in higher music education sectors.

A long-awaited revision of the classic 1977 text that laid the foundations for the development of their pioneering improvisational practice of music therapy. It is a large book of nineteen chapters and over 500 pages with almost 5 hours of clinical work on four CDs that accompany the print book, or with the same audio files embedded in an enhanced e-book. Included are clinical examples of music therapy with twenty-four variously disabled children, 5 comprehensive case studies, detailed illustrations, notational examples and discussions of clinical and musical techniques, 3 evaluation scales, and a complete set of improvisation techniques.

Seventeen contributors make a compelling case for including creativity as part of the music classroom, from kindergarten to teacher training courses. Practical solutions and time tested practices are provided.

This book addresses the gap between formal music education curricula and the knowledge and skills necessary to enter the professional music industry. It uses extensive data from a long-running research project where high school students were invited to start their own business venture, Youth Music Industries. Not only did this act as a business venture, but it also functioned as a learning environment informed by the concepts of Communities of Practice and social capital. Exploring how entrepreneurial qualities were developed, their learning was subsequently captured and distilled into a set of design principles: in this way, a pedagogical approach was developed that can be transferred across the creative industries more broadly. This book will be of interest and value to scholars of music education, as well as those preparing students for the creative industries.

Most musicians focus on learning technique (learning how to play an instrument), rather than on developing an individual, unique voice. Creative Music Making focuses on the creative development of musicians from all levels of experience and in all styles of music. Based on the author's experience leading workshops for performers around the world, the easy-to-follow exercises in this text will enable any musician--from beginner to professional--to improve creativity and self-expression. Creative Music Making will open the ears of all musicians, vocalists or instrumentalists, in classical, popular, or jazz styles, to a world of new possibilities.