Elizabeth Haddon is Research Fellow in the Music Department at the University of York, UK, where she leads the MA in Music Education: Instrumental and Vocal Teaching and also teaches piano. Her research focuses on pedagogy, creativity and musical performance, particularly in the higher education sector, and includes the book Making Music in Britain: Interviews with those behind the notes (Ashgate, 2006) as well as articles in peer-reviewed journals, book chapters and presentations at international conferences. Pamela Burnard is Professor of Arts, Creativities and Education at the Faculty of Education, University of Cambridge, UK. She holds degrees in Music Performance, Music Education, Education and Philosophy. Her primary interest is creativities research for which she is internationally recognised. She is the author/co-author/editor of twelve books and multiple refereed journals. She is convenor of the Creativities in Intercultural Arts Network (CIAN), co-convenor of the British Education Research Association Creativities in Education SIG, and host and convenor of the Building Interdisciplinary Bridges Across Cultures (BIBAC) International Biennial Conference. She serves on numerous editorial boards and is a Fellow of the Royal Society of Arts.

• Introduction Elizabeth HaddonPart 1: Articulating Experience in Secondary and Higher Music Education1. Pre-higher Education Creativity: Composition in the Classroom Steven Berryman2. A Student Perspective on Creativity in Higher Music Education Natalie Edwards, James Whittle and Alice Wright3. Creativity in Higher Music Education: Views of University Music Lecturers Elizabeth Haddon4. Considering Creative Teaching in Relation to Creative Learning: Developing a Knowing–Doing Orientation for Change in Higher Music Education Pamela BurnardPart 2: Developing the Creative Lecturer and Teacher5. Thinking, Making, Doing: Perspectives on Practice-Based, Research-Led Teaching in Higher Music Education Louise Harris6. Practice-as-Research: A Method for Articulating Creativity for Practitioner-Researchers Martin Blain7. Perspectives on Research-Led Teaching John Robert Ferguson8. Teaching the Supreme Art: Pre-service Teacher Perceptions of Creative Opportunities in the Higher Education Music Class Kari Veblen, H. Elisha Jo and Stephen J. Messenger9. Pre-service Teachers Converting Motherhood into Creative Capital through Composing with Sound Clare Hall10. Deconstructing and Re-imagining Repertoire in Music Teacher Training Tim PalmerPart 3: Philosophies, Practices and Pedagogies: Teaching for Creative Learning11. Imagined Structures: Creative Approaches for Musical Analysis Mark Hutchinson and Tim Howell12. Curiosity, Apathy, Creativity and Deference in the Musical Subject–Object Relationship Nicky Losseff13. Recontextualised Learning through Embedded Creativity: Developing a Module that Applies Historically Informed Performance Practice to Baroque Music Christina Guillaumier, Ruth Slater and Peter Argondizza14. There and Now: Creativity across Cultures Neil Sorrell15. Dalcroze Eurhythmics: Bridging the Gap between the Academic and the Practical through Creative Teaching and Learning Karin Greenhead, John Habron and Louise Mathieu16. Creativity and Community in an Entrepreneurial Undergraduate Music Module Fay Hield and Stephanie Pitts17. Fostering Effective Group Creativity Ambrose Field.Index

I would suggest that this volume is an invaluable resource for tutors in higher music education (hereafter HME), which stimulates critical thinking about HME pedagogy and practice and challenges institutional myopia regarding some aspects of summative assessment. The volume is divided into three sections, described as “Articulating experience in secondary and higher education”, “Developing the creative lecturer and teacher” and “Philosophies, practices and pedagogies: Teaching for creative learning”. This volume stimulates discourse about creative pedagogy, supported by a wide range of case studies which it is hoped will inspire readers to try out some of these innovative, creative approaches to teaching and learning.- Monica Esslin-Peard, Department of Music, University of Liverpool,UK

Elizabeth Haddon is Research Fellow in the Music Department at the University of York, UK, where she leads the MA in Music Education: Instrumental and Vocal Teaching and also teaches piano. Her research focuses on pedagogy, creativity and musical performance, particularly in the higher education sector, and includes the book Making Music in Britain: Interviews with those behind the notes (Ashgate, 2006) as well as articles in peer-reviewed journals, book chapters and presentations at international conferences. Pamela Burnard is Professor of Arts, Creativities and Education at the Faculty of Education, University of Cambridge, UK. She holds degrees in Music Performance, Music Education, Education and Philosophy. Her primary interest is creativities research for which she is internationally recognised. She is the author/co-author/editor of twelve books and multiple refereed journals. She is convenor of the Creativities in Intercultural Arts Network (CIAN), co-convenor of the British Education Research Association Creativities in Education SIG, and host and convenor of the Building Interdisciplinary Bridges Across Cultures (BIBAC) International Biennial Conference. She serves on numerous editorial boards and is a Fellow of the Royal Society of Arts.

• Introduction Elizabeth HaddonPart 1: Articulating Experience in Secondary and Higher Music Education1. Pre-higher Education Creativity: Composition in the Classroom Steven Berryman2. A Student Perspective on Creativity in Higher Music Education Natalie Edwards, James Whittle and Alice Wright3. Creativity in Higher Music Education: Views of University Music Lecturers Elizabeth Haddon4. Considering Creative Teaching in Relation to Creative Learning: Developing a Knowing–Doing Orientation for Change in Higher Music Education Pamela BurnardPart 2: Developing the Creative Lecturer and Teacher5. Thinking, Making, Doing: Perspectives on Practice-Based, Research-Led Teaching in Higher Music Education Louise Harris6. Practice-as-Research: A Method for Articulating Creativity for Practitioner-Researchers Martin Blain7. Perspectives on Research-Led Teaching John Robert Ferguson8. Teaching the Supreme Art: Pre-service Teacher Perceptions of Creative Opportunities in the Higher Education Music Class Kari Veblen, H. Elisha Jo and Stephen J. Messenger9. Pre-service Teachers Converting Motherhood into Creative Capital through Composing with Sound Clare Hall10. Deconstructing and Re-imagining Repertoire in Music Teacher Training Tim PalmerPart 3: Philosophies, Practices and Pedagogies: Teaching for Creative Learning11. Imagined Structures: Creative Approaches for Musical Analysis Mark Hutchinson and Tim Howell12. Curiosity, Apathy, Creativity and Deference in the Musical Subject–Object Relationship Nicky Losseff13. Recontextualised Learning through Embedded Creativity: Developing a Module that Applies Historically Informed Performance Practice to Baroque Music Christina Guillaumier, Ruth Slater and Peter Argondizza14. There and Now: Creativity across Cultures Neil Sorrell15. Dalcroze Eurhythmics: Bridging the Gap between the Academic and the Practical through Creative Teaching and Learning Karin Greenhead, John Habron and Louise Mathieu16. Creativity and Community in an Entrepreneurial Undergraduate Music Module Fay Hield and Stephanie Pitts17. Fostering Effective Group Creativity Ambrose Field.Index

I would suggest that this volume is an invaluable resource for tutors in higher music education (hereafter HME), which stimulates critical thinking about HME pedagogy and practice and challenges institutional myopia regarding some aspects of summative assessment. The volume is divided into three sections, described as “Articulating experience in secondary and higher education”, “Developing the creative lecturer and teacher” and “Philosophies, practices and pedagogies: Teaching for creative learning”. This volume stimulates discourse about creative pedagogy, supported by a wide range of case studies which it is hoped will inspire readers to try out some of these innovative, creative approaches to teaching and learning.- Monica Esslin-Peard, Department of Music, University of Liverpool,UK

Elizabeth Haddon is Research Fellow in the Music Department at the University of York, UK, where she leads the MA in Music Education: Instrumental and Vocal Teaching and also teaches piano. Her research focuses on pedagogy, creativity and musical performance, particularly in the higher education sector, and includes the book Making Music in Britain: Interviews with those behind the notes (Ashgate, 2006) as well as articles in peer-reviewed journals, book chapters and presentations at international conferences. Pamela Burnard is Professor of Arts, Creativities and Education at the Faculty of Education, University of Cambridge, UK. She holds degrees in Music Performance, Music Education, Education and Philosophy. Her primary interest is creativities research for which she is internationally recognised. She is the author/co-author/editor of twelve books and multiple refereed journals. She is convenor of the Creativities in Intercultural Arts Network (CIAN), co-convenor of the British Education Research Association Creativities in Education SIG, and host and convenor of the Building Interdisciplinary Bridges Across Cultures (BIBAC) International Biennial Conference. She serves on numerous editorial boards and is a Fellow of the Royal Society of Arts.

• Introduction Elizabeth HaddonPart 1: Articulating Experience in Secondary and Higher Music Education1. Pre-higher Education Creativity: Composition in the Classroom Steven Berryman2. A Student Perspective on Creativity in Higher Music Education Natalie Edwards, James Whittle and Alice Wright3. Creativity in Higher Music Education: Views of University Music Lecturers Elizabeth Haddon4. Considering Creative Teaching in Relation to Creative Learning: Developing a Knowing–Doing Orientation for Change in Higher Music Education Pamela BurnardPart 2: Developing the Creative Lecturer and Teacher5. Thinking, Making, Doing: Perspectives on Practice-Based, Research-Led Teaching in Higher Music Education Louise Harris6. Practice-as-Research: A Method for Articulating Creativity for Practitioner-Researchers Martin Blain7. Perspectives on Research-Led Teaching John Robert Ferguson8. Teaching the Supreme Art: Pre-service Teacher Perceptions of Creative Opportunities in the Higher Education Music Class Kari Veblen, H. Elisha Jo and Stephen J. Messenger9. Pre-service Teachers Converting Motherhood into Creative Capital through Composing with Sound Clare Hall10. Deconstructing and Re-imagining Repertoire in Music Teacher Training Tim PalmerPart 3: Philosophies, Practices and Pedagogies: Teaching for Creative Learning11. Imagined Structures: Creative Approaches for Musical Analysis Mark Hutchinson and Tim Howell12. Curiosity, Apathy, Creativity and Deference in the Musical Subject–Object Relationship Nicky Losseff13. Recontextualised Learning through Embedded Creativity: Developing a Module that Applies Historically Informed Performance Practice to Baroque Music Christina Guillaumier, Ruth Slater and Peter Argondizza14. There and Now: Creativity across Cultures Neil Sorrell15. Dalcroze Eurhythmics: Bridging the Gap between the Academic and the Practical through Creative Teaching and Learning Karin Greenhead, John Habron and Louise Mathieu16. Creativity and Community in an Entrepreneurial Undergraduate Music Module Fay Hield and Stephanie Pitts17. Fostering Effective Group Creativity Ambrose Field.Index

I would suggest that this volume is an invaluable resource for tutors in higher music education (hereafter HME), which stimulates critical thinking about HME pedagogy and practice and challenges institutional myopia regarding some aspects of summative assessment. The volume is divided into three sections, described as “Articulating experience in secondary and higher education”, “Developing the creative lecturer and teacher” and “Philosophies, practices and pedagogies: Teaching for creative learning”. This volume stimulates discourse about creative pedagogy, supported by a wide range of case studies which it is hoped will inspire readers to try out some of these innovative, creative approaches to teaching and learning.- Monica Esslin-Peard, Department of Music, University of Liverpool,UK