In 2014, the National Association for Music Education released music standards that strongly emphasized creativity, encouraging teachers to find new ways to implement creative activities into their classrooms. As such, making cross-modal associations and emphasizing divergent thinking are important priorities for teachers to consider. Synesthesia…

Assessment is one of the thorniest aspects of teaching for creativity. Nevertheless, research suggests there is tremendous potential for nurturing creativity through assessment. This article identifies how music educators can leverage assessment for learning (formative assessment) as a powerful tool for cultivating creativity within a variety of…

Can you think of a research-supported strategy that simultaneously encourages critical and creative thinking; develops knowledge, skills, and affect; promotes meaningful connection with music; and creates lifelong learners? Problem-based learning (PBL) effectively meets and exceeds these criteria by providing an engaging opportunity for students…

Interest in creative music technologies is on the rise among secondary students. Still, some music teachers are unsure how to integrate creative music technologies into their instruction. This article explores one versatile and powerful technology for the music classroom: digital audio workstations (DAWs). First, I discuss the central role of…

Approaches to teaching music notation and instrumental technique have been standardized and codified in the United States with great success in beginning instrumental programs. While these skills are important, we do a disservice to students if we do not equally develop comprehensive musicianship and creative thinking at a young age. Creating…

Since the publication of the May 1990 "Music Educators Journal" Special Focus Issue on Creativity, the profession finds itself in a new and more challenging time. Our field is changing before our eyes as new ideas about the music we teach, the people who are taught, and the way music as art is delivered and consumed affect our pedagogy.…

The disconnect between the need for music composition instruction at the precollege levels and the content of music education curricula across North America has been a concern for over two decades. To be able to effectively teach their students how to compose, music educators need to have both experience and comfort in the creative process of…

Creativity can be experienced in many roles of musicianship: performing, improvising, and composing. Yet, activities that encourage creative thought in our music classrooms can be a challenge to implement. A strong music education curriculum for middle school general music is important; as this may be the last time we reach students who do not…

This article describes a collaborative clinical field experience initiative conceived to provide meaningful fieldwork for preservice music educators, musically engage underserved students in a high-poverty school, and include instruction on composition and improvisation. The author chronicles the planning, implementation, and subsequent revisions…

The "Three Artistic Processes" provide a powerful model for organizing standards-based music teaching and assessment as well as a vision of the musically educated student. They also clarify how student-centered music education helps children master 21st-century skills necessary for future success. This article outlines why and how music teachers…

The ability to apply knowledge rests at the core of the educational experience and is an important aspect of all teaching. In music education, many experiences are structured so information gained can be related to another activity, but such transfer can be difficult. When students learn to transfer information and knowledge to new situations,…

In his bestseller "The World is Flat," Pulitzer-winning author Thomas L. Friedman discusses the concept of globalization and its "flattening" effect on the world. Globalization is a hugely controversial and complex issue, and the effects of globalization and the new needs of a global society may be especially important to music educators. By…

Defines creativity by exploring the four components of creativity: person, product, process, and persistence. Illustrates the characteristics of the creative person and examines blocks to creativity. Applies the creativity concepts to music education. (RW)

Offers a systematic approach to creative learning in music through an analysis of the components of complex learning and creative activity. Outlines goals for fostering creative learning in music education, and delineates person, process, and product objectives. Suggests methods of evaluating creativity. (RW)

Contends that only students with performance or composing abilities are given a chance to explore music in their education. Stresses the importance of teaching all students how to listen to music in an active, "minds-on" way instead of only teaching hands-on activities. Challenges the traditional music curriculum by refuting five myths…