bluuebunny/crossref_metadata_2025_split huggingface dataset:
Compositional Idea Selection and Development
Authors: Crawford Lisa A. 
Published: January 2024

Abstract
Developing creating and composition activities for students requires 1) an understanding of a variety of student musical and personality types that exist within classrooms, 2) consideration of how students will come to understand the expression of emotion when creating and composing, 3) the development of an approach to growing musical knowledge and skills through creating music throughout the lifespan including very young children, and 4) a range of strategies to support students as they share their creative work. These ideas must be addressed within opportunities for students in order for their experiences with composition to be positive and fulfilling. As educators select project ideas and begin working with students, idea development unfolds naturally in the adjustments and amendments made to fit the needs of independent and collaborative projects. This chapter presents a range of creating and composition ideas, from initial conception through their development, and then offers reactions from students and teachers concerning their unique creative experiences. Ideas presented in this chapter are offered from the perspective of a student-centered approach in that the student’s understanding of creative processes, presentation, and self-evaluation are positioned with greater priority than teacher-evaluation of an outcome of a student’s work. At the introductory, intermediate, and advanced levels of creating music, project idea selection and development are processes that emerge through reflection on the creative process as it relates to students’ intentions. These concerns are represented in the models provided throughout the chapter and are then brought together with the INSPIRE approach, which may be used by teachers to design activities and by students to guide their work as they create and compose.
The Role of Technology in Learning to Compose
Authors: Greher Gena R. 
Published: January 2024

Abstract
Music technology, such as notation software and digital audio workstations (DAW), as well as the development of MIDI instruments and a host of other music creation tools and apps allows for greater access to music creation for anyone, at any age, with an interest in music. On one level, music technology affords anyone the ability to “play with sound” to determine what sounds good or interesting. On another level, instead of learning the principles of music theory as an abstract concept of Roman numerals and rules, music technology can turn abstract concepts into concrete listening experiences, allowing students to hear chords, chord progressions, melodies, timbre, form, and musical hierarchies. Whereas many music teachers have shied away from incorporating music composition in their classes until their students learn traditional notation and basic music theory, music technology makes possible an approach to music composition that is more sonically oriented. This chapter will provide strategies for employing a variety of music software applications and platforms for developing an understanding and ability to compose music with both novice and advanced students. From easy entry points for young musicians such as the use of looping software to more advanced approaches to music composition involving recording, editing, and mixing within a DAW, this chapter will clarify the role technology can play in engaging students.
(Un)Assessing the Processes and Products of Children’s Original Musical Composition
Authors: Hickey Maud 
Published: January 2024

Abstract
This chapter explains the author’s view that grading specifically, and assessment, more broadly, of a child’s creative product as well as process, should be done with utmost care. Assessment done thoughtlessly (even with good intentions) has the potential to squelch a child’s comfort and freedom with being creative and original. In this chapter, the author addresses strategies for teachers to approach a child’s original musical work in a way that will not squelch creativity. The chapter details findings from research as well as the author’s own practical experience working with children in a variety of settings and with a variety of assignments over the past twenty years. The assessment of both the processes of creation as well as the products (original music) will be described. The chapter concludes with practical suggestions for teachers to move forward confidently in their approaches to composing in their classrooms.
Playing with Music
Authors: Bond Judy 
Published: January 2024

Abstract
This chapter opens with an Orff-based lesson intended to inspire the reader to imagine joyful music-making and creating in a group setting. This experience sets the stage for an overview of the historical development of Orff’s composition pedagogy. While there are few direct references to composition in Orff’s original texts, composition can be an integral part of Orff-Schulwerk philosophy for teaching and learning music. Orff and his collaborating author, composer Gunild Keetman, encouraged improvising and making up, with written notational practices taught as a skill necessary to save musical ideas that sprang from playing with music and improvisation. The chapter provides practical examples showing how Schulwerk composition pedagogy is part of an integrated curriculum leading to a deeper understanding of musical concepts and inspiring confidence and joy in creating new music. Lessons and references support the belief that the Schulwerk approach to composition can be adapted to any style of music.
Creating and Managing Young Composer Festivals and Showcases
Authors: Deutsch Daniel 
Published: January 2024

Abstract
Student composition festivals and showcases offer valuable opportunities for young composers and music educators. They help to nurture the development of young composers by recognizing their achievement and by providing venues for them to interact with peers and mentors in educational workshop settings. In addition, these programs serve educators by demonstrating benchmarks of excellence in composition and by offering professional development sessions for teachers. This chapter presents strategies for establishing and developing such programs and offers a detailed description of program elements, all of which can be shaped to fit the needs of various organizations. To reduce the competitive element that is inevitable in a selective program, the author advocates that each student who submits a composition should receive a supportive written evaluation. Guidance for writing effective evaluations is provided.
Facilitating Songwriting with Children
Authors: Burton Suzanne L. , Wadler Heather 
Published: January 2024

Abstract
Children’s natural propensity for songmaking and the development, refinement, and preservation of their songs through songwriting are considered in this chapter. As songmakers, children intuitively and effortlessly experiment with music, generating and connecting musical ideas. Growing older, many will intentionally weave these musical ideas into song. A means for personal expression, children’s songs may range from introspective and reflective to humorous or silly. Preserving their songs reveals opportunities for further refinement. In this chapter, the authors describe a project through which music teachers can encourage and facilitate songmaking and subsequent songwriting with their elementary-aged students. Strategies to engage students in peer collaboration, reflection, self-assessment, and revision are presented. Suggestions for the construction and implementation of a developmentally appropriate songwriting curriculum are provided.
Developing Soundcrafters
Authors: Genevieve Burghart Rice Sarah , Clements Ann 
Published: January 2024

Abstract
Soundcrafting as a means of music production highlights the combination of artistic and technological knowledge and skills needed throughout the production process. Music production is a multifaceted process of bringing recorded music together. This chapter will provide unique ways to foster the skills needed for all students to become soundcrafters and become engaged in digital recording. It includes concrete examples of developing musical interpretation skills and how to put these skills to work within recording projects. From understanding the mechanics of audio engineering, to knowing how filtration and compression can help the articulation or intonation of a musical instrument, students who develop musical production skills become musical leaders capable of high-level musical thinking and decision making. This chapter covers the basics of music production and the various roles that music producers play throughout that process. It provides practical examples of how to foster production skills in students at all levels. For younger students, the approach focuses on musical play through attributes such as instrument proximity, amplification, and musical decision-making between recorded tracks. At older levels, it covers those topics as well as specific ways in which to engage students in tracking, editing, mixing, and mastering recording songs. Concrete examples include sample lesson ideas, software suggestions, and a recording equipment list. Sample exercises are forward-looking and intend to push practice in new directions.
Composition in Choral Settings
Authors: Strand Katherine 
Published: January 2024

Abstract
Writing choral music is about learning to express to myriad feelings, sensations, and ideas that live in words through the almost innumerable colors of the human voice. This chapter presents some of the ideas that contemporary composers have articulated about their composing process, shaping their statements about how to compose into a series of musical explorations and composing projects that can be completed and repeated during choir classes. In learning more about the composing process and in creating their own musical ideas, students will learn about their own and their classmates’ voices, about score-reading and theory, acoustics, and counterpoint. In this chapter I will attempt to help choral teachers develop pedagogical practices to mentor students in their thinking about setting a text to a melody, about vertical sound, pacing in sound, and taking listeners on a feelingful journey with every piece of choral music. This chapter does not attempt to tackle songwriting or the pop tradition of a cappella because both of these topics are addressed through numerous articles, videos, and books; however, many of the ideas in the chapter can be used to help students to improve their instrumental, songwriting, and a cappella writing skills. Choir teachers can use composing exercises and projects to develop the musical ear, the creative mind, and to deepen our students’ understanding of what choral music can be.
Composing in Orchestra
Authors: Hopkins Michael 
Published: January 2024

Abstract
This chapter will examine the role of composition in string classes and orchestra and provide examples of projects for directors who teach at different levels. Opening with a brief overview of the orchestra teaching profession and surveys of attitudes toward composition, the chapter goes on to explore the benefits and challenges within the teaching and learning of composition before providing examples of composition projects for students at different levels of compositional development. Teachers will find that composing in orchestra can a) enhance student musicianship, including performance skills, b) create opportunities for students to collaborate, negotiate, and compromise, c) increase student motivation as a direct result of the act of creating a new culturally relevant piece of music, and d) change the role of the teacher from ensemble director to facilitator, which provides new opportunities to learn how much students understand about the structure of music. Teachers will learn how to address challenges such as off-task talking, social loafing, unequal interaction, and negative interactions. Throughout the chapter, teachers will provide answers to these common questions: What is the role of the teacher in a composing project? How do I plan and implement an effective composing project? How much time will this take? Will it impact our performance preparation?
Composition Pedagogy in Germany
Authors: Rolle Christian , Weber Julia 
Published: January 2024

Abstract
In German-speaking countries, composition pedagogy is mainly oriented toward art music and characterized by some reluctance to include popular music. The chapter gives an overview about the history and common practices of composition pedagogy in Germany and the related discussions in music education. The chapter also contains an analysis of how approaches to composition in contemporary art music are reflected in typical composition assignments for students in schools. The analysis considers the practices of composition pedagogy in primary school classrooms as well as tasks for secondary school. Furthermore, the chapter will give an overview of current research in the field of composition pedagogy in the German-speaking countries. Issues investigated include collaborative composing projects with extracurricular partners as well as songwriting with tablets in the music classroom.
Vocabularies of Genius and Dilemmas of Pedagogy
Authors: Thomas Smith Neil 
Published: January 2024

Abstract
This chapter explores the “vocabularies” of genius in artistic practice and pedagogy. The first section presents a brief historical overview of ideas of genius and creativity before illuminating some of the critiques these have faced in the twentieth century. It is maintained that these concepts were from their inception exclusionary and present a difficult inheritance for current musical practice. In section two, three “dilemmas” of pedagogy are discussed in the context of these debates: whether pedagogy involves imparting knowledge or unlocking students’ creativity; whether the canon can be elastically broadened or must be dispensed with; and the question of genre. It is argued that the history of genius vocabularies has ongoing impacts on current pedagogical debates and that a critical awareness of these can lead to a more open music pedagogy.
Music Composition in Portuguese Classrooms
Authors: Veloso Ana Luísa 
Published: January 2024

Abstract
This chapter is divided into two sections that address how music composition has evolved and expanded in Portuguese music classrooms. The first section offers a contextualization of the history and politics of education in Portugal, focusing on the field of music and music composition. This section also explores how and why musical practices in the Portuguese classroom repeatedly favor vocal and instrumental performance over music composition and other creative activities. The second section offers examples from my own practice as a teacher and researcher. I do so as a way of illustrating how, despite the general Portuguese landscape, some music teachers and researchers have been addressing and developing music composition in Portuguese classrooms. The chapter concludes by emphasizing the need to enhance music composition pedagogy at the level of general education, searching for new ways that might evidence the importance of music composition in the classroom and new routes to develop it with pupils.
Advancing Pedagogy through Teacher Assessment and Program Evaluation
Authors: Stringham David A. 
Published: January 2024

Abstract
Teachers, students, parents, administrators, and other stakeholders use a variety of criteria to evaluate music teachers and school music programs. Some metrics relate to the number of music course offerings, enrolled students, and music teachers; financial support for music instruction may also be considered. Others may evaluate music teachers, and music programs more generally, based on accolades earned by performing ensembles at festivals and state assessment events. Published frameworks for evaluation are also frequently employed in these evaluations. Yet, it is rare to find tools for assessing music teachers or music curricula that value the extent to which students have opportunity to engage in, or develop their skills in, creating original music. This chapter offers music teachers and other interested stakeholders ideas for music teacher assessment and music program evaluation that include facilitating students’ creativity through composing music. These ideas are compatible with existing frameworks published by state and national professional organizations and commercial evaluation frameworks. These ideas are intended to be applicable not only for music teacher assessment and music program evaluation, but also for reflecting on and improving one’s pedagogy. Recognizing that advocating for and implementing change in existing teacher assessment and program evaluation practices may meet with questions, skepticism, and even resistance, the author shares strategies for initiating conversations with four important stakeholder groups: students, administrators, parents, and professional organizations.
Composition, Policy, and the Formation of Agency
Authors: Schmidt Patrick , Edwards Jashen 
Published: January 2024

Abstract
This chapter argues that while at first glance music education policy and music composition may seem an odd pairing, when framed through a lens of critical and progressive practice the strangeness disappears. The chapter illustrates a pushback at traditionalist, Eurocentric narratives, arguing that in some ways, apprehensions around “policy” mirror hesitancies around “composing”—a similar narrowness promoting misconceptions about who can do what and how and to what end. What can be heard, instead, is an invitation for music teachers in all educational levels to reimagine their roles and (re)sound music education as a space for voice, agency, and social change. Situating itself within larger—and now acute—social, racial, and cultural demands placed by a need to change, this chapter explores avenues through which music education may be ready to enact curricular policies that forego “conveyor belt” approaches (Stone, 2011) to recurring challenges such as music teacher preparation diversity, pedagogical innovation, and program relevance. The chapter presents three field cases that exemplify innovative dispositions and provides a critique of music teacher education programs in relation to NASM accreditation policy. Specifically, we use policy as an analytical lens to articulate how composition, understood broadly, can serve as a convincing example of “institutional innovation capable of linking the subject in a creative relationship with an [renewed] institutional environment.”
From Vulnerable Teacher to Vulnerable Songwriter
Authors: Whitcomb Rachel 
Published: January 2024

Abstract
Vulnerability is inherent in both teaching and songwriting. Engaging in either endeavor exposes hopes, regrets, relationships, triumphs, struggles, fears, desires, and memorable stories. Vulnerability and authenticity are inextricably linked. Without authenticity, one cannot truly be vulnerable, and one usually feels vulnerable partly because the previously hidden authentic self is at the forefront of the endeavor. This chapter provides a series of autoethnographic stories describing frighteningly vulnerable yet refreshingly authentic moments that shaped the author’s experiences as a musician, music teacher, songwriter, and music teacher-educator. Through reflective accounts of the journey from obedient music student to country-songwriting professor, this discussion aims to provide music teachers with opportunities to recognize and embrace their own vulnerabilities and those of their students. Each story concludes with a life lesson and set of reflective questions for music teachers to ponder as they consider ways to create welcoming creative learning spaces for songwriting endeavors.
Cultivating Student Agency in the PreK–12 Composition Curriculum
Authors: Albert Daniel J. 
Published: January 2024

Abstract
A major responsibility of music educators is to ensure student mastery of district-mandated learning goals. Teaching musical concepts and skills through composition can be empowering and provide a “bridge” to students’ musical lives outside of school. A successful composition classroom includes a classroom culture that encourages students to employ their agency, in addition to supporting “messiness” and space to create. However, what exactly is “agency” and what are ways for educators to construct this type of classroom culture? The purpose of this chapter is to examine student agency in the composition classroom and provide strategies as to how the music educator can foster that agency through a classroom culture conducive to compositional practices. The chapter examines representative research studies on agency and classroom culture and suggests strategies for implementation and facilitation in the composition classroom.
Creating Culturally Sustaining Spaces in the Compositional Process
Authors: Mena Christopher , Campbell Patricia Shehan 
Published: January 2024

Abstract
This chapter explores culture in the compositional process and ways in which teachers can facilitate the musical inventions of students of diverse backgrounds. Culture is acknowledged as key to a reckoning with creativity in music, in the context of formal education. The chapter addresses the interdisciplinary fascination with creativity inside and outside musical circles, and how social and educational inequities have characterized schooling, including the Asset Pedagogies. The authors discuss Hip-Hop Pedagogy and World Music Pedagogy, which embrace diversity, equity, and inclusion. Particular attention is paid to Culturally Sustaining Pedagogy (CSP) while recognizing the multiplicity of student identity, and the collective songwriting process (Gonzalez, 2020) as an approach to enacting Culturally Sustaining Pedagogy. The authors explain testimonio, a liberationist process of writing about lived experiences of oppression, marginalization, and survivance, and offer an account of collective songwriting, a pedagogical practice whereby community-generated testimonios can be shaped into lyrics, rhythms, and melodies (Campbell, Mena, Gestsson, & Coppola, 2019). To acknowledge ways of moving beyond colonial structures that emphasize composition as the province of the isolated composer, the authors offer illustrations of these collaborative processes so that teachers can help students to recognize opportunities to exercise their agency and express their values, influences, and experiences.
Evidence-Based Crime and Justice Policy
Authors: Welsh Brandon C. , Zane Steven N. , Mears Daniel P. 
Published: January 2024

Abstract
The need for and the threats to improved crime and justice policy are acute. This includes contending with a crime policy agenda that continues to be driven by anecdotal evidence, program favorites of the month, and political ideology. An evidence-based approach is needed to inform decisions that affect the public good. This Handbook showcases the state of research on evidence-based crime and justice policy and the challenges that impede its creation and use. The volume has three core objectives: to promote new and productive ways to think about evidence-based policy; to demonstrate how research can contribute to and guide evidence-based policy in juvenile justice, criminal justice, and alternatives to system responses; and to identify strategies that can increase reliance on evidence-based policy. This chapter sets the stage for this larger, more comprehensive project.