what is critical thinking in music

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• Prof. Emily Richmond Pollock

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• Music and Theater Arts

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Stravinsky to the present, teaching critical thinking through music.

In this section, Professor Emily Richmond Pollock shares how she uses music to help students think critically about their own value systems. She also points to ways in which the act of writing papers helped promote students’ critical thinking.

You Like a Particular Piece of Music? Figure Out Why.

"I ask students to articulate—using technical vocabulary—their values. The ability to communicate their values with authority and evidence is a skill that will be useful in many parts of their lives."

In 21M.260 Stravinsky to the Present , I want students to become better critical thinkers, and in particular, to learn to think critically about their own value systems and value judgments. Music is a great context for teaching this skill because it’s a space in which people usually have strongly held opinions, reactions, and values. I push students to explore those values, often saying something along the lines of, “So you like this piece of music and you don’t like that one. Figure out why.” I urge them to discern what in the music is making them feel or react in particular ways. In this context, it isn’t enough for them to say, “I just don’t care for this music.” I ask students to articulate—using technical vocabulary—their values. The ability to communicate their subjective reactions and personal values with authority and evidence is a skill that will be useful in many parts of their lives.

Writing Their Way into Critical Thinking

Writing papers for the course is another opportunity for students to develop critical thinking skills. The first paper asks students to engage in a listening-based analysis of a work of their choice, not covered in the course, composed between 1900 and 1945. In the second paper, students compare the sounds and techniques of two aesthetically related works of their choice, one composed between 1945 and 1990 and one composed between 1990 and the present. For both papers , the first step is for students to select a topic by deciding which readings, composers, and pieces they found most interesting and providing some justification for why the topics they select are worthy of exploring.

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Thoughts from a PYP music teacher

Using Music to Develop Critical Thinking

For many teachers, making the change to PYP can be overwhelming, not only with all the jargon, but the complete shift in thinking. It’s not that the concepts are strange—it’s not even that we weren’t already doing these things. The change is in the focus, and one of the big focus points is in developing critical thinking .

Music is wonderful fodder for critical thinking because it speaks to us in ways that we can’t always explain or even understand. Instrumental music requires some level of critical thinking simply to translate it into words! Even the youngest students can do this successfully.

Any kind of music can be a starting point for thoughtful discussion: any genre, any language, any culture, solo or ensemble… You might choose music that speaks to you as the teacher. You might let students offer suggestions. Choose something familiar or unfamiliar, tonal or atonal, composed or improvised, recorded or live. Use some of the questions below (or see this post for more) to start your discussion, and off you go!

• Why do you think the composer wrote this piece? (Perspective, Function)
• How does the music make you feel? (Reflection, Connection)
• How would it change if the performer played a trumpet instead of a violin? (Change, Connection)
• How does the mood of the instrumental music support (or contrast) the mood of the lyrics? (Function, Connection)
• What do the lyrics mean to you? (Reflection, Connection)
• What does it make you think of from your own life? (Connection, Reflection)
• What other music does it remind you of? (Connection, Perspective)
• Why is this music memorable? Why has it stood the test of time? (Form, Causation, Perspective)

Once students have shared their initial thoughts, follow up with questions that encourage them to support their ideas (“What makes you say that?”) or think from different perspectives (“Why might ___ think differently?”). Older students might discuss in groups first, then share their already-developed thoughts with the class. You can take these discussions as far and as deep as you wish. No matter how far you go, simply modelling this kind of questioning and encouraging new ways of thinking will help your students to become better thinkers and learners.

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Developing Critical Thinking Skills Through Music

Critical thinking skills are not restricted to a particular subject area. Whatever we choose to do, being able to think clearly and solve problems systematically is important. It enhances language and presentation skills, promotes creativity, and is the foundation for scientific thought.

Is there a connection between music education and developing critical thinking skills?

Absolutely! Music study teaches children skills that are applicable to their entire future. They learn ways to come up with multiple solutions to problems; how to evaluate their results and make adjustments to their ideas; they get to experience the excitement of achievement; and, even more importantly, they experience discomfort of not succeeding on the first try. A quality music education provides guidance, but not answers. This allows the students to develop those ever-important critical thinking skills by processing the information given, and coming up with their own solution.

Read more about how music helps develop critical thinking skills in the article: “Everything I Need to Know, I Learned in Music Class.”

Developing Critical Thinking Through Music

Sep 27, 2023

Did you know critical thinking is a skill that can be taught? That’s right! Critical thinking is a purposeful, active, and conscious process; one that can grow and be honed. And what’s more, music can be used to develop it. This is thanks to music’s ability to tap into logic, reasoning, and creativity – especially when it comes to problem solving!

Let’s take a closer look.

What is Critical Thinking?

First and foremost, if we’re going to discuss a topic, it’s best we understand what it is first. The truth is, critical thinking is a dynamic and complicated subject, but there are a few ways it can be defined:

• One of the most well known definitions comes from the Socratic Method. Here, critical thinking is evident when individuals consider opposite sides to an argument, search for evidence to support their conclusions, and challenge one another with high quality, informed questions.
• Anther definition relies on a person’s ability to self-correct and make decisions based on investigation and evidence; and when the strategies they use can be used in other situations.
• Finally, philosophers Richard Paul and Linda Elder suggest that critical thinking happens when; your ability to process information improves; all relevant information you can gather can be used to ask significant questions; you can examine and justify conclusions; you can stay open to other points of view.

Despite this shifting definition, music has been shown to help us with each of these complicated mental acrobatics. In fact, according to Emma Walton Hamilton, language and arts expert:

“ We know, absolutely, for a fact, that there is no better way for children to learn critical thinking skills, communication skills, empathy and tolerance than through music. This is true across every boundary, across cultural and socio-economic boundaries. Music is a great leveler in terms of unifying our world.”

Critical Thinking & Music

For a long time, and until only recently, the prevailing theory held by the educational community was that only certain subjects were needed to promote the development of critical thinking skills. However, this idea changed when John Dewey insisted that all subjects promote critical thinking; as long as the lessons is presented through a problem-solving framework, and reflection is encouraged.

Since both listening to and performing music offer a challenge where there is no single goal, they can both help to develop flexible, divergent, lateral, and deep thinking.

Music Touches Different Kinds of Thinkers

But why is it that music has such a profound impact on critical thinking? One reason may be that both listeners and performers of music are encouraged to explore the emotions they have while listening or performing. Furthermore, they learn to handle and honour the feelings they have about these experiences. This, in turn, can lead to the exploration of more extensive parts of the brain, which creates:

Divergent Thinkers

These students consider many different answers for each situation. This is the opposite of “convergent thinkers,” who expect to find only one correct answer for each situation they encounter.

Flexible Thinkers

These individuals imagine different kinds of possible ideas to respond to questions, problems, or situations. This is very different from “fluent thinkers.” A fluent thinker, when asked what they want for lunch, for example, may have five answers, but all of them burger places. The flexible thinker, on the other hand, may suggest a variety of cuisines.

Elaborate Thinkers

These are those who can expand on or combine ideas. If we continue the example of going for lunch, an elaborate thinker may consider the flexible thinker’s suggestions, and then provide a number of reasons why one of them is best; e.g. the service, location, etc.

Original Thinkers

These people are the non-conformists. They can come up with elaborate ideas to any given question. For our lunch example, they are the kind to suggest buying food for a picnic, and finding a nice, sunny spot to eat.

Music Methodologies to Encourage Critical Thinking

So, how can those who both listen to and play music harness this incredible power? We’ve got a few strategies that may help:

Driving Questions

Starting off any musical experience with the right questions creates opportunities to consider multiple conclusions. The most effective questions start with “how,” “why,” or “what if…” With that in mind, consider the questions like these while listening, practicing, or performing:

• How does the sound of silence make you feel?
• Why do you spend time learning, and how will you learn new things in the future?
• What if you could repaint your bedroom? What colours would you choose and why?

They may seem unrelated to music, but your brain is already doing the work as you experience the music, and driving questions like these deepen that work.

Diverse Soundtracks

Soundtracks to movies, TV shows, and video games are specifically composed to elicit emotion. For this reason they can be used as the foundation for thinking routines. Play soundtracks and consider what they may mean regarding events, plot predictions, and moods. Consider why they may have been chosen.

Rhythm & Movement

Incorporate the meanings of other educational material with drumming, rhyme, and other forms of so-called “corporal language,” or body language, like dancing. Connecting the academic with music and movement creates a deeper connection and experience.

Final Thoughts

The fact is, critical thinking techniques must be taught. This is due to the simple fact that no one critical thinking technique that is useful in every situation. Instead, we face hundreds, or even thousands of different circumstances that require different strategies. For this reason, those with flexible critical thinking skills have an invaluable toolbox for facing the challenges that come their way.

Want to boost the critical thinking skills of your children – or even your own? Check out all The Music Studios programs, classes, and lessons , and start today!

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Critical Thinking: Practical Music Teaching Strategies

Incorporating the socratic method and critical thinking in music education in schools involves creativity and a break from traditional classroom teaching strategies., what are the benefits of critical thinking.

Critical thinking also known as the Socratic Method is based on the question-and-answer style of teaching accredited to the philosopher Socrates. Critical thinking in music education takes the basic premise of debate and inquiry and applies it to music education in schools. This teaching strategy encourages students to question each other, and removes the instructor from all-knowing professor to a fellow seeker of knowledge.

From the University of Phoenix to California’s public school system, educators and students alike have found the benefits of critical thinking strategies in the classroom. As one student at California’s KIPP High School mentioned, “[Critical Thinking is] thinking beyond what you hear, what you know in your brain, in your heart, in your soul.” Critical thinking puts the power of influence in the hands of the student, giving students the tools they need to function in college and in society (Edutopia, Geert ten Dam).

Critical thinking strategies extend from private lessons to the public university setting. In the United States, where an emphasis on standardised testing has changed the music teacher’s role in music education in schools, critical thinking strategies aid music classrooms by providing a framework that incorporates reading and writing requirements within an artistic scope.

Music Critique Circle (Secondary)

A key component of critical thinking and the Socratic method involves students learning how to critique each other in a constructive way. In the Music Critique Circle, students present a music project (ex. a simple composition, music performance, or paper presentation) to the class. After the presentation, students take turns responding to the performance or project with thoughtful questions. For example, a student may ask a piano student, “Is there a reason why you performed the Moonlight Sonata in a sad way?” or “What would happen if you played Beethoven’s piece allegro?”

The key here is to emphasize critical thinking, engaging discussion, and constructive debate.

Music Listening Exercise (Primary & Secondary)

Music educators can encourage age appropriate discussions at both the primary and secondary levels using music listening activities. The music educator selects several recordings in different styles and moods. After playing an excerpt, the music instructor engages students in a discussion using critical thinking questions.

Some sample questions include: “Why do you think this song makes you happy?” “If the musician played a drum instead of a flute, what would happen?” “Does this type of music always have strings?” “What do the lyrics mean to you?”

As a variation to these music teaching strategies for older students, the instructor can divide students into several small groups and give each group a series of critical thinking questions. After fifteen minutes, each group shares their responses to the questions. The music educator follows up with challenging questions that encourage students to view their discussion from alternate viewpoints. Questions like “Why do you think that?” and “Group A stated the opposite view. How can you support your viewpoint?”

To learn more about how to create K-6 lessons including critical thinking questions, check out our video blog here : Fun Music Company Curriculum Video  Series  for Grade 6

Exit Tickets (Primary & Secondary)

Writer and educator Maria Stefanova encourages the use of “Exit Tickets” in her article “Developing Critical Thinking and Assessment in Music Classrooms”. The “Exit Ticket” teaching strategy requires every child to answer a critical thinking question before leaving the class. This strategy encourages the concept of “Asking a question instead of giving the answer,” a key component in another popular teaching method – the Suzuki Method (Stefanova, pg 30).

Incorporating Critical Thinking Strategies in The Music Classroom

Incorporating critical thinking strategies in the music classroom promotes higher order thinking and engaging discussion and by involving your students in the discussion process, you will prepare students for future success. This article outlines some beginning ideas for the music classroom, at the Fun Music Company we aim to include critical thinking questions and discussions in every step of our approach from playing instruments to through to connecting with cultural music and composition. In fact, you can start implementing some of these strategies into your lessons TODAY. 

You can get started with seven FREE k-6 music teaching ideas , one for each grade delivered to your email inbox over the next 7 days here:

SOURCES: Edutopia. (2011, August 17). Critical Thinking Wins the Day at a KIPP High School [Video file]. Retrieved from YouTube.com website: http://www.youtube.com/watch?v=dazO9o2aJU4 Stefanova, M. (2011). Developing Critical Thinking and Assessment in the Music Classrooms. American String Teacher, 61(2), 29-31. Nobori, M. (2011). Ten Takeaway Tips for Teaching Critical Thinking. Retrieved from http://www.edutopia.org/stw-kipp-critical-thinking-10-tips-for-teaching Fisher, C. (2008). The Socratic Medthod. Socratic Method–Research Startes Education, 1. Geert ten Dam, (., & Monique, V. (2004). Critical Thinking as a citizenship competence: teaching strategies. Learning and Instruction, 14 359-379.doi:10.1016/j.learninstruc.2004.01.005

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Thank you very much!!! Please continue with these questions and maybe even teacher lessons! Gail

So basically, instead of asking “How does this piece make you feel?” we could ask “Why does this piece make you feel…?” This makes then makes sense of the rather dry, technical question in the ABRSM aural tests “What in the music gives the piece it’s character?”

I have done this masterclass type setting where I have students perform for each other and then we would critique each other.

It was not negative at all. In fact, I found it to be very exciting for the students involved!

Been wanting something for a more engaging experience for my violin students, to get them enthused & thinking. Need to revise often with them…maybe this will encourage the information to stay in their heads…LOL.

I like it!!! I’ve always been a proponent of open discussion, Q &A, and the like as opposed to the conventional method of teacher talks all the time – even when I was in high school. The initial effect on students, I believe, is that it makes them feel special instead of feeling like they’re being talked down to. I am a one on one teacher, but seeing this article and video has inspired me to take this approach even further with each student. Thanks for turning me on to this!!!

Nathan Smith

I also enjoyed this article. After each lesson I have the student tell me what I want them to work on and why. I will now begin to ask questions about the actual songs with which they are choosing work.

I am a performer and educator. Very happy to read this news. Thanks for sharing !

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• DOI: 10.18848/1447-9508/CGP/V02/41267
• Corpus ID: 20364100

Music listening and critical thinking: Teaching using a constructivist paradigm

• Daniel C. Johnson
• Published 2006
• Education, Art
• The International Journal of the Humanities: Annual Review

5 Citations

Critical thinking and school music education: literature review, research findings, and perspectives., teachers' beliefs, confidence and practice and students' achievement in cultivating critical thinking in primary music education in hong kong, critical listening in the ensemble rehearsal: a community of learners, the relationship between upper intermediate efl learners’ critical thinking and their listening comprehension ability, listening to music with the aim of developing high-school students’ musical culture.

• Highly Influenced

67 References

Principles and processes of music education: new perspectives, the art of creative critical thinking, a theoretical model of the musical problem solving and decision making of performers, arrangers, conductors, and composers, a philosophy of music education, the role of listening, developing critical thinkers: challenging adults to explore alternative ways of thinking and acting., levels of cognitive complexity: an approach to the measurement of thinking, a systematic investigation of listening activities in the elementary general music classroom, a philosophy of music education: advancing the vision, related papers.

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Does Listening to Music Stimulate Creative Thinking, or Stifle It?

L istening to music while you work “significantly impairs” creativity. That was the conclusion of a study published earlier this year in the journal Applied Cognitive Psychology that examined the effect of different types of background music on creative problem solving.

For the study, UK researchers presented people with a series of word puzzles designed to measure creativity and “insight-based” processes. The study participants completed the puzzles either in a quiet space or in one with music playing in the background. Whether that music was familiar or unfamiliar, vocal or strictly instrumental, people’s scores on average fell on the creativity test compared to their scores in the quiet condition. “The findings challenge the view that background music enhances creativity,” the study authors wrote.

But don’t pitch your headphones or desk speaker just yet. More research on music and creativity has found that, depending on the kind of creative task a person is grappling with, certain types of music may be helpful.

A 2017 study in the journal PLOS ONE found that listening to “happy” music—defined as classical tunes that were upbeat and stimulating—helped people perform better on tasks that involved “divergent” thinking, which is a core component of creativity. Divergent thinking involves “making unexpected combinations, recognizing links among remote associates, or transforming information into unexpected forms,” the authors of that study wrote. Basically, divergent thinking is coming up with new, outside-the-box ideas or strategies.

“We can only speculate why happy music stimulates divergent thinking,” says Simone Ritter, coauthor of the PLOS ONE study and an assistant professor at Radboud University Nijmegen in the Netherlands. One theory put forward in her study is that the stimulating nature of lively music somehow energizes the brain in ways that promote a “flexible thinking style,” which leads to unconventional or innovative ideas.

There are other theories. Research has shown that listening to music can lower anxiety and improve mood , and these shifts could facilitate creative insights. “For breakthrough moments of creativity, positive mood is generally helpful,” says Mark Beeman, chair of psychology at Northwestern University and principal investigator at NU’s Creative Brain Lab. Meanwhile, if someone is anxious, “this [anxiety] tends to cause them to focus more, which is not helpful,” he says.

How could focusing on a creative problem be a bad thing? Beeman has spent two decades studying the brain and its creative processes, which he explores in his 2015 book The Eureka Factor: Aha Moments, Creative Insight, and the Brain . He explains that the process of creative problem solving tends to unfold in predictable stages.

The first stage, he says, involves studying a problem or dilemma, assessing the obvious solutions, and realizing that none of them works. “At this point, if you keep focusing too hard on a problem, that tends to make it more difficult for the brain to come up with different or novel ideas,” he says. He likens it to a dim star that disappears when you stare straight at it. “To see the star, you have to look at it out of the corner of your eye, and creative ideas may be like that too,” he says. “You need to take your focus off the strong, obvious ideas to avoid squashing the others.”

This is where music comes into play. Once a person has closely examined a problem and hit a roadblock, the next creative stage is one Beeman calls “incubation.” During this stage, “there’s some kind of continuing process in the mind where you’re still mulling the problem at an unconscious level,” he says. This incubation period often produces “aha!” insights or realizations—like when you can’t recall a word, but then it pops into your head later in the day, after you’ve thought you’d stopped thinking about it.

But not all activities foster incubation, Beeman says. “If you’re reading email or doing other demanding tasks, there aren’t enough background resources to do any work on the problem.”

Listening to music, on the other hand, may be just the kind of mild diversion that relaxes the brain’s focus while still allowing it to do its fruitful new-idea incubating, he says. And indeed, there’s evidence that listening to music can stimulate the brain’s default mode network, which is a collection of connected brain regions that research has linked to creative insight.

Beeman doesn’t dispute the results of the new study that found music impairs creative problem solving. He says music might not help people solve the type of verbal puzzle the study employed—which he himself helped design and validate years ago in an effort to better measure some aspects of creative thinking. This specific type of puzzle requires “multiple cognitive processes,” he says, some of which require “focused attention.” And all types of distraction—music included—may impair focused attention.

So if a person is in the midst of the first stage of creativity, the one that involves analyzing a problem and eliminating the obvious choices or solutions, background music probably isn’t helpful. “It’s either a distraction or you just block it out,” he says.

But if you’re stuck on a problem and you’re looking for creative inspiration, taking a break to listen to music or engage in idle “mind wandering” may allow the brain the freedom it needs to “dredge up” new ideas or insights, he says. He also cites research linking mind-wandering to creative inspiration.

In those cases, what type of music should you turn on? “I think that will vary a lot depending on the individual,” Beeman says. “For most, I think something that’s pleasant and familiar—not so novel that it’s distracting—would be helpful.”

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“Yesterday”: Using Music for Critical Thinking, Perspective Taking and Inference

July 12, 2019 4 min read

For Summer School, Tutoring, or Back to School – using music and songs is always a great way to engage students. It can be used to teach narrative structure, critical thinking, perspective-taking, problem-solving, conflict resolution and for improving inference skills and working on social-emotional growth! I wanted to share an example of this using the song “Yesterday” by The Beatles.

This song is fresh in my mind because in movie theaters now is Universal Studio’s movie “Yesterday” starring Himesh Patel, Lily James, Kate McKinnon, and Ed Sheeran. I love British films and have heard this one is so sweet and has a feel-good story—I can’t wait to see it!

Also, this past weekend at MGMSpringfield, I went to see a Beatles tribute band in an outdoor concert setting. The band, called The Fab Four ( http://thefabfour.com /), was incredible, talented and authentic! I have always loved The Beatles music and this band makes you think you are really watching them. This band’s sound, costumes, and voices take you through the evolution of The Beatles’ musical style and influence. Since going to the concert and reading reviews of this movie, I have been listening to more Beatles music than usual.

With renewed interest, I read an article about the song “Yesterday” that was written by Paul McCartney and John Lennon. The article analyzes the song in many ways, but quotes Paul McCartney as saying that this song “doesn’t resolve into any sense,” and that “you don’t know what happened. She left and he wishes it were yesterday—that much you get—but it doesn’t really resolve.” The song is made up of thoughts and emotions about a breakup. Perfect for analysis with the Critical Thinking Triangle ® of the Story Grammar Marker ® !

As I do with most stories, songs, TV shows, movies, and life experiences, in listening to Yesterday over the weekend, I began to “Story Grammar Marker-ize” (to analyze in my head using Story Grammar Marker ® elements or narrative structure), the song as I watched/listened to it on Youtube (below).

Knowing the intent of the song was to express thoughts and emotions, I built a little Critical Thinking Triangle ® in my head. I fit the lyrics into it—with the kick off, feelings, cohesion words, mental states, and plans. Before we get into sharing that "Yesterday"-inspired Critical Thinking Triangle ® , here is a reminder of the lyrics to what has been called one of the Beatles best songs ever:

Yesterday All my troubles seemed so far away Now it looks as though they're here to stay Oh, I believe in yesterday

Suddenly I'm not half the man I used to be There's a shadow hanging over me Oh, yesterday came suddenly

Why she had to go, I don't know She wouldn't say I said something wrong Now I long for yesterday

Yesterday Love was such an easy game to play Now I need a place to hide away Oh, I believe in yesterday

Source: Musixmatch Songwriters: JOHN LENNON / PAUL MCCARTNEY Yesterday lyrics ©1965 Sony/ATV Tunes LLC, Sony Atv Tunes LLC, Sony Atv Music Publishing France, SONY/ATV TUNES LLC DBA ATV OBO ATV (NORTHERN SONGS CATALOG)

Here, using the Story Grammar Marker ® Approach, specifically the Critical Thinking Triangle ® In Action! Set 's Student Thinking Mat (pictured here), I analyzed and inferred the feelings and thoughts of the main character “He.” I may have gone a bit overboard (as it is my personality to do so) in the inference and analysis of “his” feelings, but the ability to do this is an essential part of perspective-taking, problem-solving, and resolving conflicts.

Here is a video of how to use the Critical Thinking Triangle in Action!  to visualize and kinesthetically “think through” the kick-off, feelings, thoughts/mental states and plans of the character in the song:

Below is how we could put this into sentence/paragraph form with some microstructure elements of feeling words, mental state (thinking) verbs, planning words, as well as cohesive ties (such as suddenly, because, and, so- in purple text). The macrostructure elements of character, setting, kick-off, feeling, mental state (thinking verbs) and plan are identified by the Story Grammar Marker ® Icons.

Since I had The Beatles on my mind, “Yesterday” was what I chose to share with you. However, narrative analysis can be done with any song out there! Use Story Grammar Marker ® as you listen, Google the lyrics and use the Critical Thinking Triangle in Action! Set with your students for a deep analysis.

Genres like Country, Musicals, ’80s Rock, and Rap in particular, often have real “stories” to tell. I think of songs like “Parents Just Don’t Understand” by DJ Jazzy Jeff & The Fresh Prince, “Livin’ On a Prayer” by Bon Jovi, “A Boy Named Sue” by Johnny Cash, “Copacabana” by Barry Manilow, “Jolene” by Dolly Parton, “Alexander Hamilton” from Hamilton, “Hotel California” by The Eagles, “One Day More” from Les Miserables, to name several. There are thousands of good narrative/storytelling songs out there—a Google search of “songs that tell a story” will yield 781,000,000 results! Enjoy!

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Creativity in Music Teaching and Learning

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• Clint Randles 2 &
• Peter R. Webster 3  

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Composition ; Creative thinking in music ; Group musical creativity ; Improvisation ; Individual musical creativity ; Listening creativity ; Performance creativity

Creativity in music refers to the divergent and convergent thought processes, enacted both in solo and in ensemble, that lead to musical products that are both novel and useful, within specific sociocultural contexts, manifested by way of specific modes of musicianship or combinations of modes that can include but are not limited to the following: improvisation, composition, performance, analysis, and listening.

Theoretical Background

Creativity in music teaching and learning is perhaps the most important area of study for both researchers and practitioners alike in the field of music education at the start of this new millennium. These sentiments can be felt in the area of the general study of creativity as well (Sawyer 2006/2012 ). Creative thinking in music is at the heart of creativity in music education,...

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Center for Music Education Research, School of Music, MUS 317 College of the Art, University of South Florida, 33620, Tampa, FL, USA

Prof. Clint Randles

Department of Music Studies, Henry and Leigh Bienen School of Music, Northwestern University, Evanston, IL, USA

Prof. Peter R. Webster

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Department of Information Systems & Technology, Management, School of Business, George Washington University, Washington, DC, USA

Elias G. Carayannis

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Randles, C., Webster, P.R. (2013). Creativity in Music Teaching and Learning. In: Carayannis, E.G. (eds) Encyclopedia of Creativity, Invention, Innovation and Entrepreneurship. Springer, New York, NY. https://doi.org/10.1007/978-1-4614-3858-8_470

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Thinking Community Music (1)

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Thinking Community Music  explores critical questions concerning community music practice and theory. Themes include intervention, hospitality, pedagogy, social justice, inclusion, cultural democracy, music, research, and future possibilities. Written for community musicians, music educators, applied ethnomusicologists, music therapists, music creators, and cultural policymakers, the book seeks to encourage questioning, reflection, and dialogue. Shaped as provocations and presented as eight stand-alone essays, each ‘think piece’ comprises of critical questions, concrete illustrations of practice, theoretical explorations, and reflective discussion. Flanked by a historical map and a closing statement, the book provides a springboard for conceptual interrogation about participatory music-making. Supported by the lineage of poststructural philosophy, ideas emulating from Derrida and Deleuze provide a springboard for conceptual interrogation about community music practices and the broader parameters of social-cultural music-making and music teaching and learning. As a vital part of the music ecology, community music is a distinctive field and a critical lens to view other musical practices and the various political and cultural policies that frame them.

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Thinking Community Music 1st Edition

• Author(s) Lee Higgins
• Publisher Oxford University Press

Print ISBN 9780190246990, 0190246995

Etext isbn 9780190247010, 0190247010.

• Edition 1st
• Copyright 2024
• Available from $ 18.85 USD SKU: 9780190247010R180

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Thinking Community Music 1st Edition is written by Lee Higgins and published by Oxford University Press. The Digital and eTextbook ISBNs for Thinking Community Music are 9780190247010, 0190247010 and the print ISBNs are 9780190246990, 0190246995. Save up to 80% versus print by going digital with VitalSource. Additional ISBNs for this eTextbook include 9780190247003, 9780190246983, 9780190247027.