Clint Randles is Associate Professor of Music Education at the University of South Florida School of Music, where he teaches and conducts research on contemporary musicianship, music production, recording arts, songwriting, and creativity conceptions.Pamela Burnard is Professor of Arts, Creativities and Educations at the Faculty of Education, University of Cambridge. She is an international expert in creativities research and practice.

Select Guide Rating

• PART 1: Theoretical Good Vibrations 1. Tuning up: Creativities illuminate our discourseClint Randles and Pamela Burnard2. On Creativities and Traditions: A Confucian Perspective with Insights for Music EducationLeonard Tan and Mengchen Lu3. Cyberfeminism and "creativities": Artivism for music teaching and learningMarissa Silverman4. Interpretation and Listening in the Domain of Music and Sound CreativitiesRebecca M. Rinsema5. Re-thinking Planning for a Creative Music CurriculumVictoria Kinsella and Martin Fautley6. Playing with Freedom: A Reimagining of Play and Imagination in Vocal Music EducationKexin Xu7. Information literacy as a factor for musical creativity enhancement: Challenges and prospects for music educationCharilaos Lavranos and Charles Patterson8. Multiple Creativities as a Natural Progression of the Origins of the Universe: A Justification for Music Education from SpiritualityClint RandlesPART 2: Foundational Creativities9. Teacher-as-Improvisational Artist: Weaving the Web of Inclusive Praxis in Early Childhood and Elementary MusicKaren Salvador and Erika J. Knapp10. Video Clubs as Catalysts for Developing Music Educators’ Creative Music Making PracticesDonna J. Gallo11. Where does that go? Responding to disruption in higher education through technology and creativities amidst the COVID-19 pandemicMalachi Apudo-AcholaPart 3: New Possibilities for New Creativities: Inspiring/Catalyzing Curriculum Change12. Beyond the surface of culturally responsive pedagogies: Hip-Hop, creativity and affirming the voices of students of colorJudy Lewis13. Sparking and Sustaining the Songwriting Processadam patrick bell, Juan Cacho, and Ismail Okasha14. Beyond ‘careers’: composing musical lives through metamusical creativityLloyd McArton15. Teaching and learning creativity as content: A tool-dependent processNiklas Rudback and Cecilia Wallerstedt16. Music Educators Perspectives on SongwritingLauren Ryals17. Songwriting Class as a Place for HealingJohn Kratus18. Group Creativities: Mapping The Creative Process of Mobile Music CreationJason Chi Wai Chen19. Children’s Traditional Playground Musicking, Creativity, and Media CultureMartina Vasil20. The DAW RevolutionMatthew Clauhs and Brian Dozoretz21. Through the Lens of Collaborative Creativity: Examining Compositional Processes in a GarageBand Activity Based on Group AssignmentSamuel C. Holmes22. Pursuing diversity and inclusivity through hip hop music genres: Insights for mainstream music curriculaPamela Burnard, Pete Dale, Simon Glenister, Jim Reiss, Raphael Travis, Elliot Gann and Alinka GreasleyPart 4: Playing the Changes: Attuning to Diverse Creativities in Practice23. The Pendulum Swings Tired: Dewey’s "Passivity, Activity and Creativity in a Progressive Secondary Music ClassroomBrad Anthony Fuller and James Henry Byrne Humberstone24. The Transformation of the Kenyan Higher Music Education SpaceEmily Achieng’ Akuno25. Creating spaces for Songwriters, Collaborators and Musicians in Higher EducationJonathan Kladder and Radio Cremata26. Activist Pluralism as Intercultural Creativity in Conservatory EducationJames Henry Byrne Humberstone and Caitlin Bree Sandiford27. A Case for Adopting a Collaborative Pedagogical Model in the Large Ensemble Music Classroom to Open the Door for Diverse CreativitiesLauren YachtPART 5: Creativities Authored With/In the Wider Community28. Online Music Learning: Which Creativities Matter?Michele Biasutti29. The Creativities of an Online Music Community During a Global Health CrisisEmmett James O’Leary30. Activating and Developing Free Improvisational Creativities in Higher Education: Contesting Authority, Exploring Creativities, Stimulating DialogueChris Atton, Matthew Cowan, Harry Docherty, Kaelin Farnish, Zack Moir, and Euan Pattie31. Collaborative Compositional Creativity: Composers’ perspectives on student and teacher inputTessandra Wendzich and Bernard W. Andrews32. Taking a Leaf from "Giant Steps": A Small Step Towards Future-ReadinessEddy Chong33. Creativities in music and creativities through music: Symbiotic weaknesses in Greek-Cypriot Primary EducationStavros Makris, Graham Welch and Evangelos Himonides34. Supporting Multiple Musical Creativities with Generations Z and Alpha Through a Compassionate Music Teaching ApproachKarin S. Hendricks35. #creativityeveryday- Instagram as a creative toolHimasha Gunasekara, Cheryl Brown and Stuart WisePart 6: Re-thinking, Re-searching, Re-visioning Creativities in Performance36. Making silence matter: Rethinking Performance Creativity as a Catalyzing Space for Sounding Oneself in Music EducationPamela Burnard and Nick Sorensen37. Ubimus strategies for colocated and remote educational activities: Harmonic Walk and Live PatchingDamián Keller, Marcella Mandanici, and Marcello Messina38. Embodied Music Pedagogy and Musical Creativities in ActionDylan van der Schyff39. Gratitude During Times of Uncertainty: Connections to Creativities in Music EducationH. Christian Bernhard II40. Musical Creativities, Spirituality, and Playing Drum Kit in Black Light BastardsGareth Dylan Smith41. Voicing plural creative experiences without a voiceThomas Moors and Evangelos Himonides42. In amongst transdisciplinary dialogue and participatory creativity: Group improvisation in secondary schoolCarlos Lage-Gómez & Roberto Cremades-Andreu43. Understanding the Terrain in Creativities Research: Mapping an International Symposium in Music EducationAsher Carlson, Jazmin Ghent, Brian Panetta, Charles Patterson, and Clint RandlesPart 7: Widening Perspectives: New Departures and New Positionings44. Instrumental Music Education: intra-action and relationality for creative pedagogies in the music studio learningLeon R de Bruin45. Project-Based Learning and Student’s Individual Creativity in Music Teacher Education: Learning, Teaching, and Performing Popular Music in Virtual SpacesJonathan Kladder46. Students as the Educator: A Student-centric Model for Curriculum DevelopmentJonathan McElroy47. Creativity Development, Service Learning, and Spirituality in Music EducationAlexander Koops48. Reconfiguring the Future of Music Education through Pluralism, Openness and Authorship of New CreativitiesPamela Burnard and Clint Randles

Clint Randles is Associate Professor of Music Education at the University of South Florida School of Music, where he teaches and conducts research on contemporary musicianship, music production, recording arts, songwriting, and creativity conceptions.Pamela Burnard is Professor of Arts, Creativities and Educations at the Faculty of Education, University of Cambridge. She is an international expert in creativities research and practice.

Select Guide Rating

• PART 1: Theoretical Good Vibrations 1. Tuning up: Creativities illuminate our discourseClint Randles and Pamela Burnard2. On Creativities and Traditions: A Confucian Perspective with Insights for Music EducationLeonard Tan and Mengchen Lu3. Cyberfeminism and "creativities": Artivism for music teaching and learningMarissa Silverman4. Interpretation and Listening in the Domain of Music and Sound CreativitiesRebecca M. Rinsema5. Re-thinking Planning for a Creative Music CurriculumVictoria Kinsella and Martin Fautley6. Playing with Freedom: A Reimagining of Play and Imagination in Vocal Music EducationKexin Xu7. Information literacy as a factor for musical creativity enhancement: Challenges and prospects for music educationCharilaos Lavranos and Charles Patterson8. Multiple Creativities as a Natural Progression of the Origins of the Universe: A Justification for Music Education from SpiritualityClint RandlesPART 2: Foundational Creativities9. Teacher-as-Improvisational Artist: Weaving the Web of Inclusive Praxis in Early Childhood and Elementary MusicKaren Salvador and Erika J. Knapp10. Video Clubs as Catalysts for Developing Music Educators’ Creative Music Making PracticesDonna J. Gallo11. Where does that go? Responding to disruption in higher education through technology and creativities amidst the COVID-19 pandemicMalachi Apudo-AcholaPart 3: New Possibilities for New Creativities: Inspiring/Catalyzing Curriculum Change12. Beyond the surface of culturally responsive pedagogies: Hip-Hop, creativity and affirming the voices of students of colorJudy Lewis13. Sparking and Sustaining the Songwriting Processadam patrick bell, Juan Cacho, and Ismail Okasha14. Beyond ‘careers’: composing musical lives through metamusical creativityLloyd McArton15. Teaching and learning creativity as content: A tool-dependent processNiklas Rudback and Cecilia Wallerstedt16. Music Educators Perspectives on SongwritingLauren Ryals17. Songwriting Class as a Place for HealingJohn Kratus18. Group Creativities: Mapping The Creative Process of Mobile Music CreationJason Chi Wai Chen19. Children’s Traditional Playground Musicking, Creativity, and Media CultureMartina Vasil20. The DAW RevolutionMatthew Clauhs and Brian Dozoretz21. Through the Lens of Collaborative Creativity: Examining Compositional Processes in a GarageBand Activity Based on Group AssignmentSamuel C. Holmes22. Pursuing diversity and inclusivity through hip hop music genres: Insights for mainstream music curriculaPamela Burnard, Pete Dale, Simon Glenister, Jim Reiss, Raphael Travis, Elliot Gann and Alinka GreasleyPart 4: Playing the Changes: Attuning to Diverse Creativities in Practice23. The Pendulum Swings Tired: Dewey’s "Passivity, Activity and Creativity in a Progressive Secondary Music ClassroomBrad Anthony Fuller and James Henry Byrne Humberstone24. The Transformation of the Kenyan Higher Music Education SpaceEmily Achieng’ Akuno25. Creating spaces for Songwriters, Collaborators and Musicians in Higher EducationJonathan Kladder and Radio Cremata26. Activist Pluralism as Intercultural Creativity in Conservatory EducationJames Henry Byrne Humberstone and Caitlin Bree Sandiford27. A Case for Adopting a Collaborative Pedagogical Model in the Large Ensemble Music Classroom to Open the Door for Diverse CreativitiesLauren YachtPART 5: Creativities Authored With/In the Wider Community28. Online Music Learning: Which Creativities Matter?Michele Biasutti29. The Creativities of an Online Music Community During a Global Health CrisisEmmett James O’Leary30. Activating and Developing Free Improvisational Creativities in Higher Education: Contesting Authority, Exploring Creativities, Stimulating DialogueChris Atton, Matthew Cowan, Harry Docherty, Kaelin Farnish, Zack Moir, and Euan Pattie31. Collaborative Compositional Creativity: Composers’ perspectives on student and teacher inputTessandra Wendzich and Bernard W. Andrews32. Taking a Leaf from "Giant Steps": A Small Step Towards Future-ReadinessEddy Chong33. Creativities in music and creativities through music: Symbiotic weaknesses in Greek-Cypriot Primary EducationStavros Makris, Graham Welch and Evangelos Himonides34. Supporting Multiple Musical Creativities with Generations Z and Alpha Through a Compassionate Music Teaching ApproachKarin S. Hendricks35. #creativityeveryday- Instagram as a creative toolHimasha Gunasekara, Cheryl Brown and Stuart WisePart 6: Re-thinking, Re-searching, Re-visioning Creativities in Performance36. Making silence matter: Rethinking Performance Creativity as a Catalyzing Space for Sounding Oneself in Music EducationPamela Burnard and Nick Sorensen37. Ubimus strategies for colocated and remote educational activities: Harmonic Walk and Live PatchingDamián Keller, Marcella Mandanici, and Marcello Messina38. Embodied Music Pedagogy and Musical Creativities in ActionDylan van der Schyff39. Gratitude During Times of Uncertainty: Connections to Creativities in Music EducationH. Christian Bernhard II40. Musical Creativities, Spirituality, and Playing Drum Kit in Black Light BastardsGareth Dylan Smith41. Voicing plural creative experiences without a voiceThomas Moors and Evangelos Himonides42. In amongst transdisciplinary dialogue and participatory creativity: Group improvisation in secondary schoolCarlos Lage-Gómez & Roberto Cremades-Andreu43. Understanding the Terrain in Creativities Research: Mapping an International Symposium in Music EducationAsher Carlson, Jazmin Ghent, Brian Panetta, Charles Patterson, and Clint RandlesPart 7: Widening Perspectives: New Departures and New Positionings44. Instrumental Music Education: intra-action and relationality for creative pedagogies in the music studio learningLeon R de Bruin45. Project-Based Learning and Student’s Individual Creativity in Music Teacher Education: Learning, Teaching, and Performing Popular Music in Virtual SpacesJonathan Kladder46. Students as the Educator: A Student-centric Model for Curriculum DevelopmentJonathan McElroy47. Creativity Development, Service Learning, and Spirituality in Music EducationAlexander Koops48. Reconfiguring the Future of Music Education through Pluralism, Openness and Authorship of New CreativitiesPamela Burnard and Clint Randles