{"id":3340,"date":"2024-06-09T22:21:50","date_gmt":"2024-06-09T19:21:50","guid":{"rendered":"https:\/\/ece.uth.gr\/?page_id=3340"},"modified":"2024-07-09T18:19:49","modified_gmt":"2024-07-09T15:19:49","slug":"composing-in-the-classroom-theory-and-practice-of-creative-music-education","status":"publish","type":"page","link":"https:\/\/ece.uth.gr\/en\/course\/composing-in-the-classroom-theory-and-practice-of-creative-music-education\/","title":{"rendered":"Composing in the Classroom: Theory and Practice of Creative Music Education"},"content":{"rendered":"<p><strong>Course Code (in greek)<\/strong>: \u039a\u03a41340<\/p>\n<p><strong>ECTS Units<\/strong>: 5<\/p>\n<p><strong>Semester<\/strong>: 5<\/p>\n<p><strong>Professor<\/strong>: Adjunct Professor<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>Course description<\/strong><\/p>\n<p style=\"font-weight: 400;\">Examination of the role of composition in developing children\u2019s musical voice. Understanding the historical context of the emergence of composition as a key component of music education practice: Introduction to creative-music-in-education movement. Composition and improvisation: relationships and contradictions. Systematic engagement in group composition based on a variety of stimuli and techniques.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>Learning outcomes<\/strong><\/p>\n<p style=\"font-weight: 400;\">In this course students are expected to:<\/p>\n<ul style=\"font-weight: 400;\">\n<li>develop an inclusive and critical understanding of the notion of composing<\/li>\n<li>acquire a basic understanding of the multiplicity of compositional practices, practices that go well beyond the normative conception of werktreue ideal<\/li>\n<li>discuss\u00a0how children engage in improvisation process in different contexts<\/li>\n<li>acknowledge the importance of music improvisation in music education<\/li>\n<li>contextualize current emphasis on compositional criticality in education within a larger historical trajectory<\/li>\n<li>compose, solo, or in groups, based on a variety applying compositional techniques in imaginative and liberating ways<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>Assessment<\/strong><\/p>\n<p style=\"font-weight: 400;\">Assessment\u00a0\u00a0involves (a) written exams at the end of the term\u00a0(b) presentation-performance (at the end of the term)\u00a0of a group composition based on the work done throughout the course<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>Teaching methods<\/strong><\/p>\n<p style=\"font-weight: 400;\">Direct\u00a0\u00a0involvement\u00a0\u00a0in composition activities both in large and small groups, lectures, reflective dialogical inquiry centered on issues that emerge in our practical work.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>Recommended literature\u00a0<\/strong><\/p>\n<p style=\"font-weight: 400;\">Barrett, M. S. (ed.) (2014).\u00a0Collarobative Creative Thought and Practice in Music. Farnham, Surrey: Ashgate.<\/p>\n<p style=\"font-weight: 400;\">Barrett, M. S. (2005).\u00a0\u00a0A systems view of musical creativity.\u00a0\u00a0In D. J. Elliott (Ed.),\u00a0Praxial Music Education: Reflections and Dialogues Creativity\u00a0(pp. 177-195).\u00a0\u00a0New York: Oxford University Press.<\/p>\n<p style=\"font-weight: 400;\">Blacking, J. (1981).\u00a0\u0397 \u0388\u03ba\u03c6\u03c1\u03b1\u03c3\u03b7 \u03c4\u03b7\u03c2 \u0391\u03bd\u03b8\u03c1\u03ce\u03c0\u03b9\u03bd\u03b7\u03c2 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03cc\u03c4\u03b7\u03c4\u03b1\u03c2. \u0391\u03b8\u03ae\u03bd\u03b1: \u039d\u03b5\u03c6\u03ad\u03bb\u03b7.<\/p>\n<p style=\"font-weight: 400;\">Collins, D. (2012).\u00a0The Act of Musical Composition: Studies in the Creative Process. Farnham, Surrey: Ashgate.<\/p>\n<p style=\"font-weight: 400;\">Cook, N. (1998).\u00a0Music: A Very Short Introduction.\u00a0Oxford: Oxford University Press.<\/p>\n<p style=\"font-weight: 400;\">Dennis, B. (1970),\u00a0Experimental music in schools, London: Oxford University Press.<\/p>\n<p style=\"font-weight: 400;\">Green, L. (2014).\u00a0\u0386\u03ba\u03bf\u03c5, \u0391\u03ba\u03c1\u03bf\u03ac\u03c3\u03bf\u03c5, \u03a0\u03b1\u03af\u03be\u03b5!: \u03a0\u03ce\u03c2 \u03bd\u03b1 \u03b1\u03c0\u03b5\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03ce\u03c3\u03b5\u03c4\u03b5 \u03c4\u03b7\u03bd \u03b1\u03ba\u03bf\u03c5\u03c3\u03c4\u03b9\u03ba\u03ae \u03b1\u03bd\u03c4\u03af\u03bb\u03b7\u03c8\u03b7 \u03c4\u03c9\u03bd \u03bc\u03b1\u03b8\u03b7\u03c4\u03ce\u03bd \u03c3\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03b9\u03c2 \u03b4\u03b5\u03be\u03b9\u03cc\u03c4\u03b7\u03c4\u03ad\u03c2 \u03c4\u03bf\u03c5\u03c2 \u03c3\u03c4\u03bf\u03bd \u03b1\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u03b5\u03ba\u03c4\u03ad\u03bb\u03b5\u03c3\u03b7. A\u03b8\u03ae\u03bd\u03b1:\u00a0\u03a6\u03b1\u03b3\u03ba\u03cc\u03c4\u03bf.<\/p>\n<p style=\"font-weight: 400;\">Glover, J. 2000.\u00a0Children composing 4-14. London: Routledge\/Falmer.<\/p>\n<p style=\"font-weight: 400;\">Greene, M. (1995).\u00a0Releasing the Imagination. San Francisco: Jossey-Bass.<\/p>\n<p style=\"font-weight: 400;\">Hickey, M. (ed). (2003) Why and How to Teach Music Composition: A new horizon for music education. UK: Rowman &amp; Littlefield. (ISBN-13:\u00a0978-1565451544)<\/p>\n<p style=\"font-weight: 400;\">Howard, J. (2004)\u00a0M\u03b1\u03b8\u03ae\u03bc\u03b1\u03c4\u03b1 \u03a3\u03cd\u03bd\u03b8\u03b5\u03c3\u03b7\u03c2\u00a0(\u03bc\u03c4\u03c6\u03c1. \u0392. \u039d\u03af\u03ba\u03b1). A\u03b8\u03ae\u03bd\u03b1: \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u03a3\u03cd\u03b3\u03c7\u03c1\u03bf\u03bd\u03b7 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae.<\/p>\n<p style=\"font-weight: 400;\">Kanellopoulos, P.A. , Stefanou, D., 2015.\u00a0\u2018\u00a0Music beyond monuments: Re-imagining creative music engagement in the light of museum-based projects\u2019.\u00a0MuseumEdu, 1, pp.37-63.<\/p>\n<p style=\"font-weight: 400;\">Kanellopoulos, P.A. , Nakou, I., 2015.\u00a0&#8220;Experimenting with sound, playing with culture collaborative composing as a means for creative engagement with the museum world \/ \u03c0\u03b1\u03af\u03b6\u03bf\u03bd\u03c4\u03b1\u03c2 \u03bc\u03b5 \u03c4\u03bf\u03bd \u03ae\u03c7\u03bf \u03ba\u03b1\u03b9 \u03c4\u03bf\u03bd \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03cc: \u03b7 \u03c3\u03c5\u03bd\u03b5\u03c1\u03b3\u03b1\u03c4\u03b9\u03ba\u03ae \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u03c3\u03cd\u03bd\u03b8\u03b5\u03c3\u03b7 \u03c9\u03c2 \u03bc\u03ad\u03c3\u03bf \u03b4\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03b9\u03ba\u03ae\u03c2 \u03b5\u03c0\u03b1\u03c6\u03ae\u03c2 \u03bc\u03b5 \u03c4\u03bf\u03bd \u03ba\u03cc\u03c3\u03bc\u03bf \u03c4\u03bf\u03c5 \u03bc\u03bf\u03c5\u03c3\u03b5\u03af\u03bf\u03c5&#8221;.\u00a0MuseumEdu, 1, pp.135-160.<\/p>\n<p style=\"font-weight: 400;\">Nyman, M. (2012).\u00a0\u00a0\u03a0\u03b5\u03b9\u03c1\u03b1\u03bc\u03b1\u03c4\u03b9\u03ba\u03ae \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u00a0(\u03bc\u03c4\u03c6\u03c1. \u0394\u03b1\u03bd\u03ac\u03b7 \u03a3\u03c4\u03b5\u03c6\u03ac\u03bd\u03bf\u03c5).\u00a0\u00a0\u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039f\u03ba\u03c4\u03ce.<\/p>\n<p style=\"font-weight: 400;\">Owens, P. (1986) \u2018The contemporary composer in the classroom\u2019.\u00a0British Journal of Music Education, 3(3): 341-352.<\/p>\n<p style=\"font-weight: 400;\">Palmer, P. J. (1998).\u00a0The Courage to Teach: Exploring the Inner Landscape of a Teacher\u2019s Life. San Francisco: Jossey-Bass.<\/p>\n<p style=\"font-weight: 400;\">Paynter, J. (1972).\u00a0Hear and now: An introduction to modern music in schools. London: Universal.<\/p>\n<p style=\"font-weight: 400;\">Paynter, J. (1992).\u00a0Sound and structure. Cambridge: Cambridge University Press.<\/p>\n<p style=\"font-weight: 400;\">Paynter, J. (2000). Making progress with composing.\u00a0British Journal of Music Education, 17(1), 5-31.<\/p>\n<p style=\"font-weight: 400;\">Paynter, J. , Aston, P. (1970).\u00a0Sound and\u00a0Silence. Cambridge: Cambridge University Press.<\/p>\n<p style=\"font-weight: 400;\">Varese E. (2006).\u00a0\u039f \u03c0\u03c1\u03bf\u03bf\u03c1\u03b9\u03c3\u03bc\u03cc\u03c2 \u03c4\u03b7\u03c2 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2.\u00a0T\u03b1 M\u03bf\u03c5\u03c3\u03b9\u03ba\u03ac, \u03c4. 9, 15-20.<\/p>\n<p style=\"font-weight: 400;\">Vella, R. (2003).\u00a0Sounds in Space, Sounds in Time: Projects in Listening, Improvising and Composing.\u00a0London: Boosey &amp; Hawkes.<\/p>\n<p style=\"font-weight: 400;\">Young S. (2008). Communicative Creativity in Young Children\u2019s Spontaneous Music-making.\u00a0International Journal of Experimental Research in Education<\/p>\n<p style=\"font-weight: 400;\">\u0392\u03ac\u03c1\u03b3\u03ba\u03b1, \u039c. \u0391.\u00a0\u00a0(2004).\u00a0\u03a3\u03c5\u03bd\u03bf\u03bc\u03b9\u03bb\u03af\u03b5\u03c2 \u03bc\u03b5 \u03c4\u03bf\u03bd \u0393\u03b9\u03ac\u03bd\u03bd\u03b7 \u039e\u03b5\u03bd\u03ac\u03ba\u03b7. \u0391\u03b8\u03ae\u03bd\u03b1: \u03a0\u03bf\u03c4\u03b1\u03bc\u03cc\u03c2.<\/p>\n<p style=\"font-weight: 400;\">\u039a\u03b1\u03bd\u03b5\u03bb\u03bb\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u03a0. \u0391. (2009).\u00a0\u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03cc\u03c2 \u0391\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2 \u03ba\u03b1\u03b9 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u0395\u03ba\u03c0\u03b1\u03af\u03b4\u03b5\u03c5\u03c3\u03b7: \u03a3\u03c7\u03ad\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 (\u03b5\u03bd)\u03c4\u03ac\u03c3\u03b5\u03b9\u03c2. \u03a3\u03c4\u03bf \u039e. \u03a0\u03b1\u03c0\u03b1\u03c0\u03b1\u03bd\u03b1\u03b3\u03b9\u03ce\u03c4\u03bf\u03c5 (\u0395\u03c0\u03b9\u03bc.)\u00a0\u0396\u03b7\u03c4\u03ae\u03bc\u03b1\u03c4\u03b1 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2 \u03a0\u03b1\u03b9\u03b4\u03b1\u03b3\u03c9\u03b3\u03b9\u03ba\u03ae\u03c2\u00a0(\u03c3\u03c3. 239-264). \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7: \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u0388\u03bd\u03c9\u03c3\u03b7 \u03b3\u03b9\u03b1 \u03c4\u03b7 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u0395\u03ba\u03c0\u03b1\u03af\u03b4\u03b5\u03c5\u03c3\u03b7.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Course Code (in greek): \u039a\u03a41340 ECTS Units: 5 Semester: 5 Professor: Adjunct Professor &nbsp; Course description Examination of the role of composition in developing children\u2019s musical voice. Understanding the historical context of the emergence of composition as a key component of music education practice: Introduction to creative-music-in-education movement. Composition and improvisation: relationships and contradictions. Systematic [&hellip;]<\/p>\n","protected":false},"author":131,"featured_media":188,"parent":556,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-3340","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/3340","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/users\/131"}],"replies":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/comments?post=3340"}],"version-history":[{"count":1,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/3340\/revisions"}],"predecessor-version":[{"id":3343,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/3340\/revisions\/3343"}],"up":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/556"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/media\/188"}],"wp:attachment":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/media?parent=3340"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}