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Creativity studies have traditionally tended to focus on the evaluation of products generated by creative people, which are categorized in various ways according to their reception and impact on society. This orientation has been advanced in various ways by including factors such as process, personality, and cultural pressures. While these approaches have produced many important insights, the types of creativity involved in music performance involve additional aspects. Musical performance necessarily entails developing forms of bodily skill that play out in real-time interactive contexts. These contexts involve other people, musical instruments and technologies, acoustic spaces, and various socio-cultural factors. Accordingly, some scholars have recently posited relational, environmentally distributed, and cooperative models that better capture the complex nature of musical creativity in action. In this chapter, we review some key approaches to creative cognition, with a special focus on understanding creativity as it unfolds in the real-time dynamics of musical performance. In doing so, we introduce a number of concepts associated with recent work in cognitive science that may help to capture the adaptive interplay of body and environment in the co-enactment of musical events.

This chapter begins by discussing prominent learning theories that contextualize development and then drills down to individual components that are relevant to learning to perform music. Developmental factors, such as distinguishing giftedness from talent, predispositions to learn, sensitive and critical periods, and perceptual abilities are discussed. A section on physical maturation provides information on how to match students with instruments, including factors influencing these choices such as motor development, teeth alignment, sex differences, and gender biases. We strongly advise against using so-called standardized measures of musical aptitude to predict future success and detail some of the ways these types of measures are flawed. In the final section dealing with practical applications, we return to the broader definition of readiness as a “healthy state of mind” to provide a set of principles that can be used to guide the types of environments, approaches, and beliefs that we believe best cater for the individual needs of each child. One of the main points we stress is that there are no definitive rules for when a child is ready to learn an instrument or voice. Determining readiness is highly contextual and will vary from child to child.

Synchronous online learning, teaching, and performing in music is a fast-emerging innovation within the global higher education (HE) system. Advantages for including videoconferencing as a means for communication via high-performance networking technologies are: the expansion of international collaborations through live performances and masterclasses; possibilities for remote rehearsals in advance of events; development of new forms of teaching, learning, and performing; and lowered costs and reduction of carbon emissions due to decreased air travel. These benefits are recognized not only for music, but within the wider context of arts and humanities. Entry-level platforms, such as Skype, Zoom, and FaceTime, enable musicians to work from home. None come without challenges. Issues of latency, audio and video quality, acclimation to the technology, presence, communication, and adapting alternative teaching approaches are important issues that need to be addressed. This chapter provides a brief timeline on the emergence of the technology; outlines the substantial influence on teaching, learning, and performance from teacher, student, and professional performers’ perspectives; and highlights the necessary setup considerations for use in HE with practical examples from around the world. The chapter closes with the exploration of technology innovations that will soon be within reach for use in HE music.

The quality of parental support is recognized as a crucial factor in the early stages of a student’s development, and particularly in instrumental music education. At the start of 2020, the outbreak of a global pandemic crisis posed new and unprecedented challenges to education, forcing families to stay at home to prevent contagion. This investigation was conducted during the period of a COVID pandemic lockdown in Portugal. We explored whether parental support, provided during the lockdown period, was associated with their child’s achievement as reported by their instrumental music teacher. For this study, 39 parent–teacher dyads of first-grade students of an instrument music course were recruited from two public music conservatories. Parents supplied information on the frequency in which they provided student-support-related attitudes and actions in the home context. Simultaneously, teachers provided information about the student’s achievement during the lockdown compared with the previous in-person performance period. Results indicate a strong relationship between parental support and musical achievement, with students who received higher levels of supportive parental involvement performing better than before the pandemic crisis. The findings are discussed in relation to the importance of parental involvement in a child’s instrumental music education.

Motivation is a crucial aspect of learning, particularly in the field of music. For decades, motivation for learning music has been a much-discussed subject, and yet its influence still remains a convoluted issue. This study systematically analyses peer-reviewed English language studies, according to PRISMA guidelines, in order to understand how children’s and adolescents’ motivation to learn a musical instrument has been studied, the theories that have been adopted to frame this research, the types of quantitative instruments that have been designed or adopted within the research designs, and the types of findings that have documented. A search on Web of Science, Education Resources Information Center, and Scopus was conducted, using the following terms: music, instrument, learn, education, study, and motivation. The initial search identified 447 studies. Twenty of these met the inclusion criteria for investigating any music-related aspect of motivation that was based on the analysis of quantitative data. Results show a limited number of studies that have explored children’s motivation in the context of learning a musical instrument and report a special focus on the central role of parents and social background. Implications of these results for music education and the adequacy of questionnaires to children are discussed.

This chapter presents a survey of research on the development and validation of a measure to assess instrumentalists’ ability to improvise music. It begins by framing efforts to distinguish between visual, aural, and creative forms of music performance, and the types of assessment tasks required to evaluate music performance improvisation. The chapter surveys a range of related measures that have been used to assess improvisational abilities in young developing musicians and provides a detailed description of the author’s own Test of Ability to Improvise (TAI) that he has used with beginning, intermediate, and advanced level school instrumentalists. Included also are examples of the instrumentalists’ improvisations and a discussion of the implications of the research findings for conceptions of musical development and practical applications within music education.

Within education, the importance of creativity is recognized as an essential 21st-century skill. Based on this premise, the first aim of this article is to provide a theoretical integration through the development of a framework based on the principles of complex dynamic systems theory, which describes and explains children’s creativity. This model is used to explain differing views on the role of education in developing children’s creativity. Our second aim is empirical integration. On the basis of a three-dimensional taxonomy, we performed a systematic review of the recent literature (2006–2017, 184 studies) on primary school students’ creativity. Our results show that creativity is most often measured as a static, aggregated construct. In line with our theoretical model, we suggest ways that future research can elaborate on the moment-to-moment interactions that form the basis of long-term creative development, as well as on the mechanisms that connect different levels of creativity.

This chapter explores the challenging question of curriculum and assessment for music improvisation pedagogy. It begins by offering a critical review of standard approaches to improvisation pedagogy, arguing that they often neglect the processes of discovery and collaboration that more open or “free” approaches afford. It then discusses the challenges that free improvisation poses to traditional modes of practice and assessment in music education. The chapter considers the argument that improvisation, in its fullest sense, cannot be taught and assessed according to standardized models; it is not something to be inculcated in students, but rather is a fundamental disposition that should be nurtured. This perspective is then developed in light of recent advances in enactive cognitive science, in which living cognition is explored as a fundamentally embodied, embedded, enactive, and extended (4E) phenomenon. The suggestion is made that because the ways living agents engage with these dimensions are not pre-given but rather reflect the adaptive processes associated with survival and well-being in contingent sociomaterial environments, there is a very strong sense in which cognition may be understood as an improvisational process even at the most fundamental levels. Following this, the chapter explores how a 4E cognition model might help guide curriculum development and offer a framework for forms of self-assessment involving collaborative processes of creative action and reflection. In conclusion, the chapter offers a few final thoughts drawn from existing musical communities and the author’s experience as an improvising musician.