Although the role of music education in (public) general education schools has been recognized for its creative potential (or at least, what it should have), and the philosophy of music education has been redefined—introducing new methods and renewed content—it remains a fact that, in practice, music education continues to be a decorative and secondary component in schools. This paper I attempt to bridge contemporary musical creation with creative music education in the early years of primary education. By revisiting the practices and methods of the creative music education movement, as expressed and applied in English-speaking countries since the 1960s, and by drawing on the repertoire of contemporary musical creation internationally (primarily from 1950 onward), the study defines the goals and philosophical framework of music education that is accessible to preschool and early primary school ages. The boundaries between improvisation and composition within this framework are also explored. Through the analysis of selected repertoire works and a focus on fundamental compositional techniques—primarily applied with an experimental approach and originality—this paper proposes a series of thematic units and projects based on the following criteria: i) Fundamental musical (and non-musical) skills and ii) The alignment of such an approach with socio-cultural perspectives that view (music) education as a vessel for the exchange and cultivation of experiences rather than merely a marketplace of knowledge. In summary, the study addresses compositional techniques such as serialism, chance/indeterminacy, sound masses, spectral music, and composition with sound as the primary material (klangkomposition). It highlights rhythm as a key tool for communication and community organization, as well as notation—including graphic scores—music theater, and the relationship between music and physical gesture. Finally, gaps and deficiencies in the potential implementation of such an approach are noted—both in terms of music educators’ training and school infrastructure. These issues, along with possible solutions, are presented for discussion and reflection. This paper is structured as a theoretical and reflective essay, based on comparative analysis of key texts and a conceptual synthesis of pedagogical and artistic ideas. Additionally, it draws from the author’s empirical insights derived from artistic and educational practice, without claiming a systematic methodology of data collection or analysis.

• Music and sound education experiences, values, and practices
• Interdisciplinary approaches in music education
• Curricula and critical approaches
• Historical and cultural perspectives and contemporary educational practices

Composer, researcher, and music educator. His compositional work focuses on sound bodies and linguistic forms. His creative output explores the relationship between the sound of the voice and its semiology, as defined by language. He studied composition and music theater in Austria and Greece with Beat Furrer, Michalis Lapidakis, and Dimitris Papageorgiou.

His research interests focus on voice and music theater, the dialectical relationship between composer-performer-audience-work, and creative pedagogy through contemporary composition and improvisation techniques.

He has taught Composition, Music Theater, Extended Vocal Techniques, and Advanced Music Theory at the School of Music Studies of Aristotle University of Thessaloniki (AUTH) and the Department of Music Science and Art at the University of Macedonia. He has also taught Music Pedagogy with an emphasis on Composition and Improvisation at the University of Thessaly and the Moraitis School.