The definitions of creativity in education vary extensively in such a way that scholars may never reach perfect consensus. Various attempts have been made to define creativity resulting from broader, abstract definitions to domain-specific or models which explore the parameters within which creativity occurs such as the process, environment, and assessment, or the significance of the creative product/output and its social context. In music education, creativity is primarily addressed through composition and improvisation (Odena, 2011), and focusing on the latter we note a distinction between creativity and spontaneity, which emphasises that the product of creativity involves a separate action from the creative process; creativity involves more than just spontaneous actions. It encompasses a willingness to take risks, embrace new experiences, and engage in the creative process, or pushing concepts beyond the predictable (Kaufman & Baer, 2012). The theoretical framework on creativity indicates some sort of dichotomy in how scholars approach creativity. Some research on domains, for example, celebrates the individuality and uniqueness of the creative product (Big C), while other focuses on the creative process, the creative individual, and personal creativity (Little c) (Silvia et al., 2014). Similar dichotomy is evident in domains generality and specificity, with the former assuming that skills involved in the process of creative output produce in one domain are “transferable” to another, whilst the latter suggests no correlation between such skills and that creativity in one domain does not predict creativity in another (Baer, 2016). Some theorists hold a middle-ground position and they propose that both generality and specificity are aspects of creativity and the interplay between the two changes (i) according to social context and (ii) as one develops in age (Plucker & Beghetto, 2004). Such dichotomy exists also in developmental and cognitive theories (see problem-solving VS problem-finding or divergent VS convergent thinking). A common understanding on creativity is the basis towards a creative education, and Kaufman & Baer (2012) conclude to argue that understanding who decides what is creative is crucial in the assessment of creative products. Through systematic literature review we have filtered the models and approaches which relate to the debates reflected in literature, with view to identify commonalities on approaches to creative musical activities. We aim to examine the differences and similarities between these models and approaches to music pedagogy, and this proposal for poster presentation aims to discuss how literature can inform approaches to music pedagogy and curriculum design to foster creativity. 

• Music and sound education experiences, values, and practices
• Interdisciplinary approaches in music education
• Curricula and critical approaches
• Meaningful musical experiences

Andreas Pavlou is a music educator and researcher with focus on creativity in education, music pedagogy, cognitive development, and the wider benefits of studying music. Andreas is a Royal Holloway University of London alumnus (BMus Hons, MMus) and specialized in electric guitar performance under the supervision of Prof. Mary Dullea and Nick Hollings, and composition with Prof. Mark Bowden. He has worked in the UK education industry with franchises and MusicHubs in Greater London, Berkshire, and Surrey, including The Rock Project. He is currently the co-founder and managing director of music academy wePlay in Larnaka, Cyprus. 

Dr. Yiannis Miralis is Associate Professor of Music Education and Saxophone and director of the symphonic band at European University Cyprus. He holds degrees from Lawrence University (BM), Bowling Green State University (MM) and Michigan State University (PhD). His areas of interest are world music pedagogy and multicultural music education, instrumental music education and saxophone chamber music. He previously worked at the University of Idaho, the University of Windsor and the University of Cyprus, as well as in various public and private schools in Cyprus and the USA (K-10). He has presented workshops and papers in various conferences and his articles appear in international music journals. He has appeared with the Cyprus Symphony Orchestra and is active with the Transcontinental Saxophone Quartet and the Mediterranean Trio, with whom he performed extensively in Europe and the USA. He is a board member of the European Chamber Music Teachers’ Association (ECMTA).