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Pamela Burnard

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Role: 
Bye-Fellow, Manager of Education Doctorate
Department: 
Faculty of Education
Contact number: 
01223 767559
Contact email address: 
pab61@cam.ac.uk
Year Joined Homerton: 
1999
Profile: 

Pamela manages an extensive research international and national seminar programme which supplements the Masters in Arts, Creativities, Education and Culture (ACEC), a course she initiated. She has also built extensive networks which link university, industry, school sectors and community arts organisations. Her research supervision encompasses investigations of creative learning and teaching, learning culture, creativity assessment, digital media and musical creativities in higher education, conservatoire and community settings. Her teaching responsibilities include developing creativity in learning and achievement in Higher Degree courses involving arts, culture and educational research training. She lectures on Undergraduate and Higher Degree courses developing creativity in education and music. She is the university link tutor for CPD courses in partnership with Cambridge Curiosity and Imagination (CCI) social enterprise involving artists. She is PGCE tutor and Bye-Fellow of Homerton College where she runs a cultural programme of seminars for students, fellows and guests.

Research Interests: 
  • Creativities research
  • Creative learning and teaching
  • Intercultural arts
  • Cultural and Creative Industries

Dr Pamela Burnard - Researching Musical Creativities in Practice from Alex Ruthmann on Vimeo.

Pamela Burnard from inspiremusicorg on Vimeo.

Teaching And Professional Interests: 
  • NAMHE Board of Directors
  • SoundSense UK Board of Directors
  • Trinity College London Academic and Professional Standards Committee
Qualifications: 

B.Mus, PGCE, M.Ed, M.Mus, PhD

Awards:

ESRC Studentship, Rotary International Fellowship

Prizes:

Arts Council

Dissertation: 

Into Different Worlds: The study of children's creativities

Publications: 

Peer-reviewed Journal Articles

  • Burnard, P., Holliday, C., Jasilek, S. and Nikolova, A. (2015) Artists and Higher Education Partnerships: A Living Enquiry Education Journal, 4(3):98-105, doi:10.11648/j.edu.20150403.12.
  • Aaron, S., Blackwell, A. F. and Burnard, P. (2015) The development of Sonic Pi and its use in educational partnerships: co-creating pedagogies for learning computer programming, Journal of Music Technology and Education (in press).
  • Burnard, P. and Dragovic, T. (2014) Characterising communal creativity in instrumental group learning. Departures in Critical Qualitative Research,3(3), 336-362. DOI: 10.1525/dcqr.2014.3.3.336.
  • Burnard, P. and Dragovic, T. (2014) Collaborative creativity in instrumental group learning as a site for enhancing pupil wellbeing. Cambridge Journal of Education, Special Issue 'Creativity and Wellbeing'. DOI: 10.1080/0305764X.2014.934204.
  • Rabinowitch, T., Cross, I. and Burnard, P. (2013) Long-term musical group interaction has a positive influence on empathy in children. Psychology of Music, 41(4), 484-498.
  • Stahl, G., Burnard, P. and Perkins, R. (2013) Bourdieu applied: Glitches, gaps and glissandi in concept use compared in studies of school, higher education and creative industry fields. Annual Review of Sociology,52(2), 117-33. DOI: 10.1080/ 00313830801915754.
  • Burnard, P. (2012) Rethinking creative teaching and teaching as research: Mapping the critical phases that mark times of change and choosing as learners and teachers of music. Theory Into Practice,51(3), 40-52.
  • Craft, A., Cremin, T., Burnard, P., Dragovic, T. and Chappell, K. (2012) Possibility thinking: Culminative studies of an evidence-based concept driving creativity? Education 3-13: International Journal of Primary, Elementary and Early Years Education. DOI: 10.1080/03004279.2012.656671
  • Burnard, P. (2011) Educational leadership, musical creativities and digital technology in education. Journal of Music, Technology and Education,4(2), 5-25.
  • Burnard, P. (2011)Creativities, performativity, and educational standards: conflicting or productive tensions in music education in England? Studies in Music. Special Issue 'Rethinking standards for the twenty-first century: new realities, new challenges, new propositions', 23(1), 21-44.
  • Burnard, P. and Swann, M. (2010) Pupil perceptions of learning with artists: a new order of experience? Thinking Skills and Creativity, 5(2), 70-83.
  • Burnard, P. and Triantafyllaki, A. (2010) Creativities and arts-based knowledge creation in diverse educational partnership practices: Lessons from two case studies in rethinking traditional spaces for learning.
  • UNESCO Observatory E-Journal, Multi-Disciplinary Research in the Arts, http://www.abp.unimelb.edu.au/unesco/ejournal/vol-one-issue-five.html
  • Burnard, P. (2010) Inspiring creative mediation in music education. Hellenic Journal of Music, Education, and Culture,1(1). http://hejmec.eu.
  • Hallam, S., Burnard, P., Robertson, A., Saleh, C., Davies, V., Rogers, L. and Kokatsaki, D. (2009) Trainee primary school teachers' perceptions of their effectiveness in teaching music. Music Education Research, 11(2), 221-240.
  • Burnard, P. (2009) Modulating pedagogical spaces for creativity in music education. Sound Arts and Music in Education, 5(2), 4-12.
  • Burnard, P. (2008) Appropriating a new professionalism in music education through creative mediation. Journal of Artistic and Creative Education, 2(2), 3-23.
  • Burnard, P. and White, J. (2008) Creativity and performativity: counterpoints in British and Australian education. British Educational Research Journal, Special Issue on 'Creativity and Performativity in Teaching and Learning', 34(5), 667-682.
  • Burnard, P. and Younker, B.A. (2008) Investigating children's musical interactions within the activities systems of group composing and arranging: an application of Engestrom's Activity Theory. International Journal of Educational Research, 47(1), 60-74.
  • Burnard, P. (2008) A phenomenological study of music teachers' approaches to inclusive education practices among disaffected youth. Research Studies in Music Education, 30(1), 59-76.
  • Burnard, P. (2008) Editorial: The impact of productive tensions between policy and practice on creativity in education. UNESCO Observatory E-Journal, Multi-Disciplinary Research in the Arts, Special Issue, 'Creativity, policy and practice discourses: productive tensions in the new millennium', 1(3), http://www.abp.unimelb.edu.au/unesco/ejournal/vol-one-issue-three.html.
  • Chappell, K., Craft, A., Burnard, P. and Cremin, T. (2008) Question-posing and question-responding: The heart of 'Possibility Thinking' in the early years. Early Years: An International Journal of Research and Development, 28(3), 267-286.
  • Burnard, P., Dillon, S., Rusinek, G. and Saether, E. (2008) Promoting social inclusion in music education: International comparisons of key issues in teaching and learning. International Journal of Music Education: Practice, 26(2), 109-126.
  • Burnard, P. (2007) Reframing creativity and technology: promoting pedagogic change in music. Journal of Music, Technology and Education, 1(1), 37-55.
  • Craft, A., Cremin, T., Burnard, P. and Chappell, K. (2007) Teacher stance in creative learning: A study of progression. Thinking Skills and Creativity, 2(1), 136-147.
  • Burnard, P., Grainger, T. and Craft, A. (2006) Documenting possibility thinking: A journey of collaborative enquiry, International Journal of Early Years Education, Special Issue on 'Creativity and Cultural Innovation in Early Childhood Education', 14(3), 243-262.
  • Grainger, T., Burnard, P. and Craft, A. (2006) Pedagogy and possibility thinking in the Early Years. Thinking Skills and Creativity, 1(2), 26-38.
  • Burnard, P. (2006) Telling half the story: making explicit the significance of methods and methodologies in creative education. Music Education Research, 8(2), 143-152.
  • Burnard, P. (2006) Reflecting on the creativity agenda in education. Cambridge Journal of Education, 36(3), 313-321.
  • Younker, B.A. and Burnard, P. (2004) From solos to duets: Reflecting on experiences of an international collaborative research partnership, Bulletin of the Council for Research in Music Education,160, 49-60.
  • Burnard, P. (2004) Pupil-teacher conceptions and the challenge of learning: Lessons from a Year 8 creative classroom Improving Schools, 7(1), 23-34.
  • Burnard, P. and Younker, B.A. (2004) Creativity and individual composing pathways: Perspectives within a cross-cultural framework. International Journal of Music Education, 22(1), 59-76.
  • Burnard, P. (2002) Investigating children's meaning making and the emergence of musical interaction in group improvisation. British Journal of Music Education, 19(2) 157-172.
  • Burnard, P. and Younker, B.A. (2002) Mapping pathways: Fostering creativity in composition. Music Education Research, 4(2), 245-261.
  • Burnard, P. (2002) Into different worlds: What improvising and composing can mean to children. Music and Movement Education Quarterly, 34(4), 22-28. Cleveland: American Orff-Schulwerk Association.
  • Burnard, P. (2001) Examining children's musical interaction in improvisation. The National Association of Music Educators' Magazine, 7, 22-26.
  • Burnard, P. (2000) Examining experiential differences between improvisation and composition in children's music making. British Journal of Music Education, 17(3), 227-245.
  • Burnard, P. (2000) How children ascribe meaning to improvisation and composition: rethinking pedagogy in music education. Music Education Research, 2(1), 7-23.
  • Burnard, P . (1999) Bodily intention in children's improvisation and composition. Psychology of Music, 27(2), 159-174.
  • Burnard, P. (1995) Task design and experience in composition. Research Studies in Music Education, 5(2), 32-46.

Solo Authored and Edited Books

  • Burnard, P., Apelgren, B.,and N. Cabaroglu (2015) (Eds.) Transformative Teacher Research. Series Issue in 'Critical Issues in the Future of Learning and Teaching' The Netherlands: SensePublishers.
  • Burnard, P., Hofvander-Trulsson, Y. and Soderman, J. (2015) (Eds.) Bourdieu and the Sociology of Music Education. Farnham, Surrey: Ashgate (279 pages).
  • Burnard, P. and Haddon, E. (2015) (Eds.) Activating Diverse Musical Creativities: Teaching and Learning in Higher Music Education. London: Bloomsbury (272 pages).
  • Burnard, P. (2014) (Ed.) Developing Creativities in Higher Music Education: International Perspectives and Practices. London: Routledge (337 pages).
  • Burnard, P. and Murphy, R. (2013) Teaching Music Creatively. London: Routledge (183 pages).
  • Georgii-Hemming, E., Burnard, P. and Holgersen, S. (2013) (Eds.) Professional Knowledge in Music Teacher Education. Farnham, Surrey: Ashgate (220 pages).
  • Burnard, P. (2012) Musical Creativities in Practice. London: Oxford University Press (308 pages).
  • Finney, J. and Burnard, P. (2009) (Eds.) Music Education with Digital Technology. London: Continuum (223 pages).
  • Craft, A., Cremin, T. and Burnard, P. (2008) (Eds.) Creative Learning 3-11 and How We Document It: What, How and Why? London: Trentham (184 pages).
  • Burnard, P. and Hennessy, S. (2008) Reflective Practices in Arts Education. Second Edition, Dordrecht: Springer (199 pages).
  • Burnard, P. and Hennessy, S. (2006) Reflective Practices in Arts Education. Dordrecht: Springer (199 pages).

Guest Editorship of Journal Special Issues and Handbook Sections

  • Burnard, P., Apelgren, B. and Cabaroglu, N. (Eds.) Series Editors Critical Issues in the Future of Learning and Teaching,  Rotterdam: SensePublishers.
  • Burnard, P. (2012) Handbook Section 'Creativities as practice' in The Oxford Handbook of Music Education, New York: Oxford University Press.
  • Burnard, P. (2008) UNESCO Observatory E-Journal Multi-Disciplinary Research in the Arts, Special Issue 'Creativity, policy and practice discourses: Productive tensions in the new millennium', 1(3).http://www.abp.unimelb.edu.au/unesco/ejournal/vol-one-issue-three.html.
  • Burnard, P., Dillon S. and Ballantyne, J.(2008) Research Studies in Music Education, Special Issue 'Pedagogies of inclusion in music education: International perspectives', 30(1).
  • Burnard, P. (2007) Handbook Section 'Creativity' in The International Handbook of Research in Arts Education, Dordrecht: Springer.
  • Burnard, P. (2006) Music Education Research, Special Issue 'Research methodologies and methods in the field of music education', 8(2).
  • Burnard, P. (2006) Cambridge Journal of Education, Special Issue 'Creativity in education', 36(3).

Book Chapters

  • Burnard, P. and Nikolova, A. (2015) Teachers' professional learning with artists: Arts-based tools for teacher reflection. In P. Burnard., B. Apelgren, and N. Cabaroglu (Eds.) Critical Issues in the Future of Learning and Teaching,  Rotterdam: SensePublishers.
  • Bennett, D., and Burnard, P. (2015) The development and impact of (human) professional capital creativities on higher education graduates: Lessons underpinned by Bourdieu. In R. Comunian and A. Gilmore (Eds/) Higher Education and the Creative Economy. London: Routledge.
  • Burnard, P. (2014) Addressing the politics of practice-based research and its potential contribution to Higher Music Education. In S. Harrison (Ed.) Research and Research Education in Music Performance and Pedagogy, pp. 133-150. Dordrecht: Springer.
  • Burnard, P. and Fautley, M. (2014) Assessing diverse creativities in music: A spectrum of challenges, possibilities and practices. In M. Fleming, J. O'Toole and L. Bresler (Eds.) The Routledge International Handbook of Arts in Education, pp. 138-151. London: Routledge.
  • Burnard, P. (2014) Classroom creativities, pedagogic partnership and the improvisatory space of creative teaching and learning. In M. E. Myhill and R. Maclean (Eds.) Life in Classrooms: Past, Present and Future (A Tribute to Maurice Galton), pp. 91-103. Dordrecht, The Netherlands: Springer.
  • Burnard, P. (2014) Working with Bourdieu's cultural analysis and legacy: Alignments and allegiances in developing career creativities. In P. Burnard, Y. Hofvander Trulsson and J. Soderman (Eds.) Bourdieu and the Sociology of Music Education. Farnham, Surrey: SEMPRE Psychology of Music Series Ashgate.
  • Burnard, P. and E. Haddon (2014) The imperative of diverse musical creativities in academia and industry. In P. Burnard and E. Haddon (Eds.) Activating Musical Creativities in Higher Education, pp. 3-20. London: Bloomsbury Academic.
  • Haddon, E. and Burnard, P. (2014) Musical creativities and entrepreneurship in higher music education: activating new possibilities. In P. Burnard and E. Haddon (Eds.) Activating Musical Creativities in Higher Education, pp. 261-282. London: Bloomsbury Academic.
  • Burnard, P. (2013) Championing the significance of creativities in higher music education. In P. Burnard (Ed.) Developing Creativities in Higher Music Education: International Perspectives and Practices,pp. 1-11. London: Routledge.
  • Burnard, P. (2013) A spectrum of musical creativities and particularities of practice. In P. Burnard (Ed.) Developing Creativities in Higher Music Education: International Perspectives and Practices,pp. 75-87. London: Routledge.
  • Burnard, P. (2013) Leadership creativities and leadership development in higher music education. In P. Burnard (Ed.) Developing Creativities in Higher Music Education: International Perspectives and Practices,pp. 211-223. London: Routledge.
  • Burnard, P. (2013) Problematising what counts as knowledge and the production of creativities in music. In E. Georgii-Hemming, P. Burnard and S. Holgersen (Eds.) Professional Knowledge in Music Teacher Education, pp. 97-110, Farnham, Surrey: Ashgate.
  • Holgersen, S. and Burnard, P. (2013) Different types of knowledges forming professionalism: A vision of post-millenial music teacher education, pp. 189-202. Farnham, Surrey: Ashgate.
  • Burnard, P. (2013) Championing creative musicianship. In I. Malmberg and A. De Vugt. European Perspectives on Music Education: Artistry and Craftsmanship, pp. 63-77,Germany/Austria: Helbling.
  • Burnard, P. and Power, A. (2013) Issues in the conception of creativities and creativity assessment in music education. In K. Thomas and J. Chan (Eds.) Handbook of Research in Creativity, pp. 158-172,Sydney, Australia: Edward Elgar.
  • Burnard, P. and Biddulph, J. (2013) Musical creativities. In R. Jones and D. Wyse (Eds) Creativity in the Primary Curriculum,pp. 130-148, 2nd edition, London: Routledge.
  • Burnard, P. (2012) Building international collaboratiive networks through creativies in professional practice. In C. Harrison and S. Hennessy (Eds.) Listen Out: International Perspectives on Music Education,pp. 95-104, Matlock, Derbyshire: National Associaiton of Music Educators (NAME).
  • Burnard, P. (2011) Constructing assessment for creative learning. In J. Sefton-Green, P. Thomson, L. Bresler and K. Jones (Eds.) The Routledge International Handbook of Creative Learning, pp. 140-159, London: Routledge Falmer.
    Burnard, P. (2011) Creativity, pedagogic partnerships and the improvisatory space of teaching. In K. Sawyer (Ed.) Structure and Improvisation in Creative Teaching,pp. 51-72, New York: Cambridge University Press.
  • Burnard, P. (2011) The practice of diverse compositional creativities. In D. Collins (Ed.) The Act of Musical Composition: Studies in the Creative Process,pp. 37-52, Aldershot, Hants: Ashgate SEMPRE Psychology of Music Series.
  • Cain, T. and Burnard, P. (2011) Teachers and pupils as researchers. In C. Philpott and G. Spruce (Eds.) Debates in Music Education,pp. 66-78, London: Routledge.
  • Burnard, P. (2011) Rivers of musical experience: A tool for reflecting and research individual pathways. In C. Harrison and L. McCullough (Eds.) Musical Pathways,pp. 168-180, Matlock, Derbyshire: National Association of Music Educators (NAME).
  • Burnard, P. (2011) Rethinking musical creativity. In O. Odena (Ed.) Musical Creativity: Insights From Music Education Research, pp. 221-238, Aldershot, Hants: Ashgate SEMPRE Psychology of Music Series.
  • Leong, S., Burnard, P., Jeannert, N., Leung, B. and Waugh, C. (2011) Assessing creativity in music: International perspectives and practices. In G. McPherson and G. Welch (Eds.) The Oxford Handbook of Music Education, pp. 353-374, New York: Oxford University Press.
  • Rabinowitch, T., Cross, I. and Burnard, P. (2011)Between consciousnesses: embodied musical intersubjectivity, in: D. Reynolds and M. Reason (Eds.) Kinesthetic Empathy in Creative and Cultural Practices,pp. 155-171, Bristol, UK: Intellect Press.
  • Burnard, P. and Triantafyllaki, A. (2011) The social construction of musical creativities: Where the self and the social meet. In S. O'Neill (Ed.) Personhood and Music Learning: Multidisciplinary Perspectives and Narrative Voices. CMEA/ACME Biennial Book Series, Research to Practice, pp. 295-319, University of British Columbia Press, Canada.
  • Burnard, P. and Younker, B.A. (2010) Towards a broader conception of creativity in the music classroom: A case for using Engestrom's Activity Theory as a basis for researching and characterizing group music-making practices. In R. Wright (Ed.) Sociology of Music Education, pp. 165-191, Aldershot: Ashgate.
  • Burnard, P. (2010) Creative learning in music and educational renewal. In J. Ballantyne and B. Bartleet (Eds.) Navigating Music and Sound Education, pp. 51-76, Cambridge: Cambridge Scholars Publishing.
  • Burnard, P. and Bjork, C. (2010) Using student voice research to understand and improve musical learning. In C. Harrison and J. Finney (Eds.) Finding the Student Voice, pp. 24-35, Matlock, Derbyshire: National Association of Music Educators.
  • Burnard, P., Kelly, E. and Biddulph, J. (2010) Mapping the creative journeying in practitioner research. In M. Khine and I. Saleh (Eds.) Practitioners Research: Teachers' Investigations in the Classroom Teaching, pp. 81-95, Hauppage, New York, USA: Nova Science Publishers.

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