ABSTRACT
At some point in their career music teachers will, in most countries, have to face the sometimes daunting prospect of using composition or improvisation in the classroom.
Perhaps they already have some idea of how to deal with it, or perhaps not, but one of the most important elements of didactic competence is undoubtedly the knowledge of the theoretical background lying behind the strategies teachers intend to adopt. Improvisation and composition are strictly related to creativity and it is imperative that all music teachers, or, in a wider sense, music educators, be aware that through their activity they can promote or inhibit the creative potential of each student.
