This thesis investigates teachers’ creative practice in teaching the prescribed repertoire, or “set works” at Leaving Certificate level. To date, little research has been undertaken on this dimension of practice in teaching Music in Post-Primary schools in Ireland. Employing a theoretical framework located in theories of creative learning in general, and creative habits of mind in particular (Lucas, Claxton and Spenser, 2013), teachers’ creative practices in relation to the listening component of the Leaving Certificate Music syllabus were explored, focusing specifically on the study of set works, music analysis, music appreciation and listening skills. Using a sequential, mixed-methods design, the study focuses on how teachers approach the study of set works as one segment of the listening component of the Leaving Certificate Music syllabus. Signature pedagogies (Shulman, 2005) were identified as part of investigation into teaching practice. In particular, the study explores teachers’ attitudes to teaching music analysis, music appreciation and listening skills through a creativity lens. Three overarching questions guide the research: (a) What are Irish music teachers’ perspectives on creativity and creative teaching within Leaving Certificate Music? (b) What distinctive pedagogies are used by Irish Music teachers in teaching musical repertoire? And (c) How do pedagogies practiced reflect teachers’ understanding of and interconnection with creativity? Quantitative findings suggest that teachers are positively disposed towards teaching the set works using creative pedagogies but reported that they felt certain elements of the Leaving Certificate Music syllabus were uncreative and teachers were unsure if they taught the syllabus creatively. Qualitative findings reveal that teachers implement a range of signature pedagogies. Furthermore, they adopt a number of creative approaches and practices, theorised here through a habits of mind framework (Lucas et al., 2013). Such findings illuminate the framework from a music education perspective. Most importantly, the study points to the importance of understanding teachers’ signature and creative pedagogies and how such knowledge can inform future curriculum reform and music teacher professional learning.