Skills related to musical creativity are integrated into most secondary school music curricula (Odena, 2012). Musical creation activities, such as sound exploration, vocal and instrumental improvisation, and composition, offer students a wide range of cognitive and emotional benefits. For instance, improvisation has been shown to enhance musical understanding, including the acquisition of theoretical concepts (Burnard, 2002; McPherson, 1993), improve auditory acuity (Dos Santos & Del Ben, 2004; Whitman, 2001), and increase music reading efficiency (Azzara, 1992). Moreover, creative processes like composition and sound exploration also foster extra-musical competencies, including creative thinking and personal expression (Koutsoupidou & Hargreaves, 2009; Robichaud, 2022; Tseng & Chen, 2010). Despite its richness and potential, the creating competency remains largely underutilized by music teachers, particularly at the secondary level (Bernhard & Stringham, 2016; Snell II, 2013), where instruction often emphasizes performance from musical notation and the development of instrumental technique (Hess, 2015; Stringham, 2010).This paper presents the results of a scoping review, whose main objective is to provide an up-to-date overview of the existing knowledge related to the development of the creating competency among secondary school music teachers. Specifically, it seeks to identify the practices, understandings, and perceptions associated with this competency within this professional group. To date, research on musical creativity in secondary education remains limited, with few studies placing the teacher at the center of analysis. Most have instead focused on the broader educational context or explored creativity and learning processes from the student’s perspective. The inclusion criteria of this scoping review were defined using the PCC framework from the JBI Evidence Synthesis — Population, Concept, and Context — focusing on (1) in-service music teachers, regardless of years of experience; (2) the concept of musical creativity or creating competency; and (3) the context of secondary school education. Only empirical studies published in English, French, or Spanish were considered for inclusion. The research strategy employed in this review will be outlined.Results: despite recognizing the value of musical creativity, music teachers dedicate limited instructional time to music creation in the classroom. Furthermore, conceptual ambiguities persist, particularly regarding how musical creativity should be assessed. Additional findings will be explored, and implications for secondary music education will be discussed. Gaining a deeper understanding of the current literature will help identify prevailing trends, existing research gaps, and potential avenues for supporting teachers’ professional development in this area.