Creative Thinking in Music

Hickey, Maud; Webster, Peter

doi:10.2307/3399772

Cited by 61 publications

(74 citation statements)

References 13 publications

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“…They suggest that primary and secondary music teachers alike should demonstrate a sense of humor when they teach and model creative traits while they implement lessons that allow students to make music and take risks. Hickey and Webster (2001) describe the creative process as "the thinking that takes place as a person is planning to produce a creative product" (p. 20). In his Model of Creative Thinking in Music, Webster (1990) includes four stages of creative thinking: preparation, incubation, illumination, and verification.…”

Section: Review Of Literaturementioning

confidence: 98%

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Creativity in the elementary music classroom: A study of students’ perceptions

Coulson¹,

Burke

2013

International Journal of Music Education

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This research explored essential elements to be considered when teaching US students to develop and define creativity in the general elementary (students aged 5-11 years) music classroom. This case study focused on answering the following research questions: 1) What are students' perceptions of creativity? 2) How can music educators successfully implement improvisation lessons to promote student creativity and learning? Data included students' in-class written work and homework, and field notes taken during observations of classroom discussions after improvisation lessons. Analysis of this data provided evidence that students produce more creative, original music when they are more confident with their musical ability. Students viewed music they enjoyed as creative. Students also believed that a variety of instruments or rhythms make music creative. Although improvisation skills were demonstrated for students, the results indicated that students might take more risks when creating music if their teachers played music and demonstrated skills more often in class.

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Section: Review Of Literaturementioning

confidence: 98%

“…Hickey and Webster (2001) state, "an essential principle of music teaching and learning is related to thinking in sound" (p. 21). All students should have practice with critical listening and apply aesthetic decision making skills in the classroom.…”

Section: Review Of Literaturementioning

confidence: 99%

Creativity in the elementary music classroom: A study of students’ perceptions

Coulson¹,

Burke

2013

International Journal of Music Education

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“…Gordon (1988) argues that the person, consciously or unconsciously, organizes known music constructs and materials in new or unknown ways. Others (Hickey & Webster, 2001;Webster, 2002) claim that during the creative process people have to activate both divergent and convergent thinking, as they have to conceive many musical ideas and then to select some of them and combine them such that they make music sense.…”

Section: Creativity In Music Educationmentioning

confidence: 99%

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Zbainos¹,

Anastasopoulou²

2012

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Creativity's enhancement through education has been widely discussed and promoted in Greece, especially in the past few decades. In the music domain, teaching philosophy and practice seem to focus on ways that can encourage children to learn and apply their knowledge through creative music activities. This paper reports on the outcomes of a study undertaken with 112 general music teachers of different ages and scientific backgrounds, who teach in 235 primary and secondary schools in Greece. Being the first time that such research is being conducted in Greece, the main aim of the study was to reveal how Greek music teachers think, feel about, and influence pupils' creativity and the teaching conditions that may enhance or inhibit it. It is believed that such a study may contribute to the development of creativity enhancement projects through music teaching. The findings suggest that creativity is associated by Greek music teachers with a natural gift that cannot be addressed in all students, and can only be partly taught in music classroom. They also indicate that teachers do not have an explicit understanding of music creativity as well as creativity assessment, since most of them tend to assess students' creative performance on the basis on non musical criteria (i.e. participation, eagerness, etc.). Results also show that creative musical activities are more often applied in primary education, while in secondary education they are successively replaced by music theory and history. Finally, teachers' negative views about the music curriculum, textbooks and number of teaching hours are identified. Such findings lead to suggestions for numerous changes in music teachers' education, establishing training in teaching for creativity as a fundamental priority.

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“…Frå eit anna utgangspunkt kan vi også spørre om aktiviteten i barna sitt perspektiv rettar seg meir mot å tileigne seg og forstå den musikalske topologien, enn mot å vere kreativt skapande. Laering skjer uansett best og mest effektivt gjennom aktiv deltaking og i kontekst (Hickey & Webster, 2001).…”

Section: Drøftingunclassified

Kunstnarar i barnehagen – estetiske erfaringar av høg kvalitet?

Furholt

2018

nbf

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Samandrag: Artikkelen tematiserer estetisk erfaring og opplaering på bakgrunn av eit komposisjonsprosjekt i Den kulturelle baeremeisen. Den kulturelle baeremeisen har som uttalt premiss at når barnehagebarn skal delta i skapande prosessar og hauste kunstnariske inntrykk og estetiske erfaringar av høg kvalitet, må det vere kunstnarar til stades. Med støtte hovudsakleg i retorisk teori, drøftar artikkelen korleis det å vere kunstnar kan bidra til auka kvalitet i det kunstfaglege arbeidet. Det handlar om kunstfagleg danning gjennom eit musikalsk materiale, og at det ikkje er likegyldig korleis ein arbeider med materialet. Nøkkelord: Barnehage, Den kulturelle baeremeisen (DKB), kunstuttrykk, retorikkAbstract: The article explores the aesthetic experience and learning process in kindergarten through the perspective of a project in Den kulturelle baeremeisen. Den kulturelle baeremeisen's stated premise is that when preschool children participate in creative processes enabling acquisition of artistic impressions and aesthetic experiences of high quality, professional artists must be present. Based mainly in rhetorical theory the article examines how being an artist can enhance the quality of the artistic experience for children. It is about arts education through a musical material, deeply engaged with a creating process.

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Creative Thinking in Music

Abstract: I l COMPOSITION AND IMPROVISATION CREATIVE THINKING IN MUSIC Rather than focusing on training children to be creative, it might be better for music teachers to nurture children's inherent ability to think creatively in music.

Cited by 61 publications

References 13 publications

Creativity in the elementary music classroom: A study of students’ perceptions

Creativity in the elementary music classroom: A study of students’ perceptions

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Kunstnarar i barnehagen – estetiske erfaringar av høg kvalitet?

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