Creative Thinking in Music

Educación musical, creatividad y tecnología: Un estudio exploratorio sobre estrategias docentes y actividades creativas con software ex novo

“…La creatividad, como competencia educativa, parece un elemento esencial del crecimiento personal, aunque, dentro de la educación, se encuentra en una posición bastante delicada dentro del discurso educativo global. Ya desde una perspectiva concreta, la creatividad musical se ha estudiado de manera limitada desde un enfoque psicologista, en niños, niñas y personas adultas con formación musical (Barbot y Webster, 2018). Las investigaciones parecen haber llegado al consenso de que la creatividad musical es una expresión del potencial creativo humano que debe ser nutrida y estudiada dentro de los planes de estudio y desde una relación directa con las prácticas realizadas en las aulas (Juntunen, 2014).…”

Exploring Design Cognition in Voice-Driven Sound Sketching and Synthesis

“…On the other side, process-based studies on sound design are still embryonic [11], if one excludes the existing literature on creative thinking in music processes: The ill-defined problem of composing a piece of music is solved through iterative, non-linear stages of insight (i.e., musical inspiration), problem restructuring and proliferation [9]. Cognitive processes in music composition can reflect an analytic, horizontal approach to the sequential writing of the musical parts, or develop vertically, that is implying a strong conceptualization phase of the whole in advance, before the actual production: The "sound designer" style has been characterized by an in-depth, horizontal exploration and original use of tools, where iterations are especially concentrated in the re-execution and revision of sound segments in the recording phases [1].…”

Supporting Creative Musical Mindsets in Ensemble Learning

“…As creativity scholars Baptiste Barbot and Peter R. Webster articulate, It is a reasonable assumption to interpret musical creativity as a latent potential in all individuals (whether musically trained or not), leading to outputs of varying quality on the creativity "continuum," depending on the fit between content area requirements, individuallevel resources, environmental influence, time and place, and more importantly, whether individuals have the desire and opportunity to express their potential. 6 The innate potential for creative thinking can be developed by pairing students with the appropriate musical content and learning environments to express their creativity using the creative process.…”

“…reative thinking in music has been an important topic for music education research and the practical development of instructional and assessment practices over the past thirty years. 1 In fact, among its numerous articles on music creativity, Music Educators Journal has published two special focus issues on topics of creativity in music teaching and learning with a great deal of depth (May 1990: "Creative Thinking in Music" and March…”